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Yurl Yurl

“This is my brother Dusty’s country, he was born here. It is my country too but I was born at Jigalong. This country is the otherside of Puntawarri – my mother told me stories about this place. It’s good country.”

This painting depicts Yurl Yurl, located in the country surrounding Jigalong, where the artist lives. The artist’s home county lies to the east of Jigalong Community. While growing up at Jigalong mission, the artist returned to her home every weekend to hunt and camp.

Dadda is recognised as a great authority in Jigalong and is particularly knowledgeable about Country in that area. Many of her paintings have a hovering, vibrating quality that is thoroughly grounded in Country, jukurrpa (dreaming) and history, even while it challenges stereotypes of ‘traditional’ desert paintings.


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Puntawarri Minyipuru

This painting depicts Puntawarri, the artists’ family’s country. Puntawarri is on the middle stretches of the Canning Stock Route, near Well 17 also known as Durba Springs. Puntawarri is an important cultural area, east of the Jigalong Aboriginal Community, where the artist now lives with her family. The artist frequently travelled and hunted with her family in this area when she was a young girl, and is now teaching her grandchildren the stories for this country.

Minyipuru is an important jukurrpa (dreamtime) story about seven sisters that are travelling through the desert, running away from Yurla, a lustful old man. The man chases the wanti (women) all the way from Roebourne on the west coast, right through Martu country before flying east across Australia. Along the way they stop at many significant sites to camp, sing, dance and collect bush tucker, leaving markers in the landscape along the way. The many events and interactions with Yurla chronicled through the story create a culturally rich narrative that is associated with the Pleiades star constellation.

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Untitled

This is Dadda’s Country- her ‘ngurra’ (home Country, camp). People identify with their ngurra in terms of specific rights and responsibilities, and the possession of intimate knowledge of the physical and cultural properties of one’s Country. Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) stories and physical characteristics of that place, has today become an important means of cultural maintenance. Dadda’s ngurra encompasses her birthplace, Old Jigalong, and the Country that her family walked in the pujiman (traditional, desert-dwelling) era, around Mungkulu, Pinpi (Durba Springs), Pulyapulya (Sunday Well), and Puntawarri.

Portrayed in this work are features of Dadda’s family’s ngurra, such as the striking salt lakes, dominant permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources they camped at. Rock holes, waterholes, soaks and springs were all extremely important sites for Martu people during the pujiman period, and are generally depicted with circular forms. 

The encyclopaedic knowledge of the location, quality and seasonal availability of the hundreds of water bodies found in one’s Country sustained Martu as they travelled across their Country, hunting and gathering, visiting family, and fulfilling ceremonial obligations. They would traverse very large distances annually, visiting specific areas in the dry and wet season depending on the availability of water and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant. As they travelled and hunted they would also burn areas of Country, generating a greater diversity of plant and animal life.

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Untitled

This painting represents an area of Dadda’s Country east of Jigalong. While growing up at Jigalong mission, the artist returned to her home Country every weekend to hunt and camp.

Dada is recognised as a great authority in Jigalong and is particularly knowledgeable about Country in that area. Many of her paintings have a hovering, vibrating quality that is thoroughly grounded in Country, jukurrpa (dreaming) and history, even while it challenges stereotypes of ‘traditional’ desert paintings.

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Mungulu

This is Dadda’s Country- her ‘ngurra’ (home Country, camp). People identify with their ngurra in terms of specific rights and responsibilities, and the possession of intimate knowledge of the physical and cultural properties of one’s Country. Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) stories and physical characteristics of that place, has today become an important means of cultural maintenance. Dadda’s ngurra encompasses her birthplace, Old Jigalong, and the Country that her family walked in the pujiman (traditional, desert-dwelling) era, around Mungkulu, Pinpi (Durba Springs), Pulyapulya (Sunday Well), and Puntawarri.

Portrayed in this work are features of Dadda’s family’s ngurra, such as the striking salt lakes, dominant permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources they camped at. Rock holes, waterholes, soaks and springs were all extremely important sites for Martu people during the pujiman period, and are generally depicted with circular forms. 

The encyclopaedic knowledge of the location, quality and seasonal availability of the hundreds of water bodies found in one’s Country sustained Martu as they travelled across their Country, hunting and gathering, visiting family, and fulfilling ceremonial obligations. They would traverse very large distances annually, visiting specific areas in the dry and wet season depending on the availability of water and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant. As they travelled and hunted they would also burn areas of Country, generating a greater diversity of plant and animal life.

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Mungulu

This Painting depicts Mungulu an important kupi (water) place kakarra (east) of Puntawarri a now abandoned community in-between Jigalong and well 17 on the Canning Stock Route. This area is her brother’s country. While growing up at Jigalong mission, the artist returned to her home every weekend to hunt and camp. Dada is recognised as a great authority in Jigalong and is particularly knowledgeable about Country in that area. Many of her paintings have a hovering, vibrating quality that is thoroughly grounded in Country, jukurrpa (dreaming) and history, even while it challenges stereotypes of ‘traditional’ desert paintings.

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Untitled

This is Dadda’s Country- her ‘ngurra’ (home Country, camp). People identify with their ngurra in terms of specific rights and responsibilities, and the possession of intimate knowledge of the physical and cultural properties of one’s Country. Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) stories and physical characteristics of that place, has today become an important means of cultural maintenance. Dadda’s ngurra encompasses her birthplace, Old Jigalong, and the Country that her family walked in the pujiman (traditional, desert-dwelling) era, around Mungkulu, Pinpi (Durba Springs), Pulyapulya (Sunday Well), and Puntawarri.

Portrayed in this work are features of Dadda’s family’s ngurra, such as the striking salt lakes, dominant permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources they camped at. Rock holes, waterholes, soaks and springs were all extremely important sites for Martu people during the pujiman period, and are generally depicted with circular forms. 

The encyclopaedic knowledge of the location, quality and seasonal availability of the hundreds of water bodies found in one’s Country sustained Martu as they travelled across their Country, hunting and gathering, visiting family, and fulfilling ceremonial obligations. They would traverse very large distances annually, visiting specific areas in the dry and wet season depending on the availability of water and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant. As they travelled and hunted they would also burn areas of Country, generating a greater diversity of plant and animal life.

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Wilarra

“Punmu, I went there when I was a young girl, a teenager with my mother and father before my mother passed. Big mob of people was there. No building, just little cubby houses [bough shelters]. Long time I been there. 

These here are the waterholes around Punmu; Rawa spring- Rawa means ‘long time’, Tuu-tuu, Jila-jila, Wirlarra and Yilyara. That is my ngurra (home Country, camp). We grew up in Punmu around all these water holes. I still live here with my grandkids, [we share the] same stories for all these places.” 

 – Marianne Burton

 

Wilarra, the site depicted in this painting, lies on the eastern edge of a large salt lake, Ngayartakujarra (Lake Dora), near Punmu Aboriginal community. A distinctive group of small salt water pools are clustered together here. The water from these pools is known for its’ powerful healing properties, and the pools are still visited today by Martu to bathe cuts and sores. 

Wilarra is also a term for ‘moon’ in Manyjilyjarra, and through the site’s Jukurrpa (Dreaming) narrative, the site is united with the moon in significance. It is said that at Wirlarra, the moon called to a family of dingoes; a mother, father and their large litter of dingo pups. The dingoes gathered at Wilarra, where the moon cared for them and created a windbreak for the family to shelter. Here the dingoes scratched at the surface of the salt lake and created the cluster of salt water pools located there today. They lay down there. After a time, the dingoes continued travelling eastward toward the rising moon until they reached Kinyu (Well 35 on the Canning Stock Route), where they remained until all of the dingo pups had grown up. From Kinyu the family travelled further east with the moon.

Punmu refers to a region and an Aboriginal community within its vicinity, located 670km North-East of Newman. Created during the return to Country movement of the 1980s, with the recognition of Martu land rights and native title, the community was named after a nearby Jukurrpa (Dreaming) story. As described by Marianne, Punmu is her ngurra; she grew up in this region with her parents. 

Punmu community sits on the edge of a large salt lake known as Nyayartakujarra, or Lake Dora. The lake runs south into Karlamilyi River (Rudall River). Surrounding Punmu are numerous fresh water soaks and the red tali (sandhills) typical of the area. The most frequently visited yinta (permanent springs) around Punmu include Wirlarra, Rawa, Yilyara, Jila-jila and Tuu-tuu.

The Country around Punmu features in several Jukurrpa stories. Of particular importance is the story of the Jila Kujarra (Two Snakes), one of the key Jukurrpa narratives for the Martu. Though the story belongs to Warnman people, it is shared across the Western Desert with several other language groups. The narrative centres on the travels of two snakes as they are pursued by the Niminjarra, spiritual ancestors of the Warnman people. 

Before transforming themselves into snakes, the Jila Kujarra were young brothers. As snakes, they began travelling home to their mother, but were intercepted by the Niminjarra, who tracked the Jila Kujarra to Paji, east of Nyayartakujarra (Lake Dora). Though the Jila Kujarra eluded their pursuers here by escaping under the lake at Paji, they were soon after speared and injured by two Pukurti (initiates with bundled hair) at Nyayartakujarra, who returned with the Niminjarra to cook the snakes at the site of Kumpupirntily (Kumpupintily, Lake Disappointment). As the Niminjarra cut down the length of the Jila Kujarra, the snake’s bladders were pierced, causing an explosion of scalding hot urine in which the Niminjarra all perished and became black rocks at the site. The spirits of the Jila Kujarra returned to their mother at Nyayartakujarra, where the mother and her sons entered the ground below Nyayartakujarra and remain to this day.

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Kinyu

“Over there you can see Kinyu [dingo] hill (from Wungkakurlu)”

– Owen John Biljabu

 

This work portrays an area known to the artist, painted here from memory. During the pujiman (traditional, desert dwelling) era one’s survival depended on their intimate knowledge of the location of resources; thus physical elements of Country, such as sources of kapi (water), tali (sandhills), and different varieties of warta (trees, vegetation) were carefully observed and remembered. Today, this relationship with Country remains equally strong, despite the movement of Martu out of the desert and into remote Aboriginal communities, towns and cities.

Also visible may be traces of life cycles based around kalyu (rain, water) and waru (fire). A thousands of year old practice, fire burning continues to be carried out as both an aid for hunting and a means of land management today. As the Martu travelled and hunted they would burn tracts of land, ensuring plant and animal biodiversity and reducing the risk of unmanageable, spontaneous bush fires. The patchwork nature of regrowth is visible in many landscape works, with each of the five distinctive phases of fire burning visually described with respect to the cycle of burning and regrowth.  

Finally, metaphysical information relating to a location may also be recorded; Jukurrpa (Dreaming) narratives chronicle the creation of physical landmarks, and can be referenced through depictions of ceremonial sites, songlines, and markers left in the land. 

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Tuu-tuu

Tuu-tuu is one of the many freshwater springs around Punmu community. The most frequently visited yinta (permanent springs) around Punmu include Wirlarra, Rawa, Yilyara, Jila-jila and Tuu-tuu. Punmu Aboriginal community sits on the edge of a large salt lake known as Ngayartakujarra, or Lake Dora. The lake runs south into Karlamilyi River (Rudall River). Surrounding Punmu are numerous fresh water soaks and the red tali (sandhills) typical of the area.