Shire of East Pilbara (Martumili Artists)

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Camp spot

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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All the Minma

“All the minma, ladies. Sitting along the river. Drinking the water, looking for bushtucker. All around Kiwirrkurra.”

-Sharon Porter

This site forms part of Sharon’s ngurra (home Country, camp) through her grandmother, Katjarra Butler. Located east of Kiwirrkurra, on Pintupi country.

This story is part of a Jukurrpa story, told to Sharon by her grandmother, Katjarra Butler.  The term Jukurrpa is often translated in English as the ‘dreaming’, or ‘dreamtime’. It refers generally to the period in which the world was created by ancestral beings, who assumed both human and nonhuman forms. These beings shaped what had been a formless landscape; creating waters, plants, animals, and people. At the same time they provided cultural protocols for the people they created, as well as rules for interacting with the natural environment. At their journey’s end, the ancestral beings transformed themselves into important waters, hills, rocks, and even constellations.

During the pujiman (traditional, desert dwelling) period, Martu would traverse very large distances annually in small family groups, moving seasonally from water source to water source, and hunting and gathering bush tucker as they went. Whilst desert life has moved away from mobile hunter-gatherer subsistence throughout the course of the twentieth century, bush tucker continues to be a significant component of the modern Martu diet. Hunting and gathering bush tucker remains equally valuable as an important cultural practice that is passed on intergenerationally. Though hunting and gathering implements have been modernised, methods of harvesting, tracking and the use of fire burning to drive animals from their retreats are still commonly practiced today.

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Grandmother’s Country

“They [a group of women] were sitting down, one rockhole there. All the bushtucker around.”

– Sharon Palmer 

This story is part of a Jukurrpa story passed onto Sharon by her grandmother, Katjarra Butler. The term Jukurrpa is often translated in English as the ‘dreaming’, or ‘dreamtime’. It refers generally to the period in which the world was created by ancestral beings, who assumed both human and nonhuman forms. These beings shaped what had been a formless landscape; creating waters, plants, animals, and people. At the same time they provided cultural protocols for the people they created, as well as rules for interacting with the natural environment. At their journey’s end, the ancestral beings transformed themselves into important waters, hills, rocks, and even constellations.

This site forms part of Sharon’s ngurra (home Country, camp) through her grandmother, Katjarra Butler. Located east of Kiwirrkurra, on Pintupi country.

The Western Desert term ‘ngurra’ is hugely versatile in application. Broadly denoting birthplace and belonging, ngurra can refer to a body of water, a camp site, a large area of Country, or even a modern house. 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. This knowledge is traditionally passed intergenerationally through family connections. Country for Martu is full of memory; not just the memory of their own movement through it, but also of their family. As summarised by Ngalangka Nola Taylor, “painting the ngurra, they do it to remember their connections.” 

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. Physical maintenance of one’s ngurra, like cultural maintenance, ensures a site’s wellbeing, and is a responsibility of the people belonging to that area.  

 

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Minma Dancing

“All the minma [ladies]. Dancing around. They was singing, dancing, all night. Digging stick. Holding kuturu [timber bowls used for carrying food and water] and wira [digging stick]. Around the fire. They made a big fire. Dancing all around it.”

-Sharon Porter

This story is part of a Jukurrpa story passed onto Sharon by her grandmother, Katjarra Butler. The term Jukurrpa is often translated in English as the ‘dreaming’, or ‘dreamtime’. It refers generally to the period in which the world was created by ancestral beings, who assumed both human and nonhuman forms. These beings shaped what had been a formless landscape; creating waters, plants, animals, and people. At the same time they provided cultural protocols for the people they created, as well as rules for interacting with the natural environment. At their journey’s end, the ancestral beings transformed themselves into important waters, hills, rocks, and even constellations.

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My Grandmother’s Way

“I’m painting my grandmother’s country, her way. Katjarra style.” 

– Sharon Palmer 

 

This site forms part of Sharon’s ngurra (home Country, camp) through her grandmother, Katjarra Butler. Located east of Kiwirrkurra, on Pintupi country. 

The Western Desert term ‘ngurra’ is hugely versatile in application. Broadly denoting birthplace and belonging, ngurra can refer to a body of water, a camp site, a large area of Country, or even a modern house. 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. This knowledge is traditionally passed intergenerationally through family connections. Country for Martu is full of memory; not just the memory of their own movement through it, but also of their family. As summarised by Ngalangka Nola Taylor, “painting the ngurra, they do it to remember their connections.” 

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. Physical maintenance of one’s ngurra, like cultural maintenance, ensures a site’s wellbeing, and is a responsibility of the people belonging to that area.  

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My Grandmother’s Way

“I’m painting my grandmother’s country, her way. Katjarra style.” 

– Sharon Palmer 

 

This site forms part of Sharon’s ngurra (home Country, camp) through her grandmother, Katjarra Butler. Located east of Kiwirrkurra, on Pintupi country. 

The Western Desert term ‘ngurra’ is hugely versatile in application. Broadly denoting birthplace and belonging, ngurra can refer to a body of water, a camp site, a large area of Country, or even a modern house. 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. This knowledge is traditionally passed intergenerationally through family connections. Country for Martu is full of memory; not just the memory of their own movement through it, but also of their family. As summarised by Ngalangka Nola Taylor, “painting the ngurra, they do it to remember their connections.” 

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. Physical maintenance of one’s ngurra, like cultural maintenance, ensures a site’s wellbeing, and is a responsibility of the people belonging to that area.  

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Minyipuru (Jakulyukulyu, Seven Sisters)

“I paint the Seven Sisters stories for around Kunawarritji. The sisters came from Roebourne, and they was travelling to Northern Territory side. There was a man trying to get the women- Yurla. He was following them. All them womens [sic] was scared. They been fly to the sky and you’ll see all the seven stars there. You’ll see them sometimes early hours of the morning. Sometimes they make a kumpu (urinate) early in the morning, that’s why you get wet [laughs].”

– Pauline Williams

 

The term Jukurrpa is often translated in English as the ‘dreaming’, or ‘dreamtime’. It refers generally to the period in which the world was created by ancestral beings, who assumed both human and nonhuman forms. These beings shaped what had been a formless landscape; creating waters, plants, animals, and people. At the same time they provided cultural protocols for the people they created, as well as rules for interacting with the natural environment. At their journey’s end, the ancestral beings transformed themselves into important waters, hills, rocks, and even constellations. 

Minyipuru, or Jakulyukulyu (Seven Sisters) is a central Jukurrpa narrative for Martu, Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara people that is associated with the seasonal Pleiades star constellation. Relayed in song, dance, stories and paintings, Minyipuru serves as a creation narrative, a source of information relating to the physical properties of the land, and an embodiment of Aboriginal cultural laws. When Martumili Artists was established in 2005, this was the first Jukurrpa story the artists agreed to paint for a broader public. 

Beginning in Roebourne on the west coast of Western Australia, the story morphs in its movement eastward across the land, following a group of women as they walk, dance, and even fly from waterhole to waterhole. As they travel the women camp, sing, wash, dance and gather food, leaving markers in the landscape and creating landforms that remain to this day, such as groupings of rocks and trees, grinding stones and seeds. During the entirety of their journey the women are pursued by a lustful old man, Yurla, although interactions with other animals, groups of men, and spirit beings are also chronicled.

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Grandmother’s Country

“They [a group of women] were sitting down, one rockhole there. All the bushtucker around.”

– Sharon Palmer 

This story is part of a Jukurrpa story passed onto Sharon by her grandmother, Katjarra Butler. The term Jukurrpa is often translated in English as the ‘dreaming’, or ‘dreamtime’. It refers generally to the period in which the world was created by ancestral beings, who assumed both human and nonhuman forms. These beings shaped what had been a formless landscape; creating waters, plants, animals, and people. At the same time they provided cultural protocols for the people they created, as well as rules for interacting with the natural environment. At their journey’s end, the ancestral beings transformed themselves into important waters, hills, rocks, and even constellations.

This site forms part of Sharon’s ngurra (home Country, camp) through her grandmother, Katjarra Butler. Located east of Kiwirrkurra, on Pintupi country.

The Western Desert term ‘ngurra’ is hugely versatile in application. Broadly denoting birthplace and belonging, ngurra can refer to a body of water, a camp site, a large area of Country, or even a modern house. 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. This knowledge is traditionally passed intergenerationally through family connections. Country for Martu is full of memory; not just the memory of their own movement through it, but also of their family. As summarised by Ngalangka Nola Taylor, “painting the ngurra, they do it to remember their connections.” 

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. Physical maintenance of one’s ngurra, like cultural maintenance, ensures a site’s wellbeing, and is a responsibility of the people belonging to that area.  

 

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Grandmother’s Country

“They [a group of women] were sitting down, one rockhole there. All the bushtucker around.”

– Sharon Palmer 

This story is part of a Jukurrpa story passed onto Sharon by her grandmother, Katjarra Butler. The term Jukurrpa is often translated in English as the ‘dreaming’, or ‘dreamtime’. It refers generally to the period in which the world was created by ancestral beings, who assumed both human and nonhuman forms. These beings shaped what had been a formless landscape; creating waters, plants, animals, and people. At the same time they provided cultural protocols for the people they created, as well as rules for interacting with the natural environment. At their journey’s end, the ancestral beings transformed themselves into important waters, hills, rocks, and even constellations.

This site forms part of Sharon’s ngurra (home Country, camp) through her grandmother, Katjarra Butler. Located east of Kiwirrkurra, on Pintupi country.

The Western Desert term ‘ngurra’ is hugely versatile in application. Broadly denoting birthplace and belonging, ngurra can refer to a body of water, a camp site, a large area of Country, or even a modern house. 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. This knowledge is traditionally passed intergenerationally through family connections. Country for Martu is full of memory; not just the memory of their own movement through it, but also of their family. As summarised by Ngalangka Nola Taylor, “painting the ngurra, they do it to remember their connections.” 

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. Physical maintenance of one’s ngurra, like cultural maintenance, ensures a site’s wellbeing, and is a responsibility of the people belonging to that area.  

 

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Mungili Waterholes and Rock Holes

“I was swimming there. Yeah, we go visit them a long time [ago]. We drink it, rain water from the rain. Big waterhole. It’s a fresh water, when the rain comes, fills it up. One for swimming and another rock hole for drinking.”

– Marlene Anderson

In this work Marlene depicts a waterhole and rock hole located in Mungili, the small outstation community located just off the Eagle Highway in Western Australia, approximately 430 kilometres northeast of Wiluna and 250 kilometres north of Warburton. Marlene grew up in Mungili, and as such it forms a significant part of her ‘ngurra’ (home Country, camp). Typically Marlene depicts this site with a central large circular form that represents the main waterhole, surrounded by smaller circular forms representing satellite water bodies.

During the pujiman (traditional, desert dwelling) period, knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location and type of water. Each of the hundreds of claypans, rockholes, waterholes, soaks and springs found in the Martu desert homelands is known through real life experience and the recounting of Jukurrpa (Dreaming) narratives by name, location, quality and seasonal availability. This encyclopedic knowledge extends even to the nature and movement of arterial waterways, and 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.