Jirtirlparnta Heart - The Nyirripi Workshops

ReDot Fine Art Gallery in collaboration with Warlukurlangu Artists presents:

Jir tirlparnta Heart The Nyirripi Workshops

Wednesday, 10th July to Saturday, 17th August 2013

For a high resolution, downloadable, PDF version of the this catalogue, with pricing, please send us an email to info@redotgallery.com Thank you.

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PREVIOUS SPREAD Karku, the hill with the flat top where they get red ochre ABOVE ‘Jirtirlparnta Heart’ country

“ Since the news of an exhibition in Singapore began to spread in Nyirrpi six months ago, a contagion of excitement and enthusiasm has swept over the community. Old stars and new artists alike have worked tirelessly, through the day, over weekends and evenings and even into the early hours of the morning to bring together these new works, an energy that is undeniably apparent in the paintings themselves. Bringing new techniques and styles to bear on their Jukurrpa, the Nyirrpi artists are depicting their country with fresh vision and a raw intensity.�

Hannah Quinlivan Workshop Coordinator

Everyone at Nyirrpi has exhibition fever...

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From house to house, old people, young people, I see them all painting. I see old people painting, they love their painting. They are doing really beautiful work. I go to another camp, and say: “oh, that’s really good!” It makes them all happy, old people and young people. See, they’re all doing good work, they love their painting.

Yeah, it’s really good.

Patrick Japangardi Williams

That’s why I like to do painting: it makes me happy, thinking of when my father would do painting. When we went to the gallery and I saw my grandmother’s painting and my sister’s painting I was really proud, my heart was really proud, my heart and my spirit were really happy.

Christine Nakamarra Michaels

Jirtirlparnta Heart The Nyirripi Workshops

ReDot Fine Art Gallery is honoured to host a very special show, the culmination of a series of workshops held in 2012 and early 2013 at the Jirtirlparnta Learning Centre Batchelor Institute of Indigenous Tertiary Education, Nyirripi.

Jirtirlparnta Heart - The Nyirripi Workshops, derives its name from a purple flower common to this area coincidently, it is also an alternate name for the place where the community of Nyirripi is located and the workshops took place.

The community is approximately 440 km from Alice Springs by road and it takes 5 to 6 hours to drive there. Travelling from Alice Springs via Yuendumu and the Tanami Highway, Nyirripi is approximately 150 kilometres west-southwest of this icon Aboriginal Art Community which helps service the artistic needs of the community.

With an estimated population of 242, this Warlpiri, Pintupi and Kutkatja language cluster exists in large part due to the art practices, with over 60 regular painters attending the community centre in what has become the “social” hub of the outstation.

The workshops were the brainchild of the Warlukurlangu Art centre and Hannah “Nangala” Quinliven, whom herself grew up in Nyirripi as a young girl, speaking Warlpiri long before she could speak English. An accomplished artist in her own right, Nangala has been assisting the Yeundumu and Nyirripi communities for many years and this body of work is a culmination of many weeks and months of discussion and debate with the artists to create a body of work to assist in the telling of “their story”, in a mix of designs and colour made famous by artists of this part of the Australian outback.

Ancient stories have been re-painted, new approaches introduced, excitement created in the small community as the results of their labour became apparent over the many months the works were produced. Several collaborative works allowed culture-sharing to occur, re-connecting people with their lands and their struggles to live in harmony with the surrounding country.

The show will be officially opened by travelling artists Teddy Jakamarra Gibson, Gayle Napangardi Gibson, Christine Nakamarra Curtis and her sister Magda Nakamarra Curtis accompanied by Nagala, all eager to share their country and their stories with the Singaporean public.

Giorgio Pilla Director ReDot Fine Art Gallery

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About the Nyirripi Workshops The art, artists and community

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What gave you the idea to start the Nyirripi Workshops?

As Nyirrpi doesn’t have a permanent art centre, Warlukurlangu artists 160 km away at Yuendumu have been supporting the Nyirrpi artists. For as long as I can remember, Nyirrpi residents have been talking about having a permanent arts worker based at Nyirrpi so the artists can paint everyday. These month-long art workshops have given the artists a chance to develop their practice, perhaps as a step towards having their own permanent art facility. The artists all have a sense now that something special is happening for Nyirrpi.

What is the aim of the workshops?

The aim of the workshops is to give the artists the opportunity to experiment and grow in their art practice. We told the Nyirrpi artists we would organize an exhibition of their work which gave them a focus to work towards. At the end of the workshops we had a meeting and the artists selected four people to go to the opening in Singapore.

Even the artists who are not travelling to the opening are proud that their paintings are travelling so far. They love to share their culture and stories with the rest of the world. The workshop fosters a real sense of pride and happiness among the painters, as well as their extended families, visitors and workers on the community. Even the school children came in their photograph class to capture the event.

By having an intensive workshop everyday for a month, new artists have the opportunity to dramatically improve their practice. New artists develop their styles and techniques very quickly, which generates a sense of excitement for everyone.

You grew up in Nyirripi. Can you describe (briefly!) your childhood in a small community like that?

I didn’t know any different. Since I came here so young I’ve always felt part of the Nyirrpi community. I’ve been looked after by the Nyirrpi community since I was a child, so in a way these workshops are an opportunity for me to give something back.

I’m always so happy when I come back to Nyirrpi, and I know the artists feel the same - it’s like coming home.

What does art mean to the community?

Art means a lot to the community. Perhaps, one of the painters, Patrick Japangardi, says it best: People are really interested doing painting. Young people don’t have work. I like doing painting, I love doing painting. And painting makes you happy, especially painting our Dreaming. Your father’s dreaming, your grandfather’s dreaming.

So maybe your grandfather would teach you how to do your Dreaming, they give it to you, they leave it behind for you, this is the Dreaming for you, so you can put it down on canvas. So you can pass it down. Maybe to your son, maybe to your granddaughter, so your granddaughter can learn, maybe son, daughter. The old people are really proud of the young people. That’s right.

Do you have some favourite works in the show? If so, can you tell us why they’re special to you?

I am very excited by the collaborative paintings in the show. They were painted by the various family groups in the community. It’s a wonderful thing when the different generations of artists come together to work towards a shared goal. People were very happy during the workshops. They were competing in a friendly way to paint as best as they possibly could. They are amazing documents of the different groups and their country.

There is a large global interest in Australian indigenous art. Why do you think that is?

The famous art critic Robert Hughes called Australian Indigenous art the last great art movement of the twentieth century, and I think he was right. At a time when the broader art world has become very reflexive and unsure of itself (as in postmodern art), Indigenous Australian artists have a clear vision and self-confidence. Indigenous artists bring a different way of reading landscape and being in the world to their artistic practice. And, of course it helps that the paintings themselves are so beautiful!

Extracts from an interview with Hannah Quinlivan, Workshop Coordinator [June 2013]

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Various Warlukurlangu Artists (COLLABORATIVE) Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi Acrylic on Belgian Linen 183 x 122cm 984/12ny - (1-4)

The country associated with this Jukurrpa is Mina Mina, a place far to the west of Yuendumu, which is significant to Napangardi/Napanangka women and Japangardi/Japanangka men. All of them are the custodians of the Jukurrpa that created the area.

The Jukurrpa story tells of the journey of a group of women of all ages who travelled to the east gathering food, collecting ‘ngalyipi’ (snake vine [Tinospora smilacina]) and performing ceremonies as they travelled. The women began their journey at Mina Mina where ‘karlangu’ (digging sticks) emerged from the ground. Taking these implements the women travelled east creating Janyinki and other sites. Their journey took them far to the east beyond the boundaries of Warlpiri country. The ‘ngalyipi’ vine grows up the trunks and limbs of the ‘kurrkara’ (desert oak [Allocasuarina decaisneana]) trees. ‘Ngalyipi’ is a sacred vine to Napangardi and Napanangka women that has many uses. It can be used as a ceremonial wrap, as a strap to carry ‘parrajas’ (wooden bowls) that are laden with bush tucker and as a tourniquet for headaches.

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Various Warlukurlangu Artists (COLLABORATIVE) Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi Acrylic on Belgian Linen 183 x 122cm 982/12ny - (1-4)

The country associated with this Jukurrpa is Mina Mina, a place far to the west of Yuendumu, which is significant to Napangardi/Napanangka women and Japangardi/Japanangka men. All of them are the custodians of the Jukurrpa that created the area.

The Jukurrpa story tells of the journey of a group of women of all ages who travelled to the east gathering food, collecting ‘ngalyipi’ (snake vine [Tinospora smilacina]) and performing ceremonies as they travelled. The women began their journey at Mina Mina where ‘karlangu’ (digging sticks) emerged from the ground. Taking these implements the women travelled east creating Janyinki and other sites. Their journey took them far to the east beyond the boundaries of Warlpiri country. The ‘ngalyipi’ vine grows up the trunks and limbs of the ‘kurrkara’ (desert oak [Allocasuarina decaisneana]) trees. ‘Ngalyipi’ is a sacred vine to Napangardi and Napanangka women that has many uses. It can be used as a ceremonial wrap, as a strap to carry ‘parrajas’ (wooden bowls) that are laden with bush tucker and as a tourniquet for headaches.

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Various Warlukurlangu Artists (COLLABORATIVE) Janganpa Jukurrpa (Brush-tail Possum Dreaming)- Mawurrji Acrylic on Belgian Linen 183 x 107cm 983/12ny - (1-4)

Janganpa Jukurrpa (common brush-tail possum [Trichosurus vulpecula] Dreaming) travels all over Warlpiri country. ‘Janganpa’ are nocturnal animals that often nest in the hollows of white gum trees (‘wapunungka’). This story comes from a big hill called Mawurrji, west of Yuendumu and north of Pikilyi (Vaughan Springs). A group of ‘janganpa’ ancestors resided there. Every night they would go out in search of food. Their hunting trips took them to Wirlki and Wanapirdi, where they found ‘pamapardu’ (flying ants). They journeyed on to Ngarlkirdipini looking for water. A Nampijinpa women was living at Mawurrji with her two daughters. She gave her daughters in marriage to a Jupurrurla ‘janganpa’ but later decided to run away with them. The Jupurrurla angrily pursued the woman.

He tracked them to Mawurrji where he killed them with a stone axe. Their bodies are now rocks at this place. Warlpiri people perform a young men’s initiation ceremony, which involves the Janganpa Jukurrpa. The Janganpa Jukurrpa belongs to Jakamarra/Jupurrurla men and Nakamarra/Napurrurla women.

In Warlpiri paintings traditional iconography is used to represent this Jukurrpa. ‘Janganpa’ tracks are often represented as ’E’ shaped figures and concentric circles are used to depict the trees in which the ‘janganpa’ live, and also the sites at Mawurrji.

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Various Warlukurlangu Artists (COLLABORATIVE) Lappi Lappi Jukurrpa (Lappi Lappi Dreaming) Acrylic on Belgian Linen 183 x 107cm 985/12ny - (1-3)

The subject of this work is Lappi Lappi, a rock hole near Lake Hazlett, about 90 km northwest of Lake Mackay in Western Australia. The country belongs to Nampijinpa/ Jampijinpa and Nangala/Jangala skin groups. Located in a sheltered basin, the rock hole at Lappi Lappi is a permanent source of water, and is surrounded by country rich in bush tucker. In the time of the Jukurrpa (Dreamtime) many mothers with young children would gather there because it was a safe place to stay.

The rock hole at Lappi Lappi is home to a ‘warnayarra’, a rainbow serpent that travels underground between various rock holes. One day, women were gathered at the rock hole with their children, singing and dancing. When the ‘warnayarra’ heard the sound of voices, it travelled silently towards them, under the water. When it reached the edge of the rock hole, it rose out of the water and ate them all.

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Murdie NAMPIJINPA MORRIS

Malikijarra Jukurrpa (Two Dogs Dreaming) Acrylic on Belgian Linen 152 x 122cm 989/12ny

Malikijarra Jukurrpa (Two Dogs Dreaming) relates to the land adjacent to the windmill at Warlarlarla (Rabbit Flat).

This painting retells the Dreaming of two dog ancestors, Jampijinpa and Napangardi, who travelled along a creek bed north-east to Yarikurlangu. When they arrived, Jampijinpa and Napangardi made a burrow to rest in and started a big family of dogs.

The ribcages of the Jampijinpa, Napangardi and their family can seen as features in the landscape in the Yarikurlangu area, and have been depicted in this work. Surrounding these prominent symbols, Nampijipa has depicted several waterholes in the Yarikurlangu district. This Dreaming belongs to the Jangala, Nangala, Jampijinpa and Nampijinpa moieties, who are shown travelling along the watercourse.

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Christine NAPANANGKA MICHAELS

Lappi Lappi Jukurrpa (Lappi Lappi Dreaming) Acrylic on Belgian Linen 152 x 122cm 1021/12ny

The subject of this work is Lappi Lappi, a rock hole near Lake Hazlett, about 90 km northwest of Lake Mackay in Western Australia. The country belongs to Nampijinpa/ Jampijinpa and Nangala/Jangala skin groups. Located in a sheltered basin, the rock hole at Lappi Lappi is a permanent source of water, and is surrounded by country rich in bush tucker. In the time of the Jukurrpa (Dreamtime) many mothers with young children would gather there because it was a safe place to stay.

The rock hole at Lappi Lappi is home to a ‘warnayarra’, a rainbow serpent that travels underground between various rock holes. One day, women were gathered at the rock hole with their children, singing and dancing. When the ‘warnayarra’ heard the sound of voices, it travelled silently towards them, under the water. When it reached the edge of the rock hole, it rose out of the water and ate them all.

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Mary NAPANGARDI GALLAGHER

Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi Acrylic on Belgian Linen 122 x 107cm 1015/12ny

The country associated with this Jukurrpa is Mina Mina, a place far to the west of Yuendumu, which is significant to Napangardi/Napanangka women and Japangardi/Japanangka men. All of them are the custodians of the Jukurrpa that created the area.

The Jukurrpa story tells of the journey of a group of women of all ages who travelled to the east gathering food, collecting ‘ngalyipi’ (snake vine [Tinospora smilacina]) and performing ceremonies as they travelled. The women began their journey at Mina Mina where ‘karlangu’ (digging sticks) emerged from the ground. Taking these implements the women travelled east creating Janyinki and other sites. Their journey took them far to the east beyond the boundaries of Warlpiri country. The ‘ngalyipi’ vine grows up the trunks and limbs of the ‘kurrkara’ (desert oak [Allocasuarina decaisneana]) trees. ‘Ngalyipi’ is a sacred vine to Napangardi and Napanangka women that has many uses. It can be used as a ceremonial wrap, as a strap to carry ‘parrajas’ (wooden bowls) that are laden with bush tucker and as a tourniquet for headaches.

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Alice NAMPIJINPA HENWOOD MICHAELS

Lappi Lappi Jukurrpa (Lappi Lappi Dreaming) Acrylic on Belgian Linen 107 x 91cm 949/12ny

The subject of this work is Lappi Lappi, a rock hole near Lake Hazlett, about 90 km northwest of Lake Mackay in Western Australia. The country belongs to Nampijinpa/ Jampijinpa and Nangala/Jangala skin groups. Located in a sheltered basin, the rock hole at Lappi Lappi is a permanent source of water, and is surrounded by country rich in bush tucker. In the time of the Jukurrpa (Dreamtime) many mothers with young children would gather there because it was a safe place to stay.

The rock hole at Lappi Lappi is home to a ‘warnayarra’, a rainbow serpent that travels underground between various rock holes. One day, women were gathered at the rock hole with their children, singing and dancing. When the ‘warnayarra’ heard the sound of voices, it travelled silently towards them, under the water. When it reached the edge of the rock hole, it rose out of the water and ate them all.

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Christine NAPANANGKA MICHAELS

Lappi Lappi Jukurrpa (Lappi Lappi Dreaming) Acrylic on Belgian Linen 107 x 91cm 873/12ny

The subject of this work is Lappi Lappi, a rock hole near Lake Hazlett, about 90 km northwest of Lake Mackay in Western Australia. The country belongs to Nampijinpa/ Jampijinpa and Nangala/Jangala skin groups. Located in a sheltered basin, the rock hole at Lappi Lappi is a permanent source of water, and is surrounded by country rich in bush tucker. In the time of the Jukurrpa (Dreamtime) many mothers with young children would gather there because it was a safe place to stay.

The rock hole at Lappi Lappi is home to a ‘warnayarra’, a rainbow serpent that travels underground between various rock holes. One day, women were gathered at the rock hole with their children, singing and dancing. When the ‘warnayarra’ heard the sound of voices, it travelled silently towards them, under the water. When it reached the edge of the rock hole, it rose out of the water and ate them all.

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Pauline NAPANGARDI GALLAGHER

Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi Acrylic on Belgian Linen 122 x 76cm 871/12ny

The country associated with this Jukurrpa is Mina Mina, a place far to the west of Yuendumu, which is significant to Napangardi/Napanangka women and Japangardi/Japanangka men. All of them are the custodians of the Jukurrpa that created the area.

The Jukurrpa story tells of the journey of a group of women of all ages who travelled to the east gathering food, collecting ‘ngalyipi’ (snake vine [Tinospora smilacina]) and performing ceremonies as they travelled. The women began their journey at Mina Mina where ‘karlangu’ (digging sticks) emerged from the ground. Taking these implements the women travelled east creating Janyinki and other sites. Their journey took them far to the east beyond the boundaries of Warlpiri country. The ‘ngalyipi’ vine grows up the trunks and limbs of the ‘kurrkara’ (desert oak [Allocasuarina decaisneana]) trees. ‘Ngalyipi’ is a sacred vine to Napangardi and Napanangka women that has many uses. It can be used as a ceremonial wrap, as a strap to carry ‘parrajas’ (wooden bowls) that are laden with bush tucker and as a tourniquet for headaches.

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Magda NAKAMARRA CURTIS

Lappi Lappi Jukurrpa (Lappi Lappi Dreaming) Acrylic on Belgian Linen 122 x 76cm 840/12ny

The subject of this work is Lappi Lappi, a rock hole near Lake Hazlett, about 90 km northwest of Lake Mackay in Western Australia. The country belongs to Nampijinpa/ Jampijinpa and Nangala/Jangala skin groups. Located in a sheltered basin, the rock hole at Lappi Lappi is a permanent source of water, and is surrounded by country rich in bush tucker. In the time of the Jukurrpa (Dreamtime) many mothers with young children would gather there because it was a safe place to stay.

The rock hole at Lappi Lappi is home to a ‘warnayarra’, a rainbow serpent that travels underground between various rock holes. One day, women were gathered at the rock hole with their children, singing and dancing. When the ‘warnayarra’ heard the sound of voices, it travelled silently towards them, under the water. When it reached the edge of the rock hole, it rose out of the water and ate them all.

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Margaret NAPANGARDI BROWN

Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi Acrylic on Belgian Linen 122 x 76cm 762/12ny

The country associated with this Jukurrpa is Mina Mina, a place far to the west of Yuendumu, which is significant to Napangardi/Napanangka women and Japangardi/Japanangka men. All of them are the custodians of the Jukurrpa that created the area.

The Jukurrpa story tells of the journey of a group of women of all ages who travelled to the east gathering food, collecting ‘ngalyipi’ (snake vine [Tinospora smilacina]) and performing ceremonies as they travelled. The women began their journey at Mina Mina where ‘karlangu’ (digging sticks) emerged from the ground. Taking these implements the women travelled east creating Janyinki and other sites. Their journey took them far to the east beyond the boundaries of Warlpiri country. The ‘ngalyipi’ vine grows up the trunks and limbs of the ‘kurrkara’ (desert oak [Allocasuarina decaisneana]) trees. ‘Ngalyipi’ is a sacred vine to Napangardi and Napanangka women that has many uses. It can be used as a ceremonial wrap, as a strap to carry ‘parrajas’ (wooden bowls) that are laden with bush tucker and as a tourniquet for headaches.

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Magda NAKAMARRA CURTIS

Lappi Lappi Jukurrpa (Lappi Lappi Dreaming) Acrylic on Belgian Linen 122 x 76cm 847/12ny

The subject of this work is Lappi Lappi, a rock hole near Lake Hazlett, about 90 km northwest of Lake Mackay in Western Australia. The country belongs to Nampijinpa/ Jampijinpa and Nangala/Jangala skin groups. Located in a sheltered basin, the rock hole at Lappi Lappi is a permanent source of water, and is surrounded by country rich in bush tucker. In the time of the Jukurrpa (Dreamtime) many mothers with young children would gather there because it was a safe place to stay.

The rock hole at Lappi Lappi is home to a ‘warnayarra’, a rainbow serpent that travels underground between various rock holes. One day, women were gathered at the rock hole with their children, singing and dancing. When the ‘warnayarra’ heard the sound of voices, it travelled silently towards them, under the water. When it reached the edge of the rock hole, it rose out of the water and ate them all.

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Valerie NAPURRURLA MORRIS

Lukarrara Jukurrpa (Desert Fringe-rush Seed Dreaming) Acrylic on Belgian Linen 122 x 76cm 760/12ny

This Jukurrpa belongs to women of the Nakamarra/ Napurrurla subsections and to Jakamarra/Jupurrurla men. This Dreaming is associated with a place called Jaralypari, north of Yuendumu. Lukarrara (desert fringerush [Fimbristylis oxystachya & Fimbristylis eremophila]) is a grass with an edible seed. The seeds are traditionally ground on a large stone (‘ngatinyanu’) with a smaller stone (‘ngalikirri’) to make flour. This flour is mixed with water (‘ngapa’) to make damper cakes which are cooked and eaten.

In Warlpiri traditional paintings iconography is used to represent the Jukurrpa, particular sites and other elements.

Large concentric circles often represent the site of Jaralypari and also the seed bearing grass Lukurrara. ‘U’ shapes can depict the Karnta (women) collecting ‘lukarrara’ and straight lines are frequently used to portray seeds that fall down to the ground and are also collected by women using their ‘parrajas’ (wooden food carriers) and ‘karlangu’ (digging sticks).

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Mickey JAMPIJINPA SINGLETON

Ngapa Jukurrpa (Water Dreaming) - Puyurru Acrylic on Belgian Linen 91 x 91cm 990/12ny

The site depicted in this painting is Puyurru, west of Yuendumu. In the usually dry creek beds are water soakages or naturally occurring wells. Two Jangala men, rainmakers, sang the rain, unleashing a giant storm. It travelled across the country, with the lightning striking the land. This storm met up with another storm from Wapurtali, to the west, was picked up by a ‘kirrkarlan’ (brown falcon [Falco berigora]) and carried further west until it dropped the storm at Purlungyanu, where it created a giant soakage. At Puyurru the bird dug up a giant snake, ‘warnayarra’ (the ‘rainbow serpent’) and the snake carried water to create the large lake, Jillyiumpa, close to an outstation in this country. This story belongs to Jangala men and Nangala women.

In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, associated sites and other elements. In many paintings of this Jukurrpa curved and straight lines represent the ‘ngawarra’ (flood waters) running through the landscape. Motifs frequently used to depict this story include small circles representing ‘mulju’ (water soakages) and short bars depicting ‘mangkurdu’ (cumulus & stratocumulus clouds).

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Murdie NAMPIJINPA MORRIS

Malikijarra Jukurrpa (Two Dogs Dreaming) Acrylic on Belgian Linen 122 x 61cm 834/12ny

Malikijarra Jukurrpa (Two Dogs Dreaming) relates to the land adjacent to the windmill at Warlarlarla (Rabbit Flat).

This painting retells the Dreaming of two dog ancestors, Jampijinpa and Napangardi, who travelled along a creek bed north-east to Yarikurlangu. When they arrived, Jampijinpa and Napangardi made a burrow to rest in and started a big family of dogs.

The ribcages of the Jampijinpa, Napangardi and their family can seen as features in the landscape in the Yarikurlangu area, and have been depicted in this work. Surrounding these prominent symbols, Nampijipa has depicted several waterholes in the Yarikurlangu district. This Dreaming belongs to the Jangala, Nangala, Jampijinpa and Nampijinpa moieties, who are shown travelling along the watercourse.

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Christine NAKAMARRA CURTIS

Lappi Lappi Jukurrpa (Lappi Lappi Dreaming) Acrylic on Belgian Linen 91 x 76cm 829/12ny

The subject of this work is Lappi Lappi, a rock hole near Lake Hazlett, about 90 km northwest of Lake Mackay in Western Australia. The country belongs to Nampijinpa/ Jampijinpa and Nangala/Jangala skin groups. Located in a sheltered basin, the rock hole at Lappi Lappi is a permanent source of water, and is surrounded by country rich in bush tucker. In the time of the Jukurrpa (Dreamtime) many mothers with young children would gather there because it was a safe place to stay.

The rock hole at Lappi Lappi is home to a ‘warnayarra’, a rainbow serpent that travels underground between various rock holes. One day, women were gathered at the rock hole with their children, singing and dancing. When the ‘warnayarra’ heard the sound of voices, it travelled silently towards them, under the water. When it reached the edge of the rock hole, it rose out of the water and ate them all.

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Alice NAMPIJINPA HENWOOD MICHAELS

Lappi Lappi Jukurrpa (Lappi Lappi Dreaming) Acrylic on Belgian Linen 91 x 76cm 765/12ny

The subject of this work is Lappi Lappi, a rock hole near Lake Hazlett, about 90 km northwest of Lake Mackay in Western Australia. The country belongs to Nampijinpa/ Jampijinpa and Nangala/Jangala skin groups. Located in a sheltered basin, the rock hole at Lappi Lappi is a permanent source of water, and is surrounded by country rich in bush tucker. In the time of the Jukurrpa (Dreamtime) many mothers with young children would gather there because it was a safe place to stay.

The rock hole at Lappi Lappi is home to a ‘warnayarra’, a rainbow serpent that travels underground between various rock holes. One day, women were gathered at the rock hole with their children, singing and dancing. When the ‘warnayarra’ heard the sound of voices, it travelled silently towards them, under the water. When it reached the edge of the rock hole, it rose out of the water and ate them all.

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Nancy NAPANANGKA GIBSON

Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi Acrylic on Belgian Linen 91 x 76cm 848/12ny

The country associated with this Jukurrpa is Mina Mina, a place far to the west of Yuendumu, which is significant to Napangardi/Napanangka women and Japangardi/Japanangka men. All of them are the custodians of the Jukurrpa that created the area.

The Jukurrpa story tells of the journey of a group of women of all ages who travelled to the east gathering food, collecting ‘ngalyipi’ (snake vine [Tinospora smilacina]) and performing ceremonies as they travelled. The women began their journey at Mina Mina where ‘karlangu’ (digging sticks) emerged from the ground. Taking these implements the women travelled east creating Janyinki and other sites. Their journey took them far to the east beyond the boundaries of Warlpiri country. The ‘ngalyipi’ vine grows up the trunks and limbs of the ‘kurrkara’ (desert oak [Allocasuarina decaisneana]) trees. ‘Ngalyipi’ is a sacred vine to Napangardi and Napanangka women that has many uses. It can be used as a ceremonial wrap, as a strap to carry ‘parrajas’ (wooden bowls) that are laden with bush tucker and as a tourniquet for headaches.

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Gayle NAPANGARDI GIBSON

Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi Acrylic on Belgian Linen 91 x 76cm 938/12ny

The country associated with this Jukurrpa is Mina Mina, a place far to the west of Yuendumu, which is significant to Napangardi/Napanangka women and Japangardi/Japanangka men. All of them are the custodians of the Jukurrpa that created the area.

The Jukurrpa story tells of the journey of a group of women of all ages who travelled to the east gathering food, collecting ‘ngalyipi’ (snake vine [Tinospora smilacina]) and performing ceremonies as they travelled. The women began their journey at Mina Mina where ‘karlangu’ (digging sticks) emerged from the ground. Taking these implements the women travelled east creating Janyinki and other sites. Their journey took them far to the east beyond the boundaries of Warlpiri country. The ‘ngalyipi’ vine grows up the trunks and limbs of the ‘kurrkara’ (desert oak [Allocasuarina decaisneana]) trees. ‘Ngalyipi’ is a sacred vine to Napangardi and Napanangka women that has many uses. It can be used as a ceremonial wrap, as a strap to carry ‘parrajas’ (wooden bowls) that are laden with bush tucker and as a tourniquet for headaches.

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Joy NANGALA BROWN

Yumari Jukurrpa (Yumari Dreaming) Acrylic on Belgian Linen 107 x 61cm 781/12ny

The site for this Dreaming is Yumari, a collection of rocks west of Kintore in the Gibson Desert.Yumari is the site of a forbidden love union between a Japaljarri man and a Nangala woman. This Dreaming was passed down to the artist by a Pintupi man.

In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, associated sites and other elements. In this work concentric circles are often used to represent ‘warnirri’ (rock holes).

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Teddy JAKAMARRA GIBSON

Yankirri Jukurrpa (Emu Dreaming) - Ngarlikurlangu Acrylic on Belgian Linen 107 x 61cm 940/12ny

This particular site of the Yankirri Jukurrpa, (emu Dreaming [Dromaius novaehollandiae]) is at Ngarlikurlangu, north of Yuendumu. The ‘yankirri’ travelled to the rockhole at Ngarlikurlangu to find water. This Jukurrpa story belongs to Jangala/Jampijinpa men and Nangala/Nampijinpa women.

In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, associated sites and other elements. Emus are usually represented by their ‘wirliya’ (footprints), arrow-like shapes that show them walking around Ngarlikurlangu eating ‘yakajirri’ (bush raisin [Solanum centrale]). In the time of the Jukurrpa there was a fight at Ngarlikiurlangu between a ‘yankirri’ ancestor and Wardilyka (Australian bustard [Ardeotis australis]) ancestors over sharing the ‘yakajirri’. There is also a dance for this Jukurrpa that is performed during initiation ceremonies.

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Christine NAKAMARRA CURTIS

Lappi Lappi Jukurrpa (Lappi Lappi Dreaming) Acrylic on Belgian Linen 76 x 76cm 844/12ny

The subject of this work is Lappi Lappi, a rock hole near Lake Hazlett, about 90 km northwest of Lake Mackay in Western Australia. The country belongs to Nampijinpa/ Jampijinpa and Nangala/Jangala skin groups. Located in a sheltered basin, the rock hole at Lappi Lappi is a permanent source of water, and is surrounded by country rich in bush tucker. In the time of the Jukurrpa (Dreamtime) many mothers with young children would gather there because it was a safe place to stay.

The rock hole at Lappi Lappi is home to a ‘warnayarra’, a rainbow serpent that travels underground between various rock holes. One day, women were gathered at the rock hole with their children, singing and dancing. When the ‘warnayarra’ heard the sound of voices, it travelled silently towards them, under the water. When it reached the edge of the rock hole, it rose out of the water and ate them all.

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Gayle NAPANGARDI GIBSON

Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi Acrylic on Belgian Linen 122 x 46cm 785/12ny

The country associated with this Jukurrpa is Mina Mina, a place far to the west of Yuendumu, which is significant to Napangardi/Napanangka women and Japangardi/Japanangka men. All of them are the custodians of the Jukurrpa that created the area.

The Jukurrpa story tells of the journey of a group of women of all ages who travelled to the east gathering food, collecting ‘ngalyipi’ (snake vine [Tinospora smilacina]) and performing ceremonies as they travelled. The women began their journey at Mina Mina where ‘karlangu’ (digging sticks) emerged from the ground. Taking these implements the women travelled east creating Janyinki and other sites. Their journey took them far to the east beyond the boundaries of Warlpiri country. The ‘ngalyipi’ vine grows up the trunks and limbs of the ‘kurrkara’ (desert oak [Allocasuarina decaisneana]) trees. ‘Ngalyipi’ is a sacred vine to Napangardi and Napanangka women that has many uses. It can be used as a ceremonial wrap, as a strap to carry ‘parrajas’ (wooden bowls) that are laden with bush tucker and as a tourniquet for headaches.

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Murdie NAMPIJINPA MORRIS

Malikijarra Jukurrpa (Two Dogs Dreaming) Acrylic on Belgian Linen 91 x 61cm 783/12ny

Malikijarra Jukurrpa (Two Dogs Dreaming) relates to the land adjacent to the windmill at Warlarlarla (Rabbit Flat).

This painting retells the Dreaming of two dog ancestors, Jampijinpa and Napangardi, who travelled along a creek bed north-east to Yarikurlangu . When they arrived, Jampijinpa and Napangardi made a burrow to rest in and started a big family of dogs.

The ribcages of the Jampijinpa, Napangardi and their family can seen as features in the landscape in the Yarikurlangu area, and have been depicted in this work. Surrounding these prominent symbols, Nampijipa has depicted several waterholes in the Yarikurlangu district. This Dreaming belongs to the Jangala, Nangala, Jampijinpa and Nampijinpa moieties, who are shown travelling along the watercourse.

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Joy NANGALA BROWN

Yumari Jukurrpa (Yumari Dreaming) Acrylic on Belgian Linen 91 x 61cm 767/12ny

The site for this Dreaming is Yumari, a collection of rocks west of Kintore in the Gibson Desert.Yumari is the site of a forbidden love union between a Japaljarri man and a Nangala woman. This Dreaming was passed down to the artist by a Pintupi man.

In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, associated sites and other elements. In this work concentric circles are often used to represent ‘warnirri’ (rock holes).

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Nancy NAPANANGKA GIBSON

Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi Acrylic on Belgian Linen 91 x 61cm 764/12ny

The country associated with this Jukurrpa is Mina Mina, a place far to the west of Yuendumu, which is significant to Napangardi/Napanangka women and Japangardi/Japanangka men. All of them are the custodians of the Jukurrpa that created the area.

The Jukurrpa story tells of the journey of a group of women of all ages who travelled to the east gathering food, collecting ‘ngalyipi’ (snake vine [Tinospora smilacina]) and performing ceremonies as they travelled. The women began their journey at Mina Mina where ‘karlangu’ (digging sticks) emerged from the ground. Taking these implements the women travelled east creating Janyinki and other sites. Their journey took them far to the east beyond the boundaries of Warlpiri country. The ‘ngalyipi’ vine grows up the trunks and limbs of the ‘kurrkara’ (desert oak [Allocasuarina decaisneana]) trees. ‘Ngalyipi’ is a sacred vine to Napangardi and Napanangka women that has many uses. It can be used as a ceremonial wrap, as a strap to carry ‘parrajas’ (wooden bowls) that are laden with bush tucker and as a tourniquet for headaches.

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Anita NAKAMARRA GIBSON

Yankirri Jukurrpa (Emu Dreaming) - Ngarlikurlangu Acrylic on Belgian Linen 61 x 46cm 791/12ny

This particular site of the Yankirri Jukurrpa, (emu Dreaming [Dromaius novaehollandiae]) is at Ngarlikurlangu, north of Yuendumu. The ‘yankirri’ travelled to the rockhole at Ngarlikurlangu to find water. This Jukurrpa story belongs to Jangala/Jampijinpa men and Nangala/Nampijinpa women.

In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, associated sites and other elements. Emus are usually represented by their ‘wirliya’ (footprints), arrow-like shapes that show them walking around Ngarlikurlangu eating ‘yakajirri’ (bush raisin [Solanum centrale]). In the time of the Jukurrpa there was a fight at Ngarlikiurlangu between a ‘yankirri’ ancestor and Wardilyka (Australian bustard [Ardeotis australis]) ancestors over sharing the ‘yakajirri’. There is also a dance for this Jukurrpa that is performed during initiation ceremonies.

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Nancy NAPANANGKA GIBSON

Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi Acrylic on Belgian Linen 46 x 46cm 803/12ny

The country associated with this Jukurrpa is Mina Mina, a place far to the west of Yuendumu, which is significant to Napangardi/Napanangka women and Japangardi/Japanangka men. All of them are the custodians of the Jukurrpa that created the area.

The Jukurrpa story tells of the journey of a group of women of all ages who travelled to the east gathering food, collecting ‘ngalyipi’ (snake vine [Tinospora smilacina]) and performing ceremonies as they travelled. The women began their journey at Mina Mina where ‘karlangu’ (digging sticks) emerged from the ground. Taking these implements the women travelled east creating Janyinki and other sites. Their journey took them far to the east beyond the boundaries of Warlpiri country. The ‘ngalyipi’ vine grows up the trunks and limbs of the ‘kurrkara’ (desert oak [Allocasuarina decaisneana]) trees. ‘Ngalyipi’ is a sacred vine to Napangardi and Napanangka women that has many uses. It can be used as a ceremonial wrap, as a strap to carry ‘parrajas’ (wooden bowls) that are laden with bush tucker and as a tourniquet for headaches.

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Molly NAPURRURLA MARTIN

Ngalyipi Jukurrpa (Snake Vine Dreaming - Yanjirlpiri) Acrylic on Belgian Linen 46 x 46cm 811/12ny

Japaljarri/Jungarrayi men and Napaljarri/Nungarrayi women are the ‘kirda’ (custodians) of the Ngalyipi Jukurrpa (snake vine [Tinospora smilacina]). The country associated with this Jukurrpa is at Yanjirlpiri (Mt. Nicker) to the west of Yuendumu. ‘Ngalyipi’ is a green creeper which curls its tendrils around the trunks and branches of trees and has many uses. Traditionally it was used as a strap to carry ‘parraja’ (wooden food carrying dishes), as a cure for headaches (it was wrapped very tightly around the head), as a rope and as a ceremonial wrap during the ‘witi’ ceremony for the initiation of the sons and grandsons of the Japaljarri and Jungarrayi men. ‘Ngalypi’ was also used to tie ‘witi’ (ceremonial) poles to the legs of the young initiates. The women danced and sang at the ceremony and then had to look away and block their ears when the men danced.

The ‘witi’ ceremony happened at night under the stars.

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Various artists painting as part of the Nyirripi workshop for ‘Jirtirlparnta Heart’

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TOP TO BOTTOM Artists Christine Curtis and Patrick Williams; Murdie Morris and children OPPOSITE Artist Magda Curtis

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Summary Dreamtime text.

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