A collection of works from Warlukurlangu, N.T.
Oct 12 - Nov 10 2024
Dreaming A collection of works from Warlukurlangu, N.T.
Warlukurlangu Arts Centre is a remote Aboriginal-owned art centre located 300 km from Alice Springs. Internationally revered for their gloriously coloured Aboriginal art, the centre has been promoting Indigenous cultures and supporting the remote community of Yuendumu since 1985. The Warlukurlangu Arts Centre has been managed by Cecilia Alfonso and assistant manager Gloria Morales for over 25 years. This is highly unusual for remote Aboriginal art centres, where leadership transitions often happen within a much shorter period.
I first came across the Artists of Warlukurlanga when I ask over for a dinner party at Cecilia Alfonso house by my mate Rebecca McLean in 2007. A great night of Alice Springs hospitality and a chance to see a bunch of work getting ready to be sent to galleries around Australia. A later visit to the Darwin Art Fair with the art centre being the stand out, particularly the work of Karen Napaljarri Barnes. Her Budgie paintings literally flew off the walls and I missed out on purchasing one. The works have stay front of mind for all these years, so I feel privileged to be presenting this group exhibition at & Gallery in Sorrento. In an act of Serendipity, we are are fortunate to have Sam Gummer who has had a long connection with the art centre, now living on the Mornington Peninsula. Sam has agreed to open the exhibition and also give a floor talk about the artists, the community and the art centre.
Sam Gummer is an art therapist and photographer who first visited Yuendumu, Northern Territory, in 2017 for what was meant to be a two-week photography project. She had been invited to document a vet visit for the Aussie Desert Dogs, a program run by Warlukurlangu Arts Centre and organised by Assistant Manager Gloria Morales. However, what began as a brief stay quickly evolved into two and a half years, as Sam decided to stay in Yuendumu, working at the art centre and supporting Gloria with her dog and animal rescue work. Now based on the Mornington Peninsula, Sam continues her work with Gloria, running the social media for the Aussie Desert Dogs program and visiting Yuendumu as often as she can. She also remains closely tied to the Warlukurlangu Arts Centre, sharing the stories of the artists, their kinship, and the Jukurpa (Dreaming) that inspire their paintings. - Julie Collins Director of & Gallery
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1. Pauline Napangardi Gallagher (dec)
Mina Mina Jukurrpa
(Mina Mina Dreaming) - Ngalypi
152 x 76 cm
$2,600
This 'Jukurrpa' (Dreaming) comes from Mina Mina, a very important women's Dreaming site far to the west of Yuendumu near Lake Mackay and the WA border. The 'kirda' (owners) of this Dreaming are Napangardi/Napanangka women and Japangardi/Japanangka men; the area is sacred to Napangardi and Napanangka women. There are a number of 'mulju' (water soakages) and a 'maluri' (clay pan) at Mina Mina.
In the Dreamtime, ancestral women danced at Mina Mina and 'karlangu' (digging sticks) rose up out of the ground. The women collected the digging sticks and then travelled on to the east, dancing, digging for bush tucker, collecting 'ngalyipi' (snake vine [rinospora smilacina]), and creating many places as they went.
'Ngalyipi' is a rope ike creeper that grows up the trunks and limbs of trees, including 'kurrkara' (desert oak [Allocasuarina decaisneana]). It is used as a ceremonial wrap and as a strap to carry 'parraja' (coolamons) and 'ngami' (water carriers). 'Ngalyipi' is also used to tie around the forehead to cure headaches, and to bind cuts.
The women stopped at Karntakurlangu, Janyinki, Parapurnta, Kimayi, and Munyuparntipamti, sites spanning from the west to the east of Yuendumu. When they stopped, the women dug for bush foods like 'jintiparnta' (desert truffle [Elderia arenivaga]). The Dreaming track eventually took them far beyond Warlpiri country. The track passed through Coniston in Anmatyerre country to the east, and then went on to Alcoota and Aileron far to the northeast of Yuendumu and eventually on mto Queensland.
In Warlpiri paintings, traditional iconography is used to represent the Jukurrpa_and other elements. In many paintings of this Jukurrpa, sinuous lines are used to represent the 'ngalyipi' (snake vine).
Concentric circles are often used to represent the 'jintiparnta' (desert truffles) that the women have collected while straight lines can be used to depict the 'karlangu' (digging sticks):
The Jukurrpa site shown in this painting for Ngatijirri (budgerigar [Melopsittacus undulates]) is at Yangarnmpi, south of Yuendumu. 'Ngatijirri' are small, bright green birds native to central Australia which are common around the Yuendumu area, especially after the summer rains. Men would hunt for 'ngatijirri' nests, robbing them of eggs and juvenile birds, which are both considered delicacies. The men would also go out hunting for adult, flying 'ngatijirri', which they would kill by swinging branches, killing sticks or 'karli' (boomerangs) to hit the birds in flight. The 'ngatijirri' travelled to Yangarnmpi from Patirlirri, near Willowra to the east of Yuendumu and travelled further on to Marngangi, north/west of Mount Dennison and west of Yuendumu. Each time the flock of ancestral 'ngatijirri' lands, they perform ceremonies, singing and dancing as they fly and roost in the trees. The sites of these ceremonies are depicted in this painting as concentric circles, while cross-like shapes depict the footprints of the birds on the ground and give an indication of the large flocks of 'ngatijirri' that can be found near
:Yangarnmpi and other sites close to Yuendumu. After good rains ‘ngatiirri’ can successfully breed several times, resulting in an explosion of the population in a short time. Custodians for the Ngatijirri Jukurrpa are NapalJarn/Nungarray1 women and Japaljarri/ Jungarrayi men.
2. Kenneth Jungarrayi Martin
Ngatijirri Jukurrpa (Budgerigar Dreaming)
122 x 76 cm
$1,700 SOLD
Karen loves animals. She started painting budgerigars which is her dreaming. But now she also paints different animals that can be found around Yuendumu and Australia such as kangaroos, emus, crocodiles..and sometimes she has been commissioned to paint domestic animals such as chickens, dogs, cats, pigs, goats etc... She really enjoys painting this type of subject.
$5,500
3. Karen Napaljarri Barnes Emu
107 x 91 cm
This Jukurrpa belongs to women of the Nakamarra/ Napurrurta 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).
152 x 91cm
$2,700
4. Pauline Napangardi Gallagher (dec)
Lukarrara Jukurrpa (Desert Fringe-rush Seed Dreaming)
5.
Pikilyi Jukurrpa (Vaughan Springs Dreaming)
122 x 46 cm Price
$1,300
This Jukurrpa belongs to women of the Nakamarra/ Napurrurta 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).
Ursula Napangardi Hudson
This Jukurrpa belongs to women of the Nakamarra/Napurrurta subsections and to Jakamarra/Jupurrurla men. This Dreaming is associated with a place called Jaralypari, north of Yuendumu. Lukarrara (desert fringe-rush [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).
122 x 91 cm
$2,700
6. Roschelle Nampijinpa Major Warna Jukurrpa (Snake Dreaming)
This Jukurrpa belongs to women of the Nakamarra/ Napurrurta 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).
7.
152 x 91 cm
$3,600 SOLD
Roschelle Nampijinpa Major Warna Jukurrpa (Snake Dreaming)
The country associated with this painting is Kiwirkurra, located in the 'tali' sandhill country of the Gibson Desert, south west of Lake McKay. The traditional iconography used to represent this dreaming are; concentric circles depicting the rock holes found in this area, the half circles the sandhills and the horizontal wavy lines the lightning. When the lightning comes the water birds, 'Tjikaluk,' come out and wade along the edge of the water.
183 x 122 cm
$5,000
8. Sabrina Nungarrayi Gibson
Wirnpa Jukurrpa (Lightning Dreaming)
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 'warnayarra1 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.
122 x 107 cm
$2,800
9. Alice Nampijinpa Michaels
Lappi Lappi Jukurrpa (Lappi Lappi Dreaming)
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 'warnayarra1 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.
91 x 61 cm
$ 1,500
10. Antonia Napangardi Michaels
Lappi Lappi Jukurrpa (Lappi Lappi Dreaming)
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.
107 x 91 cm
$2,500
11. Antonia Napangardi Michaels
Lappi Lappi Jukurrpa (Lappi Lappi Dreaming)
The site depicted in this painting is Pirlinyarnu (Mt. Farewell), about 165 km west of Yuendumu in the Northern Territory. The 'kirda' (owners) for the water Dreaming site at Pirlinyarnu are Nangala/Nampijinpa women and Jangala/Jampijinpa men.
Two Jangala men, rainmakers, sang the rain, unleashing a giant storm that collided with another storm from Wapurtali at Mirawarri. A 'kirrkarlanji' (brown falcon [Falco berigora]) carried the storm further west from Mirawarri. The two storms travelled across the country from Karlipirnpa, a ceremonial site for the water Dreaming near Kintore that is owned by members of the Napaljarri/ Japaljarri and Napanangka/ Japanangka subsections. Along the way the storms passed through Juntiparnta, a site that is owned by Jampijinpa men. The storm eventually became too heavy for the falcon. It dropped the water at Pirlinyarnu, where it formed an enormous 'maluri' (claypan). A 'mulju' (soakage) exists in this place today. Whenever it rains today, hundreds of 'ngapangarlpa' (bush ducks) still flock to Pirlinyarnu.
In contemporary Warlpiri paintings, traditional iconography is used to represent the 'Jukurrpa' (Dreaming), associated sites, and other elements. In many paintings of this Dreaming, short dashes are often used to represent 'mangkurdu' (cumulus & stratocumulus clouds) and longer, flowing lines represent 'ngawarra' (flood waters). Small circles are used to depict 'mulju' (soakages) and river beds.
12. Sabrina Nangala Robertson
107 x 46cm
$2,300
Ngapa Jukurrpa ( Water Dreaming) - Pirlinyarnu
Aboriginal medicine is widely practised in the Northern Territory today. It is a complex system closely linked to the culture and beliefs of the people, their understanding of the land and its flora and fauna. It is a holistic approach, intergrating the social, physical and spiritual aspects of health and life. The Warlpiri health system includes the ngangkayikirli or traditional healers; the Yawulyuceremonies, (Napangardi Womens Jukurrpa); and the Herbal or Bush Medicine.
Depicted in this painting are the bush medicine plants that grow on traditional homelands in the Northern Territory, plants that are collected by the women. The Warlpiri have extensive knowledge of plants, and the use of bush medicine is shared by the whole family and not to any particular group.
Over fifty different medicinal plants have been recorded, all containing biologically active compounds. They are mainly used symptomatically for coughs and colds, pains and aches, and digestive problems. Some are used as dressings for wounds and sores. Plants used on sores and wounds contain proteolytic enzymes that help healing. Below are just a few of the many medicinal plants that grow in the Northern Territory.
In preparing tonics, Bitter Bark (Alstonia constricta), is often used, which contains reserpine, a tranquilliser and antihypertensive.
Gumbi Gumbi (pittosprum angustifolium), a small shrub with little star-shaped yellow flowers and yellow/orange skinned fruit, a versatile indigenous medicine, is used in a number of traditional medicinal applications, from the treatment of coughs and colds to eczema, and even used for lactagogue (milk let-down) activity.
Although both the fruit and the seeds have medicinal properties, it is the leaves (used as a tea, tonic, dried in capsules or in salves/ creams}, that yield the most effective treatments.
The readily available native lemon grasses ( Cymbopogon ambiguus A. Camus) is also used as a tea/tonic, and is effective for treating , diarrhoea, and coughs, sore throats and colds. It can also be applied to the skin for treatment of rashes and sores, and a root poultice mixture can be applied to ears for earaches.
Karnta Jukurrpa (Women’s Dreaming) - Bush Medicine
91 x 76 cm
$1,600 SOLD
Ngalyipi(Snake Vine - Hibbertia scandens), is another effective anti inflammatory and antiseptic bush medicine. The leaves and stems are warmed and mashed into a paste and used for pain of arthritis, for joints and other inflammation caused by injuries. Ngarlkirdi (Witchetty Grub), a good bush tucker is also a good bush medicine and when crushed and made into a paste is used externally for the treatment of burns and open wounds.
Patricia Nakamarra Oldfield
14. Vanetta Nampijinpa Hudson
Warlukurlangu Jukurrpa (Fire country Dreaming)
122 x 91 cm
$3,000
This Dreaming belongs to Warlukurlangu country to the south-west of Yuendumu, for which Jampijinpa/Jangala men and Nampijinpa/Nangala women have custodial responsibility. An old man 'lungkarda' {centralian blue-tongued lizard [Tiliqua multifasciata]), of the Jampijinpa skin group, lived on a hill with his two Jangala sons. The old man would feign blindness and send the two boys hunting in search of meat. While they were gone he would hunt and eat anything that he caught before they returned. One day the sons returned with a kangaroo that they had caught after much tracking. Unfortunately the kangaroo was sacred to the 'lungkarda', unbeknown to the boys. In his anger the old man decided to punish his sons and the next time they went out, he put his fire stick to the ground and sent a huge bush fire after them which chased them for many miles, at times propelling them through the air. Although the boys beat out the flames, 'lungkarda's' special magic kept the fire alive and it re-appeared out of his blue-tongued lizard hole.Exhausted the boys were finally overcome by the flames. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, particular sites and other elements. Usually sites that are depicted in paintings of this Jukurrpa include Warlukurlangu (a men’s cave), Kirrkirrmanu (where the sacred kangaroo was killed), Way1hllnypa (where the fire killed the two Jangala sons) and Mamimamu (a water soakage) where the two Jangalas camped.
This Dreaming belongs to Warlukurlangu country to the south-west of Yuendumu, for which Jampijinpa/Jangala men and Nampijinpa/Nangala women have custodial responsibility. An old man 'lungkarda' {centralian bluetongued lizard [Tiliqua multifasciata]), of the Jampijinpa skin group, lived on a hill with his two Jangala sons. The old man would feign blindness and send the two boys hunting in search of meat. While they were gone he would hunt and eat anything that he caught before they returned. One day the sons returned with a kangaroo that they had caught after much tracking. Unfortunately the kangaroo was sacred to the 'lungkarda', unbeknown to the boys. In his anger the old man decided to punish his sons and the next time they went out, he put his fire stick to the ground and sent a huge bush fire after them which chased them for many miles, at times propelling them through the air. Although the boys beat out the flames, 'lungkarda's' special magic kept the fire alive and it re-appeared out of his bluetongued lizard hole.
Exhausted the boys were finally overcome by the flames. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, particular sites and other elements. Usually sites that are depicted in paintings of this Jukurrpa include Warlukurlangu (a men’s cave), Kirrkirrmanu (where the sacred kangaroo was killed), Way1hllnypa (where the fire killed the two Jangala sons) and Mamimamu (a water soakage) where the two Jangalas camped.
15. Vanetta Nampijinpa Hudson
Warlukurlangu Jukurrpa (Fire country Dreaming)
183 x 122 cm
$5,000
This Dreaming belongs to Warlukurlangu country to the south-west of Yuendumu, for which Jampijinpa/ Jangala men and Nampijinpa/Nangala women have custodial responsibility. An old man 'lungkarda' {centralian blue-tongued lizard [Tiliqua multifasciata]), of the Jampijinpa skin group, lived on a hill with his two Jangala sons. The old man would feign blindness and send the two boys hunting in search of meat. While they were gone he would hunt and eat anything that he caught before they returned. One day the sons returned with a kangaroo that they had caught after much tracking. Unfortunately, the kangaroo was sacred to the 'lungkarda', unbeknown to the boys. In his anger the old man
decided to punish his sons and the next time they went out, he put his fire stick to the ground and sent a huge bush fire after them which chased them for many miles, at times propelling them through the air. Although the boys beat out the flames, 'lungkarda's' special magic kept the fire alive and it re-appeared out of his blue-tongued lizard hole.
Exhausted the boys were finally overcome by the flames. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, particular sites and other elements. Usually, sites that are depicted in paintings of this Jukurrpa include Warlukurlangu (a men’s cave), Kirrkirrmanu (where the sacred kangaroo was killed), Way1hllnypa (where the fire killed the two Jangala sons) and Mamimamu (a water soakage) where the two Jangalas camped.
76 x 61 cm
$1,500
16. Debbie Napaljarri Brown
Wanakiji Jukurrpa (Bush Tomato Dreaming)
17. Debbie Napaljarri Brown
Wanakiji Jukurrpa (Bush Tomato Dreaming)
107 x 76 cm Price
$1,800 SOLD
This Dreaming belongs to Warlukurlangu country to the south-west of Yuendumu, for which Jampijinpa/ Jangala men and Nampijinpa/Nangala women have custodial responsibility. An old man 'lungkarda' {centralian blue-tongued lizard [Tiliqua multifasciata]), of the Jampijinpa skin group, lived on a hill with his two Jangala sons. The old man would feign blindness and send the two boys hunting in search of meat. While they were gone he would hunt and eat anything that he caught before they returned. One day the sons returned with a kangaroo that they had caught after much tracking. Unfortunately, the kangaroo was sacred to the 'lungkarda', unbeknown to the boys. In his anger the old man
decided to punish his sons and the next time they went out, he put his fire stick to the ground and sent a huge bush fire after them which chased them for many miles, at times propelling them through the air. Although the boys beat out the flames, 'lungkarda's' special magic kept the fire alive and it re-appeared out of his blue-tongued lizard hole.
Exhausted the boys were finally overcome by the flames. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, particular sites and other elements. Usually, sites that are depicted in paintings of this Jukurrpa include Warlukurlangu (a men’s cave), Kirrkirrmanu (where the sacred kangaroo was killed), Way1hllnypa (where the fire killed the two Jangala sons) and Mamimamu (a water soakage) where the two Jangalas camped.
This 'Jukurrpa' (Dreaming) comes from Mina Mina, a very important women's Dreaming site far to the west of Yuendumu near Lake Mackay and the WA border. The 'kirda' (owners) of this Dreaming are Napangardi/Napanangka women and Japangardi/Japanangka men; the area is sacred to Napangardi and Napanangka women. There are a number of 'mulju' (water soakages) and a 'maluri' (clay pan) at Mina Mina.
In the Dreamtime, ancestral women danced at Mina Mina and 'karlangu' (digging sticks) rose up out of the ground. The women collected the digging sticks and then travelled on to the east, dancing, digging for bush tucker, collecting 'ngalyipi' (snake vine [rinospora smilacina]), and creating many places as they went.
'Ngalyipi' is a rope ike creeper that grows up the trunks and limbs of trees, including 'kurrkara' (desert oak [Allocasuarina decaisneana]). It is used as a ceremonial wrap and as a strap to carry 'parraja' (coolamons) and 'ngami' (water carriers). 'Ngalyipi' is also used to tie around the forehead to cure headaches, and to bind cuts.
The women stopped at Karntakurlangu, Janyinki, Parapurnta, Kimayi, and Munyuparntipamti, sites spanning from the west to the east of Yuendumu. When they stopped, the women dug for bush foods like 'jintiparnta' (desert truffle [Elderia arenivaga]).
The Dreaming track eventually took them far beyond Warlpiri country. The track passed through Coniston in Anmatyerre country to the east, and then went on to Alcoota and Aileron far to the northeast of Yuendumu and eventually on mto Queensland.
18. Pauline Napangardi Gallagher (dec)
Mina Mina Jukurrpa (Mina Mina Dreaming)
- Ngalyipi
122 x 122 cm
$3,600
In Warlpiri paintings, traditional iconography is used to represent the Jukurrpa_and other elements. In many paintings of this Jukurrpa, sinuous lines are used to represent the 'ngalyipi' (snake vine).Concentric circles are often used to represent the 'jintiparnta' (desert truffles) that the women have collected while straight lines can be used to depict the 'karlangu' (digging sticks):
This painting depicts a 'yankirri Jukurrpa' (emu [Dromaius. novaehollandiae] Dreaming) from a place called Ngarlikurlangu, approximately 50kms north of Yuendumu. The kirda' (owners) of this Dreaming are Nangala/Nampijinpa women and Jangala/Jampijinpa men.
This Jukurrpa tells the story of a 'yankirri' (emu) and a 'wardilyka' {bush turkey [Ardeotis australis]). 'Yankirri' lived at a soakage to the west called Warnirripanu (or Walangkamirirri), while 'wardilyka' lived at a soakage to the east called Parirri. The emu and bush turkey used to go around the country picking 'yakajirri' (bush raisins [Solanum centrale]) and mashing them into 'kapurdu' (fruit balls) to save in their nests for later. However, they were jealous of each other; the emu thought that the bush turkey was picking the best and juiciest 'yakajirri', and was leaving him with only the sour 'yakajirri'.
19. Margaret Nangala Gallagher
Yankirri Jukurrpa (Emu Dreaming) - Ngarlikirlangu
107 x 76 cm
$1,800
The emu went to the bush turkey's nest to the east while the bush turkey was out hunting and smashed up the 'kapurdu' that the bush turkey had saved there. When the bush turkey returned, he found his smashed 'yakajirri' balls and realized that the emu had destroyed them. He went to the west to confront the emu and when he found him, they got into a big fight. The bush turkey eventually flew away to the north, leaving behind the smashed 'yakajirri' balls.
This practice of making 'kapurdu' (fruit balls) is a traditional Warlpiri method of storing 'yakajirri'; in the old days, people used to dry the 'yakajirri', grind them up with a rock in a coolamon, mix them with water and form balls from them, and cover the 'kapurdu' with red ochre so they would keep.
Today at Ngarlikirlangu we can see round, red rocks which are the 'kapurdu' that the emu smashed up. There is also a dance for this 'yankirri' (emu) Jukurrpa that is performed during mens' initiation ceremonies. A number of other Jukurrpa are also located at Ngarlikirlangu, including ·wardilyka Jukurrpa' (bush turkey Dreaming), 'yardijiinypa Jukurrpa' (meat ant Dreaming), and 'pirntina Jukurrpa' (woma or Ramsay's python [Aspidites ramsayi] Dreaming). Lots of 'yakajirri' grow around the Ngarlikirlangu area today.
In contemporary Warlpiri paintings, traditional iconography can be used to represent the Jukurrpa, associated sites, and other elements. 'Yankirri' are usually represented by arrow-like shapes depicting their 'wirliya' (footprints) as they walk around.
This painting depicts a 'wardapi Jukurrpa' (sand monitor/ goanna [Varanus gouldii] Dreaming). This dramatic Jukurrpa travels between Purturlu (Mount Theo), approximately 150kms north-northwest of Yuendumu, and Yarripilangu (Newhaven), which is approximately 100 kms southwest of Yuendumu.
This painting focuses on the portion of the Jukurrpa that takes place at Yarripilangu, which is owned by Napaljarri/Nungarrayi women and Japaljarri/Jungarrayi men. The portion of the Jukurrpa at Purturlu belongs to Napanangka/Napangardi women and Japanangka/Japangardi men.
This Jukurrpa tells the story of a Japangardi man named Wamaru who lived at Jarrardajarrayi, an area of country near Purturlu. This Japangardi man lived at Jarrardajarrayi near a soakage called Juntangkalpa. He travelled south to Yarripilangu and approached a group of 'karnta' (women) that were sitting down in a circle there. He wanted to woo a Nungarrayi woman named Yurlkurinyi who was the wrong skin for him. By tribal law, this woman was his mother-in-law and their relationship would be taboo.
The Japangardi man wooed the Nungarrayi woman and they went up the hill at Yarripilangu where they made love. The earth there turned to 'ngunjungunju' (white ochre) and the man turned himself and all the 'karnta' (women) into 'wardapi' (goannas). The Japangardi man eventually brought the Nungarrayi woman back to Purturlu to live, even though they were the wrong skin for each other.
White ochre is still found on top of the hill at Yarripilangu and is used today for love magic and for ceremonial decoration. There's also a cave where you can see the shape of a goanna entering. There are beautiful groundwater springs on the east side of the Yarripilangu hill. A number of important Jukurrpa associated with mens' initiation ceremonies pass through Yarripilangu; these include 'karnta Jukurrpa' (womens' Dreaming), 'ngalyipi Jukurrpa' (snakevine [Tinospora smilacina] Dreaming), 'watijarra Jukurrpa' (two men Dreaming), and witi Jukurrpa' (ceremonial pole Dreaming).
In contemporary Warlpiri paintings, traditional iconography can be used to represent the Jukurrpa, particular sites, and other elements In painting of his Jukurrp , the group of women is often repres nted by concentric circles and U shapes. Concentric circles can also illustrate 'wardapi' holes and the droppings they leave, while 'wardapi' tracks are usually represented by 'W' shapes.
This painting depicts a 'yankirri Jukurrpa' (emu [Dromaius . novaehollandiae] Dreaming) from a place called Ngarlikurlangu, approximately 50kms north of Yuendumu. The kirda' (owners) of this Dreaming are Nangala/ Nampijinpa women and Jangala/Jampijinpa men.
This Jukurrpa tells the story of a ‘yankirri’ (emu) and a ‘wardilyka’ {bush turkey [Ardeotis australis]). ‘Yankirri’ lived at a soakage to the west called Warnirripanu (or Walangkamirirri), while ‘wardilyka’ lived at a soakage to the
21. Jeffrey Jangala Gallagher
Yankirri Jukrrpa (Emu Dreaming) - Ngarlikirlangu
122cm x 91cm
$2,500
The emu and bush turkey used to go around the country picking 'yakajirri' (bush raisins [Solanum centrale]) and mashing them into 'kapurdu' (fruit balls) to save in their nests for later. However, they were jealous of each other; the emu thought that the bush turkey was picking the best and juiciest 'yakajirri', and was leaving him with only the sour 'yakajirri'.
The emu went to the bush turkey's nest to the east while the bush turkey was out hunting and smashed up the 'kapurdu' that the bush turkey had saved there. When the bush turkey returned, he found his smashed 'yakajirri' balls and realized that the emu had destroyed them. He went to the west to confront the emu and when he found him, they got into a big fight. The bush turkey eventually flew away to the north, leaving behind the smashed 'yakajirri' balls.
This practice of making 'kapurdu' (fruit balls) is a traditional Warlpiri method of storing 'yakajirri'; in the old days, people used to dry the 'yakajirri', grind them up with a rock in a coolamon, mix them with water and form balls from them, and cover the 'kapurdu' with red ochre so they would keep.
Today at Ngarlikirlangu we can see round, red rocks which are the 'kapurdu' that the emu smashed up. There is also a dance for this 'yankirri' (emu) Jukurrpa that is performed during mens' initiation ceremonies. A number of other Jukurrpa are also located at Ngarlikirlangu, including ·wardilyka Jukurrpa' (bush turkey Dreaming), 'yardijiinypa Jukurrpa' (meat ant Dreaming), and 'pirntina Jukurrpa' (woma or Ramsay's python [Aspidites ramsayi] Dreaming). Lots of 'yakajirri' grow around the Ngarlikirlangu area today.
In contemporary Warlpiri paintings, traditional iconography can be used to represent the Jukurrpa, associated sites, and other elements. 'Yankirri' are usually represented by arrow-like shapes depicting their 'wirliya' (footprints) as they walk around.
The site depicted in this painting is Puyurru, west of Yuendumu. l_n the usually dry creek beds are 'mulju' (_soakages), or naturally._ occurring wells. The 'kirda' (owners) for this site are Nangala/NampIJtnpa women and Jangala/Jampijinpa men. Two Jangala men, rainmakers, sang the rain, unleashing a giant storm.
The storm travelled across the country from the east to the west, initially travelling with a 'pamapardu Jukurrpa' (termite Dreaming) from Warntungurru to Warlura, a waterhole 8 miles east of Yuendumu. At Warlura, a gecko called Yumariyumari blew the storm on to Lapurrukurra and Wilpiri. Bolts of lightning shot out at Wirnpa (also called Mardinymardinypa) and at Kanaralji. At this point the Dreaming track also includes the 'kurdukurdu mangkurdu Jukurrpa' (children of the clouds Dreaming). The water Dreaming built hills at Ngamangama using baby clouds and also stuck long pointy clouds into the ground at Jukajuka, where they can still be seen today as rock formations.
The termite Dreaming eventually continued west to Nyirripi, a community approximately 160 km west of Yuendumu. The water Dreaming then travelled from the south over Mikanji, a watercourse with soakages northwest of Yuendumu. At Mikanji, the storm was picked up by a 'kirrkar1anji' (brown falcon [Falco berigora]) and taken farther north. Af Puyurru, the falcon dug up a giant 'warnayarra' (rainbow serpent). The serpent carried water with it to create another large lake, Jillyiumpa, close to an outstation in this country. The 'kirda' (owners) of this story are Jangala men and Nangala women. After stopping at Puyurru, the water Dreaming travelled on through other locations including Yalyarilalku, Mikilyparnta, Katalpi, Lungkardajarra, Jirawarnpa, Kamira, Yurrunjuku, and Jikaya before moving on into Gurindji country to the north.
22. Bess Napanangka Poulson
Ngapa Jukurrpa ( Water Dreaming) - Puyurru
107 x 107cm
$2,500
In contemporary Warlpiri paintings, traditional iconography is used to represent the 'Jukurrpa' (Dreaming). Short dashes are often used to represent 'mangkurdu' cumulus & stratocumulus clouds), and longer, flowing lines reprsent ngawarra' (flood waters). Small circles are used to depict mulJu (soakages) and river bed.
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.
Lappi Lappi Jukurrpa ( Lappi Lappi Dreaming)
107 x 107cm
$2,500
23. Magda Nakamarra Curtis