Ngarluma Ngurra
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Ngarluma Ngurra Aboriginal Culture on the map
We hope the next generation are well educated in regards to Country, that they keep Aboriginal culture alive. When Aboriginal people walk on the land, the land is happy. – Geoffrey Togo
Cover Illustration: Jill Churnside, Wundumurra (Sherlock River)
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Hello Country, I’ve come back after being away for so long. I’m a Ngarluma person. I was here a long time ago,
I know you and you know me. Please don’t harm us, we didn’t come here to harm you Reg Sambo, Ngarluma elder at Gurnanananra, Sharmila Wood, 2013
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Contents
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Foreword, Jacinta Mack, Chairperson, Ngarluma Tharndu Karrungu Maya Ltd
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Introduction, Lynda Dorrington, FORM Executive Director
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Sense of Place, Sharmila Wood, FORM Curator
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New Songs, Old Country, R.D. Wood, Writer & Historian
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Exploring the Digital Frontier: Creating the Ngarluma Map Interview: Andrew Dowding
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Google Earth Outreach: Seeing is Believing, Rebecca Moore, Google Earth Outreach Founder and Manager
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Places along Wundumurra (Sherlock River)
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Stories from Ngarluma Country
111 Daryl Jones, Roebourne, Oz Aerial Photography, 2012 © All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical (including photocopying, recording or any information storage and retrieval system) without permission from the publisher. It is customary for some Indigenous communities not to mention the names or reproduce images of, or associated with, the recently deceased. All such mentions and images in this book have been reproduced with the express permission of the appropriate authorities and family members, wherever it has been possible to locate them. Nonetheless, care and discretion should be exercised in using this book. Where there are several variations of spelling for Indigenous words, the most commonly used versions have been included, or, where supplied, the preferred spelling of individuals or communities.
Acknowledgements
All photographs by Sharmila Wood, FORM Curator, unless otherwise noted.
This publication is a living document, the content can be altered, modified and adapted. This map is designed to provide an insight into Ngarluma culture and relationship to Country; it is not a comprehensive database of Ngarluma sites, heritage, or tradition. It has been designed as a pilot project. The Ngarluma community and elders will continue to contribute cultural information as relevant. The Ngarluma community and Ngarluma elders should be consulted in regards to content in this book, and on the map. This is not an alternative to consultation, or heritage surveys.
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Foreword Jacinta Mack, Chairperson, Ngarluma Tharndu Karrungu Maya Ltd
‘Keeping our culture strong as we work together to empower Ngarluma people towards a sustainable future.’ The Ngarluma people are the Indigenous
to negotiate on behalf of the Ngarluma
Ngarluma culture, traditions and values.
people of the coastal areas around Roebourne
people regarding the use of their lands. In
The Ngarluma Ngurra: Mapping the Country
(West Pilbara, Western Australia); their land
March 2011, the NAC signed an Indigenous
project brings together the diverse ways in
encompasses the interior hills and tablelands
Land Use Agreement (ILUA) out of which
which Ngarluma people have expressed
to the east and sweeps across the river
the Ngarluma Tharndu Karrungu Maya
their knowledge and relationship to their
systems and the coastline to the west, which
Ltd (NTKML) was created to perform the
Country. This has been achieved through the
includes the world-famous Burrup Peninsula
function of trustee for the Ngarluma Direct
paintings of Ngarluma artist Jill Churnside,
and Dampier Archipelago. Ngarluma country
Benefits Trust and Ngarluma Charitable
and new digital and creative platforms that
is neighboured by Kariyarra, Yindjibarndi,
Trust. These Trusts have a future fund, where
document, record and celebrate Ngarluma
Kuruma and Mardhuhunera.
a portion of its monies are deposited and are
elder’s ongoing connection to country and
then invested with the objective of creating
demonstrate the rich, complex cultural
a strong financial security for Ngarluma
traditions that exist in the region today.
The term Ngurrara refers to the traditional owners ‘Country’; the word derives from Ngurra, which can be translated to include land, earth, country, place, home or camp.
people, so that in the generations to come Ngarluma people can continue to care for themselves and their Country.
Ngurra: Aboriginal Culture on the map is a pivotal cultural project that will re-establish
In its broadest interpretation, a Ngarluma person’s Ngurra is the whole of their land,
In addition to this activity, the Trustee is
and invigorate Ngarluma cultural identity,
country or territory. Archaeological surveys
always exploring ways in which funds can
as it creates a starting point for the cultural
reveal that continuous occupation and
be used to benefit the Ngarluma community.
stories and personal histories that connect
ancestry stretches back more than 30,000
One way in particular is developing a
and intersect across Ngarluma Country to be
years. Ngarluma people continue a deep
sustainable future for Ngarluma children
documented. At the same time, the project
historical and spiritual connection to the
and this project specifically aligns with
has engaged our Ngarluma elders, who
land, waterways, rivers and the sea. In
this vision, through its focus on creating a
have been instrumental in developing and
May 2005, Native Title was granted to the
cultural heritage tool that will facilitate the
advocating for this project, which honours
Ngarluma and Yindjibarndi people, who have
ongoing intergenerational transfer of culture
their knowledge and ensures that it is
both established Prescribed Body Corporates
and knowledge, and the preservation and
safeguarded for our future generations to use
to manage their Native Title rights and
promotion of Ngarluma cultural values to the
as an empowerment source in their lives.
interests.
broader public.
After proving their traditional connection
‘Keeping culture strong’ is one of the core
to their lands, the Ngarluma Aboriginal
values of Ngarluma people and as a result
Corporation (NAC) was given the legal ability
we aim to support projects that maintain
Gurgarra, 2013
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In conclusion, we believe that the Ngarluma
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Introduction Lynda Dorrington, Executive Director, FORM In conjunction with the Ngarluma Ngurra: Aboriginal Culture on the map, FORM is presenting the outcomes of the Canning Stock
The Ngarluma Ngurra: Aboriginal Culture on the map evolved from a creative initiative exploring the intergenerational transmission of Ngarluma culture and tradition through arts with a focus on tabi, the Ngarluma poetry and song tradition translated in paintings by artist Jill Churnside.
Route Digital Futures Project which brings together the incredible breadth and wealth of cultural materials gathered on the Canning Stock Route Project since 2006 into a digital repatriation model that will enable remote Aboriginal communities to access their invaluable cultural and intellectual property digitally and in their own communities. This vast repository of cultural materials includes hundreds of hours of High Definition footage, over 250 oral histories and interviews, over
From a return trip to Country undertaken
Indigenous groups across Australia who
as part of this endeavour, the project grew
are the world’s oldest living culture. New
to encompass the broader Ngarluma
technologies provide a way for the knowledge
community who were interested in exploring
and wisdom of these cultures to find
The online repository will allow far greater
ways to document and record their intangible
different forms of expression, at the same
community access, and enable multiple
cultural heritage. In response to the
time demonstrating that Ngarluma people
users to access the archive at any time. It
Ngarluma elders, the Project evolved into a
know the landscape as a space embedded
will also ensure that schools and the general
wider investigation of cultural preservation,
with complex cultural and spiritual values,
public are able to access public layers of the
demonstrating how imagination and creative
one which they managed through practices
energy can empower and strengthen
evolved over millennia.
communities in new ways. FORM worked in collaboration with Ngarluma anthropologist, Andrew Dowding, whose concept of a digital map emerged as a platform to document Ngarluma knowledge for future generations, whilst giving an insight to the non-Aboriginal audience into Ngarluma history, experience and way of
20,000 photographs and a range of other curatorial and research materials.
archive for research and general use. An iOS app for mobile devices based on the award winning One Road multimedia interactive, the
FORM became the first Australian
signature piece of the record-breaking Yiwarra
organization to be a recipient of the Google
Kuju exhibition, has also been created and is
Earth Outreach grants program, which
available to download.
rewards organizations with outstanding mapping ideas to support the technical development of maps. Google Earth lets you fly anywhere on Earth to view satellite
FORM’s commitment to maintaining cultural identity and the robustness of Aboriginal communities is reflected in these projects, as we build opportunities for employment,
imagery, and terrain. The Ngarluma Ngurra
social interaction and intercultural exchange
map animates and embeds the cultural
through investment in Aboriginal cultural
traditions and histories of Ngarluma people
and creative projects that support community
into Google Earth so you can explore rich
livelihoods and wellbeing. The digital realm
content and share this with others. The
is an increasingly important space for
project has been produced as a creative
Aboriginal people to be able to participate
collaboration with Ngarluma elders, a
in fully and equally, FORM will continue to
Ngarluma anthropologist, film-makers,
catalyse and create digital projects in remote
The creation of a digital map reflects how
photographers, software developers and
and regional Australia in collaboration with
innovation can forge new frontiers for
writers.
Aboriginal communities.
seeing Country in the Pilbara. The Ngarluma Tharndu Karrungu Maya Ltd partnered with FORM to sponsor the project, demonstrating their commitment to strengthening Ngarluma culture and empowering people to build a positive future through bolstering and revitalising Ngarluma cultural practices.
Re-imagining the map
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Sense of Place
Why are you moving to the middle of nowhere?
outback. In the Pilbara, petrol stations offer a
and longitude, dividing country into
the trees, flowers, hills and rivers, to which
continue to possess this ethno-botanical
Roebourne Native Reserve, established for
touring map of the region which names the
tenement and property allotments.
they have a familial relationship through the
knowledge, which requires understanding
displaced people.
Galharra.
about seasons and local resources.
through an oral tradition: songs, myths,
Digital mapping as we’ve applied it in
Archaeological records suggest that
Ngarluma elders continue to carry an
stories, names, place names, ceremonies,
the Ngarluma Ngurra project provides
Ngarluma people have lived in this region
encyclopaedic knowledge of, and connection
customs, beliefs, superstitions, oral poetry,
an opportunity for Aboriginal people to
for 30,000 years, managing and shaping
to, Country. The Ngarluma Ngurra project
as well as various forms of traditional
capture on film and through other forms
the land through cultural practices that
provides an insight into being in and
knowledge. Finding a method to translate
of documentation their understanding,
have promoted the ongoing viability and
experiencing the landscape from the
intangible heritage connected with specific
memories and knowledge of place. In
sustainability of Country. The Ngarluma
Ngarluma perspective. We experience
places and sites into an accessible medium
building the map, we travelled with
elders made the decision to make their
the landscape as a complicated nexus of
has its challenges. Google Earth offers a
Ngarluma elders, Pansy Hicks, Reg Sambo,
experiences and knowledge of this Country
histories, spirituality, heritage, stories and
solution as it enables stories to be recorded
Frank Smith, Jim Fredericks, Ricky Smith,
accessible to both Ngarluma and non-
song. There are also traces of the tragic
and embedded across the surface of a map.
Keith Churnside, Jill Churnside, Jeannie
Ngarluma audiences in order to share their
past, of conquest, extraction, and violence,
In the Ngarluma Ngurra interactive map you
Churnside, and Rebecca Churnside, to sites
cultural values with a broad audience. Many
of memories and nostalgia, of the personal
can fly to a point which has been identified
on Country and places to which they were
of the elders who have participated in this
and sensorial. By enabling the viewer to be
by the community as a place of significance
connected. Reg Sambo told us that he wanted
project were born in the bush, growing up
immersed in looking ,sensing and listening,
and learn about what the place means to
to safeguard this information for the future.
close to Country with their families and
the map reveals a place embedded with
Ngarluma people. In this way, the digital
‘I want to leave this story on tape for the next
elders who were working on the stations.
knowledge and alive with culture.
map is a meeting point, for a non- Aboriginal
generation, so that they know the story of
Women were employed as domestics and
audience to connect with the depth of
this place,’ he explained. The Ngarluma Ngurra
men worked as stockmen performing duties
Ngarluma knowledge about their place in the
map functions as an archive for Ngarluma
such as mustering and fencing.
Pilbara.
knowledge and language, both of which are
landscape predominantly in English terms. Ngarluma Country which extends from the southern boundary at the base of the Chichester Ranges to the northern fringes
I heard this question many times when I relocated from Sydney to live in the Pilbara: it’s revealing of attitudes towards the northwest, illustrating that for most Australians, this is a place that remains unknown, distant, and mythic: I am grateful that through my experience living and working with Aboriginal people in Roebourne, I began to understand their part of the Pilbara as Country: a landscape alive with meaning, identity, memories, and spirituality. The anthropologist Dr Deborah Bird Rose developed a definition of Country as a place that is lived in and lived with. ‘People talk about Country in the same way that they would talk about a person: they speak to Country, sing to Country, visit Country, worry
along the Indian Ocean, and out to the west running from the Maitland River through to the Peawah River in the east is represented as a series of towns, stations, travel stops, mining sites, roads and highways snaking across the land. This map obscures Aboriginal heritage, illustrating how a dominant colonial framework is imposed over the landscape. Older maps available on the public record show Aboriginal place names, which appear to have dropped off modern iterations. Given the complexity of how Aboriginal people experience and know the Country, there are challenges to how much information can be contained in the format of a paper map. Painting has emerged as
Despite this history of dispossession,
Aboriginal culture passes on knowledge
endangered.
Roebourne is now the hub for Ngarluma
a way to express Aboriginal perspectives
The connection and relationship with
on Country that captures an element of
Country is integrated into Ngarluma culture
The map is an expression of culture, revealing
people from their land began when pastoral
the intangible knowledge associated with
through the Galharra system, a kinship
the interdependency between the natural
enterprises acquired large tracts of land
Country. As part of the Ngarluma Ngurra
structure which governs relationships
world, culture and the sacred. Survival in
for agriculture. This industry subsequently
project, Jill Churnside has created sweeping
amongst all people in the community.
the Pilbara’s extreme climate depended
provided employment for Ngarluma people,
visions of Ngarluma land viewed from an
Everyone belongs to one of the following
upon the skills and ability to work with the
which, whilst largely unpaid did allow many
aerial perspective, illustrating how she
skin groups: Banaga, Burungu, Balyirri or
natural environment. Ngarluma people fully
to stay on their traditional lands. In 1968 the
translates her emotions and experience of
Garimarra. A person’s Galharra governs
exploited available resources, whilst also
introduction of equal wages for Aboriginal
Maps generally reinforce the impression
Ngarluma country onto the canvas. Jill’s
marriage and interactions between
working to ensure a balance was maintained
pastoral workers led to the widespread
of the Pilbara as a place on the edges, with
paintings are a contrast to non-Aboriginal
community members. This system illustrates
in the ecosystem through ritualistic activities
unemployment of Ngarluma people who lost
the density and fullness of Australian cities
cartography, which understands landscape
how people are interconnected, not only to
and land management. For instance, women
the right to stay on their country. Yindjibarndi
engulfed by the expansive space of the
through measurements of distance, latitude
each other, but also to their environment: to
harvested bush foods and medicines; they
and Ngarluma people were moved to the
about Country, feel sorry for Country, and long for Country,’ 1 she explains. For Ngarluma people, there is no other heart, Country is the centre of culture, life and creation. When people commented that the Pilbara was so ‘far away from anywhere’, I began to wonder, far from where?
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settlement. The dispossession of Ngarluma
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Deborah Bird Rose, Nourishing Terrains, Australian Aboriginal Views of Landscape and Wilderness, Australian Heritage Commission, 1996, Canberra p.7
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Pansy Hicks on Pyramid Station
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Jill Churnside
Jill Churnside, Wundumurra (Sherlock River) Acrylic on Canvas, 2013 167cm x 197cm Photograph: Bill Shaylor
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Viewed from above through Google Earth, the Sherlock River tributaries branch out like tree roots as it unites with the sea.
Jill Churnside, in her painting, Wundumurra
variations in the landscape from red pindan
Jill is interested in exploring how to
and was subsequently raised in Perth by
trade at Cossack she depicts Aboriginal
in expanding into different mediums. In 2012,
(the Sherlock River), captures the sinuous
soil to the beige Spinifex, or the new, fresh
communicate the experience of being on
a Japanese woman, known as Aunty Lulu
people as indentured labourers who were
she undertook workshops as part of FORM’s
lines of this river from an aerial perspective.
green grasses that spring up after the rain.
Thalayindi through her paintings, with a
and her Chinese husband Tommy Lee,
enslaved to perform the work of divers: many
Land.Mark.Art program, a process designed
particular focus of her work centring on
she spent the early years of her life living
died at sea.
to invoke design thinking and the practical
yirndas (permanent waterholes) found in her
near Murrumbiina Yirnda at the station
father’s Country. ‘I paint waterholes often,
homestead on Thalayindi where her father
particularly one area around my father’s
worked as a stockman and musterer. Whilst
Country, Murrumbiina Yirnda. My family and
the home she lived in with her family is
In contrast to the imagery that is visible through satellite cameras, her painting radiates a warmth and familiarity with Ngarluma Country as it embraces the river. The Country around the river blossoms into fields of exuberant colour, creating a quilt of forms and shapes that gently curve to nest against the other. As Jill explains, she uses colour to reflect her sensory experience of Country. ‘There are times in a season when the Country is literally blooming with reds, blues, and pinks that are vivid and very bright. At other times, the Country is turning brown and yellow, and I transfer what I see onto my canvas. It depends on when, and
In the bush, Jill enters the realm of tactile, sensory awareness. Through feeling the smooth contours of grinding stones that are found out in the flat country, or understanding where the bush medicine marda wood will cluster in crystals on trees, Jill’s experience of Country is sensory; it’s about feeling and seeing the bush, which she then translates into painting. It is through observing these subtleties in nature that a more complex understanding of Country is reached, one which fuses topography, geography and feeling together, so that
part of Country, and many of my father’s
memories of growing up around this site. ‘We
songs and stories relate to this place and
spent our childhood years playing around
it is a source of inspiration translated into
the huge river behind the house, there
paintings. My son, Andrew, is named after
was a vegetable garden which we raided
this particular place.’
regularly and we’d feast on wild honey and
Jill’s father, Bob Churnside had an encyclopaedic cultural knowledge. In the 1970’s, anthropologist, Carl von Brandenstein
connection to place.
recorded his songs and stories, some of which
Country is alive, or when the Country is
Jill uses scale to communicate the grandness
fading.’
of Country through painting large works that evoke a sense of vastness, yet, within this
(Croydon Station), a swathe of Ngarluma
now reduced to a stone wall, Jill has strong
her work resonates with the strength of
at what time I’m painting Country, if the
I’ve been on trips with Jill to visit Thalayindi
I have a long and sacred connection to this
expansive landscape her detailed patterns and layers reveal the intricacy of the Pilbara
Country where she feels the strongest sense
environment in fields of pointillism. These
of connection. When the gate to Thalayindi
paintings are created out of her home studio,
is swung open, the highway that connects
a small, tin shed with a corrugated roof in
Roebourne to Port Hedland soon fades away,
Roebourne. This is a suburban type of setting,
and is replaced by open-ended bush. It’s a
yet, the Spinifex grasses that dominate
place of peace and tranquillity, removed from
the yard and the peacocks which clamour
the well documented hassles and problems
on the roof suggest that the wilderness is
of Roebourne. Jill becomes deeply immersed
always imminent. Jill quite literally brings the
in the sensory nature of this environment.
outside indoors, filling her home with pieces
date palms.’ Jill’s paintings of Thalayindi are filled with vitality and exuberance; they honour and celebrate a time of innocence
Jill’s involvement with a range of social
into three dimensional forms.
causes includes her engagement with the Ngarluma Yindjibarndi Native Title claim. ‘I
With funding from the Ngarluma Tharndu
heard about how Eddie Mabo put his claim
Karrungu Maya Ltd, Jill, in collaboration
in, and I thought it was important that we
with her sister, Broome based artist, Maggie
do something for our community too.’ Jill
Prewett, travelled to Brisbane for a week long
played a role in bringing people together in
workshop at Urban Art Projects (UAP). Once
meetings and engaging the elders who had a
again, Jill adopted a place-based approach
deep knowledge of culture and Country. The
to art; inspired by the landscape, she
fight for recognition of Native Title rights
investigated the form of an anthill, which is
was fought for over thirteen years before it
a distinctive characteristic in the Australian
was granted.
landscape and prominent in the Pilbara and Kimberly. With ties to Broome, the work
and connectivity that she remembers fondly.
In working around issues related to
developed at UAP reflects Jill’s pan-north-
were published in the book, Taruru: Aboriginal
It is not that she is weakened by nostalgia
justice, Jill has also been an advocate for
west identity.
Song Poetry from the Pilbara. In one of these
for Country; rather it is the place she knows
improved access to health as Chairperson
recordings, Churnside names all the pools
best, shaped through time and memory. In
of the Mawarnkarra Health Service, and
along the different river systems that run
Jill’s paintings, these stories, histories and
through her involvement in the National
through Ngarluma Country, naming over
emotions converge.
Aboriginal Community Controlled Health
eighty pools, and describing the area around them. This mental cartography of Country expressed through modes of expression such as songs, and stories. In contrast to her father who worked on the Country around Sherlock Station, Jill lived most of her life in town and the city so the recordings from the 1960s are a valuable collection of in-depth knowledge about Country and ways of mapping it through song and story.
Whilst most of Jill’s work is inspired by Ngarluma country, she is also interested in the broader socio-political struggles of
Organization (NACCHO). These interests and life experiences find creative expression in her artwork.
Jill’s paintings are driven by the desire for a narrative. ‘I like to paint where there is an important story to tell,’ Jill says. The stories that Jill paints are drawn from the struggles and challenges of contemporary Indigenous history, and negotiate the deep cultural roots of belonging to the Ngarluma people. Yet, her
Aboriginal people. In the painting, Pilbara
Although Jill is an untrained artist, she has
works are also deeply personal, an attempt to
Strike for which she won the Hedland Art
been engaged with the creative sector in
condense the emotions and memories of the
Award, Jill depicts the 1946 strike where
Western Australia for many decades, working
past into the present.
Aboriginal pastoral workers and people
at the Biruk Marri Gallery in Fremantle for
employed in Marble Bar and Port Hedland
seven years, where artwork sourced from
demanded fair wages and working conditions.
around Australia, including Balgo, Waringarri,
Text floats into the work, demonstrating a
Utopia, and Ernabella was exhibited. Jill
She observes the landscape blooming
and materials collected from the bush. It
with purple minyjagarra (vick’s bush) and
seems that she is trying to replace the piece
Whilst Jill moved from the station to the
desire for narrative and for telling stories. In
began painting in 2005, and has primarily
thurlamardamarda (sturt desert peas), the
of her that is left back on Thalayindi.
old reserve in Roebourne as a six year old,
her painting about the once thriving pearling
worked in canvas although she is interested
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application of Jill’s two dimensional works
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Sharmila Wood, FORM Curator
Jill Churnside, Murrumbiina Yirnda Acrylic on Canvas 2013 128cm x 195cm Photograph: Bill Shaylor, 2013
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Jill Churnside, Moorumburri’s Story, Acrylic on canvas, 2013 188 x 188cm - Photograph by Ross Swanborough
Jill Churnside, Yirndas, Acrylic on canvas, 2013 78 x 142 cm
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Jill Churnside, Wundumurra (Sherlock River), Acrylic on canvas, 2013, 144cm x 193cm
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New Songs, Old Country R.D. Wood, Writer & Historian
The tabi of the Western Pilbara are a vital form of Aboriginal song poetry. Aboriginal song poetry is a rich tradition in Australia. Across the continent different groups of people made song, which was often accompanied by dance. Although anthropologists, musicologists and literary historians have only recorded and examined a small fraction of this tradition there is enough richness and fullness in the archive to suggest how important song was, and is, to the daily and ceremonial life of people right across Australia. Songs were used for hunting, gathering, initiation, marriage, birth, death and other events. There was religious song, cultural song, political song and personal song. These songs were based on experiences that were mundane, everyday events, or, significant, rare occurrences. Song was an integral part of life and people in many communities continue these traditions albeit in a changed and adapted form. The Western
Travel Song Tabi in Ngarluma by Wajurrpirdi
Pilbara is no different, and Roebourne continues to be a location where Aboriginal song poetry is a vital part of culture, particularly at ceremonies such as initiations and funerals. Taruru : Aboriginal song poetry from the Pilbara is the foremost archival document of that local tradition. It was collated in the 1960s and 1970s by German anthropologist and linguist Carl von Brandenstein
jindiri jindirir pannina nuura parlgarragu warrimaregu jindiri jindiri pannina nuura parlgarragu walamarragu On and on, stepping it out Across the wide country, Across the plain. On and on, stepping it out Across the wide country In the heat of the day.
and West Australian writer Anthony Paul Thomas. It was published in Adelaide by Rigby in 1974. Taruru is an anthology of tabi composed in local Pilbara languages and translated to English. It relies on many local informants, foremost among them Bob Churnside (Parruru) who was a local lawman, stockman and maban man. He was a renowned singer and many of his songs travelled extensively across Australia, picked up as they were by devoted singers who were still immersed in an oral tradition. von Brandenstein transcribed and translated those songs by Churnside and others, turning that oral tradition into print. When it was published many scholars and intellectuals heralded it as an important addition to anthropology and poetry.
Vincent True at Nyiina Pool Sharmila Wood, 2013
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The Bulbul Bird Tabi in Ngarluma By Walbjira
Bulbul pannii nurdu Bulbul pannii nuru murii tinamanma, jabulkurruu karadilpanuru Bulbul pannii nurdu Bulbul panni nurdu murii tinamanma, jabulkurruu kardadilipaia jinda nuru pannii Pabamudungana naiin wirlimanma, kurudakanma nuu jinda nuru pannii Pabamudungana naiin wirlimanma, kurudaga
In von Brandenstein’s anthology informants
Yet there are also reflections on ‘maban
are recognised and brought into the tradition
men’, sex and death which suggests how
of authorship.
perspicacious, resilient and relevant pre-
Bulbul is here Follow the stony creek, your track to northern shores! Bulbul is here This pool is ‘water throughout the year’ Stir my heart and also give it rest.
It was not only traditional songs that
This authorship may be connected to the form of the tabi, which are personal songs.
Although these tabi cover a wide range of
They are not ceremonial songs for initiation
activities, events and feelings, one is struck
or death, but songs that were sung on a
by their consistently compact character and
daily basis to pass the time. We could relate
clear simple language. It as though they are
to them as more of a pop song, rather than
meant to stick in one’s head during day to
a choral arrangement sung only at mass.
day activities. These experiences of daily
This does not diminish their musical claim
life, was not confined to the Western Pilbara.
but situates them in the context of their
Churnside and other composers travelled as
expression.
cattlemen and song men, dispersing some
influenced the tabi. We do not know the extent these songs were influenced by non-Aboriginal song forms, such as, the country and western lyrics that would become popular only a little while later, the bush ballads that had resonance for many
similarities in form and content with songs immediately to the north and east. Some of these tabi are known to have been sung in the Kimberley and Western Desert, just as songs from both those places found their way to Roebourne. Tabi, as an exemplary form of Aboriginal
lineage, or the radio news that helped people
song poetry, have faded from daily life in
understand their changing circumstances.
Roebourne. They have been replaced for the
What we can be sure of, however, is that
most part by non-Aboriginal song which
each of these other forms was in the same
reflects the rise of English and the decline
context that produced the tabi, one that was
of the Indigenous languages tabi were
an expression of daily life, emotions and
composed in. However, the tabi of Taruru
happenings around the community.
continue to influence other artforms and
Brandenstein recorded the tabi was changing and responding to broader global movements. The tabi reflect on that experience in ways that were unique and which reflected the local context. There are references to World War Two, horse racing and mail delivery, all of which suggest a non-traditional influence.
28
of these songs elsewhere, and there are
and emerged from a European troubadour
Life in the Pilbara at the time von
Binkathuringa (Dinner Camp)
colonial themes were to people using tabi.
29
provide a form of inspiration. They are not confined to history, but will continue to be relevant into the future and to stay with us as examples of feelings, emotions and beliefs related to different aspects of the physical and spiritual world.
The Rainbow Tabi in Ngarluma by Waljbira wandani karnakarnamaru palbarrgu nurna karnakarnamaru warumandanna nurla jirlikudi marnitamana palbarr warakanna Wherever I look up I see him in the sky Embracing all within; Rainbow! alight with colours, Clearing up the sky. Sherlock Station on Ngarluma country
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Exploring the Digital Frontier
As my work progressed in the Aboriginal
Filming Reg Sambo at Binkathuringa (Dinner Camp)
Heritage sector I continually saw a different
Creating the Ngarluma map
application for Google Earth. I started my current work, which involved undertaking heritage surveys in the north of Australia, and I found that Google Earth helped me to visualise the places being depicted on paper maps because it gave details of the terrain, and you could see the car tracks and roads all over the land. These things helped to orient me in the landscape and I soon saw the way other Aboriginal people found it easy to navigate and orient themselves as well. For instance, I was sitting in an office in Roebourne with an old man who has now passed away, and we travelled along old dogging tracks that he had made in his days working as a dingo hunter. He used to go out for months on end with only fuel drums and a gun, he would travel solo through
understand land as being embedded with
recorder of songs and stories, but getting
very remote areas of Ngarluma Country, but
stories. By using high definition cameras, GPS
access to these recordings was not the easiest
because of his age he was no longer able to
and other new technologies, we are creating
process and I became very frustrated. When
take me to those sites. But we were able to
new cultural documents for people to use
we did eventually repatriate them, I took the
mark out a huge number of cultural sites
and refer too.
recordings to Roebourne and played them for
by just sitting at the computer and viewing Google Earth. This was the first time I saw the power of Google Earth as a cultural heritage tool. Frank Smith, Ganyurrunha Hill
Then, through Shakti and Elias from Curiousworks I saw how you could Andrew Dowding an anthropologist whose area
really emerged from my experience working
SW: How did you move from the need to
incorporate different media into Google
of focus is intangible cultural heritage. He was a
with Ngarluma elders. These people are
create a way of representing Aboriginal
Earth, from videos to photographs and audio.
co-founder of the Ngarluma Ngurra: Aboriginal
part of a generation who walked or rode
cultural values about Country, into the digital
We’ve expanded this function to create
Culture on the map and conceptualized the cultural
horseback all over their Country - they didn’t
sphere of Google Earth?
a rich, content-driven map of Ngarluma
mapping methodology using Google Earth. FORM’s
use vehicles, and they have an intimate
Sharmila Wood speaks with Andrew about the
knowledge of the land because of that. These
catalysts for the mapping project.
elders communicated to me that they would
database, which suggests that you see it as
elders, some of whom were very emotional about hearing my Grandfather’s voice again
a digital repository - How important is this
and there was a real sense of re-establishing
aspect of the project?
a connection with traditional stories and the genre of songs called tabi.
AD: Well, the idea of bringing together information in a way that is free, accessible
There was also a sense of pride that
and public where appropriate, is something
Ngarluma has this rich cultural body of
I feel passionately about. This is primarily
stories, songs and poems that the elders were
because the elders I’ve worked with have
remembering and exploring again. These are
expressed their desire to show that Australia
really precious because they are a snapshot
is not empty of culture, that this is not an
of cultural knowledge from the late 1960s
AD: Like many people I’ve used Google Earth
using it as a platform for the protection and
for everyday general directions, and because
preservation of Aboriginal culture. We have
I live down in Perth I really enjoyed being
asked community members to take us to
able to look at Ngarluma Country that I
a place they want to record content about,
There have also been some experiences
on knowledge orally from one generation
couldn’t visit in the Pilbara. It was through
and we record it with a film crew, and then
I’ve had that have influenced this belief.
to another have been slowly eroded, that
this function that I began to realise the power
incorporate that into the map for others
A turning point was discovering my
recordings and documentation are very
They wanted to document this information
of being able to see distant places and the
to learn about. This allows non-Aboriginal
grandfather’s recordings in an archive in
important - as was having this material
and make it accessible for future generations.
potential to overlay information about them.
people to see how Aboriginal people
Canberra. My grandfather was a prolific
readily available for people to connect with.
like to create a way to show how they are Sharmila Wood: Can you give us some
attached to places and how culture is related
background about how the Ngarluma Ngurra:
to these places in their Country.
Mapping Project began? Andrew Dowding: The seeds for the project
Country using Google Earth, with the aim of
SW: You mentioned the idea of the map as a
32
empty landscape devoid of any deep meaning and importance.
and it demonstrated to me that because many of our traditional forms of passing
33
Reg Sambo, Andrew Dowding, Keith Churnside, Vincent True, Frank Smith and Ricky Smith reviewing the map.
Jill Churnside holding Gardangu (Bush Lolly)
The other important factor was going to New
AD: Definitely. Over the past 100 years
SW: How is Google Earth different and why do
to see their elders and culture represented in
up until now it’s been television and DVDs
Delhi in India and working in the Archives
Aboriginal people have continually given
you see this particular platform as aligning
an exciting digital format. I see a real need
that have driven a need to record culture.
and Research Centre for Ethnomusicology
information to people in government
best with the needs of Aboriginal people?
for Aboriginal people to forge a strong digital
However, with the Internet you can connect
(A.R.C.E). I saw how lacking Australia’s
departments, in mining companies and
presence, for elders to harness these creative
to a massive audience with relatively little
cultural infrastructure is, and how the real
researchers who have valued that material
AD: Generally, cultural heritage databases
forces in this form of multimedia so they are
infrastructure and make a real impact if you
strength of A.R.C.E was their connection to
for the period that they have been engaged
solely rely on the use of text. The importance
in control of their digital identities. This will
have good digital strategies in place.
communities. I began to see how archives
with Aboriginal communities, but then have
of the online map is that it can demonstrate
be a big part of the next ten years.
were not only places for researchers to
made no attempt to repatriate it afterwards.
how Aboriginal culture is connected to land
compile or hold materials, that they should
It’s very sad because there is a lot of room to
and is not just about being on Country,
SW: How do you see Google Earth being used
this form of mapping as a cultural teaching
encourage this kind of repatriation in order
but is also about knowing your Country,
by Aboriginal communities in the future?
tool for their own communities, as well as
for Aboriginal people to control and access
which means knowing rivers, knowing the
their own socio-cultural information, now
tracks that get you to those places, knowing
and into the future - particularly when the
the historical roots that are embedded
most common practice is for this information
in that country. We now have leaders in
to be held in static archives that are located
our community who agree it is important
in places that are distant and foreign to the
information that younger people should have
Aboriginal community.
access too.
The new frontier for archives all over the
Google Earth is digital, it’s on the Internet, it
Canning Stock Route Project and others like
world is the movement towards digitising and
can be accessed by multiple users and that’s
the Mulka project in Arnhem Land, as well
repatriating, although this repatriation is not
the real power of the Internet: connectivity.
as Goolari Media in Broome, IcampfireTV.
happening fast enough. Aboriginal people are
There is now a new generation of Aboriginal
com and Juluwarlu in Roebourne are forming
offered, but also the desire to create a digital
frustrated because these precious resources
kids who have mobile phones that are 3G
digital identities and creating multi-media.
archive that, as opposed to traditional
are something that they want to utilise in
enabled and they have the Internet in their
archives, was accessible to the Ngarluma
order to teach their own communities about
hands. This map allows them to not only
community and the wider public?
their history and culture.
have access to their cultural information, but
not function in isolation from the people who own the content. Dr. Shubha Chaudhuri, the Managing Director of A.R.C.E, actively sought to engage the communities whose knowledge was stored in the archives by continuing to work with them, hand back materials and ensure ongoing cultural maintenance of their traditions. SW: So the idea of mapping country in this way emerged from a combination of realising the possibilities that new technologies
34
We’re hoping that more elders will adopt
educating the broader Australian community AD: With the promise of the National
about the precious cultural resource they
Broadband Network Aboriginal communities
have in their own backyard. Aboriginal
will begin to keep pace with the types of
people have lived here for millennia, and
digital identities that communities all over
have cultural, ecological and historical
the world are forming. It will take some
knowledge which is unique and needs to be
innovation, and brave elders to step into
acknowledged and valued.
that frontier, but we’ve already seen how the
Personally, I feel it’s the Internet which will drive the next form of cultural innovation;
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Google Earth Outreach: Seeing is Believing Rebecca Moore
sovereignty of Indigenous peoples, and you
world just by studying the imagery we
This partnership has inspired many more
make it incredibly concrete. People get quite
publish, such as the coral reef specialist
indigenous groups in Brazil, Canada, New
emotional, and it galvanizes support for the
at Western Australia’s Department of
Zealand, Australia and around the world to
causes that these groups are advocating on
Environment and Conservation, who
create their own cultural maps. One such
behalf of.
discovered a previously-unknown fringing
cultural map is the Ngarluma Ngurra cultural
coral reef in the waters off the coast of
map, which will help to document and
Western Australia, just west of the Kimberley.
protect this endangered indigenous culture.
He was labeled a ‘Desktop Darwin’ for his
I’ve seen a preview, and it is truly beautiful.
surprise discovery.
We hope to see many more indigenous
It really ramped up when the Appalachian Google Earth Outreach was born in the Santa
I realized that anyone could do this. In fact,
that had used Google Earth successfully to
Cruz Mountains of Northern California,
when the word got out—it did get picked up
communicate what they had done, and the
where I live. Back in September 2005, a local
in the media that Google Earth had saved this
impact they’d had. It then went viral.
logging company announced plans to log
forest of a thousand acres of redwoods—all
more than a thousand acres of towering
these nonprofits started contacting me. Sierra
redwood trees in my community, in a
mountaintop removal project came out in 2007 and got a lot of attention. We also worked with the U.S. Holocaust Memorial
peoples releasing their own cultural maps
Museum to reveal the genocide that was
Meanwhile, Google Earth and Google Maps
built using Google Earth & Maps in the years
What we’ve helped these groups to
happening in Darfur, by taking people on
have been becoming more popular. As
to come.
Club, Greenpeace, from British Columbia to
understand is, you can take the whole world
a guided tour of all the villages that had
of today, more than a billion people have
watershed that supplies all of our drinking
Australia, people were emailing me to say, we
on a virtual guided tour of places on the
been burnt to the ground that you could
downloaded Google Earth. More than a billion
water. The map they sent out was just a
thought we might be able to use Google Earth
planet that may be under threat. Whether
see in the high resolution satellite imagery.
people use Google Maps every month. They
grainy black-and-white sketch, confusing and
in some way, but seeing what you did—please
it’s deforestation of the Amazon or elephants
Groups like Amnesty International annotated
are available in more than forty languages,
difficult to understand. My neighbours and I
teach us. How did you do that? How did you
being poached in Africa or mapping of
Google Earth with stories, photographs, and
on devices from laptops to cell phones. This
were worried.
bring the data into Google Earth? How did
Indigenous culture —often these are
interviews of people whose lives have been
seems to have fostered a new era of ‘geo-
you create the animated flyover? How are
happening in remote places, and it’s difficult
affected. When this came out, it got a huge
literacy’, democratizing access to satellite
you presenting it to politicians? Can you give
to communicate to the general public, policy
amount of global attention. In fact, human
imagery and mapping.
us advice and tips?
makers, and media, what’s at stake, what’s
Google Earth had just come out two months earlier. I wondered: what if I remapped the logging plan on top of Google Earth’s highresolution satellite imagery and 3-D terrain?
really happening. That’s when Earth Outreach was born. By
rights activists used this to galvanize changes by the government of Sudan.
Chief Almir of the Surui tribe in the Brazilian Amazon was the first Indigenous leader to
More recently we’ve worked with The
partner with us. In 2007, he requested a
Halo Trust, which is the oldest land mine
meeting at Google to see if we would come
eradication organization in the world. They
teach his people how to put themselves
are on the ground in some of the most war-
on the map—literally. Together, we created
torn regions of the planet, where there are
a multi-layered approach to protecting
old landmines and other kinds of detonating
their land from illegal logging that was
devices, left in the ground after war is over.
destroying their land and killing their tribal
magnificent old-growth trees that would
So this may be in Afghanistan or Angola, for
members. We taught the Surui how to create
be cut. When I presented this Google Earth
example. Literally, children cannot safely
a map of their significant sites - such as the
visualization at a community meeting, people
walk to school across a field without risk of
locations of important plants, animals, and
gasped with recognition. All of the issues
their legs being blown off. The Halo Trust
historical battles - to show the world the
were clearer. It galvanized opposition to the
is now using the high resolution imagery
Surui people’s close interdependency with
plan from within the community, local policy
with a grant of Google Earth Pro, to give
their rainforest home. We also built their
makers, and even Al Gore. The flyover was
them certain additional features, to plan
capacity to use sophisticated mobile mapping
featured on TV and radio news programs.
and manage these landmine eradication
tools to measure the carbon stock in their
Eventually we even used Google Earth to
programs.
forest, for placement on the carbon market.
I was hoping we’d get a better picture of what
now, I was working at Google (my dream job)
There’s that statement, ‘A picture is worth
was at stake. Over one weekend I created
and as a side project a few of us built the first
a thousand words’—well, I think flying
a ‘virtual flyover’ of the watershed showing
version of the website, with case studies, tips,
around in Google Earth is worth a million
tricks and tutorials. We offered free grants of
words. It’s very visceral, it’s extremely
our professional mapping tools to registered
concrete. You take an abstract idea, like
nonprofits. We encouraged those nonprofits
deforestation of the Amazon, or territorial
how close the logging trucks and chain saws and helicopters would be to schools and daycare centers, as well as photos of
prove that the logging plan was illegal, and
Surui Territory, Rondonia, Brazil seen in Google Earth
Rebecca Moore teaching Chief Almir how to put his tribe “on the map”
The great news is that Brazilian cosmetics People are also telling beautiful ‘geo-stories’
the plan was stopped.
using Google Earth, such as portraying the So that’s where it all started for me,
seasonal migrations of monarch butterflies,
seeing how Google Earth empowered my
birds and sharks. They are even making
community with information and the means
fundamental discoveries about the natural
to communicate our concerns so effectively.
giant Natura Cosméticos recently purchased 120,000 tons of carbon offsets that the Suruí developed by saving their endangered rainforest. It’s the first sale of forest-carbon credits developed by Indigenous people. Rebecca Moore in Chief Almir’s village, Lapetanha
Crisis in Darfur - traumatized children of Darfur
36
37
Appalachian Mountaintop Removal - former Cherry Pond Mountain, West Virginia
38
39
Wundumurra (Sherlock River) Water is the lifeblood of the country and the people.
In creating the Ngarluma map, we tracked
with each specific location, particularly those
along Wundumurra; the Ngarluma elders
inhabited by the warlu (serpent) and spirit
led us to pretty pools, filled with clear, cool,
beings.
Ngarluma Aboriginal Corporation.
pools is a source of food and Ngarluma
Wundumurra (Sherlock River) emerges from springs in the Abydos Plains beneath the Mungaroona Range Nature Reserve, and tracks north through the Chichester Ranges. Along with the Maitland, Nickol, Harding, East Harding, George, Jones and Peawah
water. The life that flourishes around these
people fully exploited the resources available in these places. For instance, the Hamersley Bloodwood or wiranggura, was used in a range of ways, the deep red tree sculpted into tapping sticks, yarra (shields), wirrba (boomerangs) and binkubuntharri warnda (digging sticks). The gnarls from the tree shaped into elongated, oval yandi dishes, and the crystallized sap, barlgarringu, harvested
River(s), Wundumurra sustains and gives life.
as bush medicine, whilst the limbs of trees
The river supports a complex web of ecology
were scaled for marlhangarra (bush honey).
and spirituality, integral to Ngarluma culture. Many of the yirndas are associated with
A cultural landscape, Wundumurra is also embedded with memories and history. In the river, people fished for freshwater species such as milinja (perch), thayanggurl (catfish), and barumbara (barramundi); they
Based on information provided by Ngarluma elder
sourced bush tucker, including nhalawany
Robert Churnside, the linguist Carl von Brandenstein
(bullrush bulbs), ngarlgu (bush onions),
(1972) argued that engravings on shields from the Pilbara
and jurdimbiri (berries). In some places,
region reflected the bends and turns of important rivers
the old people encouraged family to speak
in the region; as such, shields were used in identifying
with the yirnda (permanent waterhole) to
connection to a particular river.
show it respect as a living being. Along the
Zig-zag wunda shield, artist unknown, Pilbara WA. Ochre on wood, 65.0 x 17.0 x 5.0cm. Cecil Keall Collection, c. 1898. Berndt Museum, UWA [WU10562] (Wooden shield, incised on both sides, front infilled with alternating red and natural-coloured grooves, back covered in red ochre.)
yirndas of Wundumurra, families gathered. Ngarluma elders recalled memories from the station days when the river provided respite from mustering work, and peaceful
Travellers cross Wundumurra on the North
ritualistic activity and in some places, thalus
West Coastal Highway connecting Roebourne
or increase sites are also found. These are
to Port Hedland. The bridge offers a vista
designed to ensure the proliferation of
along the river, which, during the dry
particular species, from insects to kangaroos,
(summer) forms embankments of undulating
and laws related to these sites function to
sand along which cattle wander, unearthing
maintain a balance in the natural order.
skeletons and other detritus buried under
Evolving over millennia it has been this
the water when the river is flowing. There
management of land and knowledge about
We have attempted to document some of the
is evidence of the wet during which the
shaping the Country which has enabled
intangible knowledge that is embedded into
river flows in torrents, visible by upturned
Ngarluma culture to thrive in this climate of
places along the river, however, it should be
extremity.
noted that this is not a conclusive survey of
trees, their roots atrophied into the air, yet, it remains difficult to imagine that even in the
The river carries a complex, ancient
dry, yirndas (permanent waterholes) are an
and sacred web of culture, survival and
omnipresent feature of the river landscape.
spirituality. The sites along Wundumurra
For Ngarluma people and Indigenous
are not isolated places of significance; they
communities across the deserts of Australia,
are intricately connected to each other,
it was knowledge of these perennial sources
as expressed in stories and song. There is
of water which enabled survival.
cultural value and significance associated
40
moments with relatives. In recent times, the river reveals confrontations with colonialism, and pastoralism, evident where cattle had a destructive impact, polluting sources of fresh water, and pumps draining water for agricultural and domestic use.
Ngarluma sites along Wundumurra.
Sharmila Wood, FORM Curator
Incised spear-thrower, artist unknown, Cossack, Pilbara WA. Wood with spinifex resin and sinew, 57.0 x 10.0 x 1.5 cm. H. Aubrey Hall Collection, c. 1890. Berndt Museum, UWA [WU6382]
Hafted ground-edge Stone Axe stone axe, artist unknown, Cossack, Pilbara WA. Stone head hafted on split wood with spinifex resin, 43.5 x 19 x 7 cm. H. Aubrey Hall Collection, c. 1890. Berndt Museum, UWA [WU6369]
41
Barrga bulla Along the side of the muri (river) there is a group of thayimarra (cork bark trees) and nearby you will find a yunggu (soak). You’ll sometimes see mangguru (kangaroos) coming there to drink; they dig a hole to find water. A soak is a place where the water is stored below, and when the rest of the country is dry, or there is a drought, this soak always has water. You got to keep on digging until you find the clean water which is sometimes deep down; this is valuable knowledge, as it’s like a well so there will always be water.
Thaywillurrunha
There are many yirndas (permanent pools) along the Sherlock River, these are precious for Ngarluma people and are imbued with spirituality, culture, memories and histories. The places that you see along the following pages are only a selection of the yirndas that are found along the river. This journey begins from the mouth at Thaywillurrunha. Photograph Courtesy of Google Earth © 2013 Google © 2013 Cnes/ Spot Image © 2013 DigitalGlobe All content as spoken by Ngarluma elders 2013
42
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Wunturrunha (Telegraph Pool)
Gurruynha Pool Our warlu’s (serpent) eye is here, he is lying down and his eyes are watching. You don’t go near him and don’t take photographs. We used to bring kids here; we had to make sure the kids behave themselves as serpents can hurt anybody. You have to stay on the northern side, on the southern side it is very
The white-fellas call this Telegraph Pool because telephone
bad and you don’t know what the warlu will
lines ran across here going to Hedland. My Uncle Dad was
do. If he hurts you, we’ve got no more maban
a linesman or telegraph man, he used to do the lines from
man to fix you, only maban man can see the
Roebourne to Hedland. All throughout the stations, Onslow
warlu in the shadows, that’s why you’ve got
and Roebourne there were telegraph lines, and that’s where
to talk to Country and let him know you’re
he got his name, the linesman. - Frank Smith
here and to show your kids.
44
45
Nyiina Pool
You get jigurra (bony bream) here during the dry (summer time) when the old people used to say ‘c’mon, we’re going netting’. In Ngarluma language a net is thagurra. People would come here with the thagurra, dragging it along to get jigurra. Vincent True at Bindunha
The old people used to make the thagurra hunting nets from baru (spinifex), unprocessed baru was pushed through the water up to the bank of a creek, and it was used to catch fish by dragging them
Bindunha
through the water. Bardurra (turkeys) and wurdawurabanggagu (ducks) were also trapped with baru. Bardurra nets were made from mina which was a softer kind of baru Frank Smith and Vincent True.
Bindunha Pool is located along the Sherlock River, there are many marndas (rocks), thaylgu (paper barks), wiranggura (red river gums), wirlu (white gums), and marduwari (bull rushes). Close by to Bindunha you find Jurdimbiri, this is similar to a wild currant which tastes sweet and has many seeds inside. The roots or jirla can be soaked or boiled in water to make a jami (medicine) which can be used as an eyewash for sore eyes or as a wash to cool an overheated body.
46
47
Jim Fredericks, Vincent True and Colin Churnside at Wurrunha Pool
Vincent True at Madabri
Wurrunha Pool (Tapas Pool)
Madabri
At Wurrunha (Tapas Pool) there are thaylgu
At Madabri pool there are thaylgu
daytime that bird whistles and at night time
animals, plants or other natural phenomena.
(paper barks), wiranggura (red river gums),
(paperbark), and wirranggura (red river
he has a different call, because of this, the
These practices are performed to enhance
wirlu (white gums), and marduwari (bull
gums).
old people used to tell us that he has two
the natural environment through increasing
different languages, but it’s the same bird.
the quantity of a particular species. In 1901,
rushes). The marduwari roots can be eaten, To the east is Whim Creek and to the south
you pull out the plant and then peel out the bulb at the root. The yumburrungu or small, white tuber can also be eaten.
48
John Withnell noted that there was a separate
is Rocky Pool and to the north is the highway
There are plenty of guyurrga (freshwater
bridge. To the west there are some black hills
mussel) found here, you get these from
which are also called madabri. On the hills
the water and inside the shell is an edible
we have a lot of rock carvings and a thalu
mussel. We used to eat the shell meat inside
(increase site) for the bugabugara bird.
which comes from the fresh water.
The bugabugara bird will bring you bad news
A thalu site is also known as an increase site
about someone who has died. For example,
and is a place that is generally associated
you may have lost family somewhere and
with ceremonies to ensure the continuation
this bird will bring you that news. In the
and or proliferation of particular species of
49
site for each living thing, not only those that are important or edible. In this way, thalu sites were for encouraging a balance in the ecosystem. The thalu sites can be small and invisible to those who do not know their location - Vincent True, Reg Sambo and Frank Smith.
Mathanygurra (Rocky Pool)
Wandiwagari
We used to come here netting for fish in the summer time,
This is a large yirnda, it’s a permanent pool of water.
it’s a good place for jigurra (boney bream). The old people
My family used to work out here on Sherlock Station,
like eating jigurra when the water is low because they get
I’d come out here with my parents, brothers and
fat and that’s when we come with the net along this pool.
sisters, we’d go fishing here, sometimes we’d go to
There are thaylgu (paper barks), wiranggura (red river
other yirndas. In the summer time we’d come here.
gums), wirlu (white gums), and marduwari (bull rushes).
There’s lots of shade, you can come here, sit down under the shade and have a rest. - Frank Smith
Wiranggura is a deep red in colour and it was used to make different tapping sticks, yarra (shields), wirrba (boomerangs) and binkubuntharri warnda (digging sticks). The gnarls from the tree are used to make yandi (oval shaped and curved bowls) that carry bush foods and water. You can find marlhangarra (bush honey) from this tree.
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51
Reg Sambo at Gurnanananra
Gurnanananra Kunanganarra is a yirnda (pool) with many
I’ve come back after being away for so long. I’m
thaylgu (paperbarks) and wirlu (white gums)
a Ngarluma person. I was here a long time ago, I
reflected in the yirnda, it’s a place with lots of
know you and you know me. Please don’t harm us,
shade. When Ngarluma people visit this type
we didn’t come here to harm you.- Reg Sambo
of place we need to greet the Country and at places such as these we say: Hello Country, Keith Churnside at Sherlock Station
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Kunaguna
Kangan
This is a big yirnda (pool), a lot of people used
fishing or hunting. When the station people
to live here, there used to be a house on the
were doing the boundary rounds fixing fences
bank where people would stay, these days
they would stop at Kangan to have dinner.
no more people are living at Kangan. There Kunaguna is also called Thayanggurl Pool (Catfish Pool). Many Aboriginal people came here for thayanggurl (catfish). Gumin Muri (Creek) is also here, it comes from the south and flows into Kunaguna Pool. When you
are a lot of thayangurl (catfish) and millinja (freshwater perch), as well as thaylgu (paper bark), and gurlibirn (tea trees). The landscape has changed because it used to be clear along the banks, now there are lots of thaylgu.
travel further up the Sherlock River you find Warluthurnii, and past this is Kajirigabu (also
People would visit from the stations, riding on
known as Edgar Springs).
yawarda (horses) or walking; people would go
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When you go to a yirnda like this you have got to talk to it, to the yirnda ngurra (serpent), then you can throw in your fishing line and the yirnda will give you some fish. If you don’t talk to it, the yirnda will get wild, and the yirnda ngurra will send a big yungu mirrga (willy willy).
Jeannie Churnside fishing at Kangan Pool
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Binkathuringa Dinner Camp
This water is called Binkathuringa, the whitefella’s calls this place, Dinner Camp Pool because when we were mustering we’d have lunch or dinner before driving all the sheep back to Bumiji Outcamp. - Reg Sambo
Reg Sambo at Binkathuringa
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Jeannie Churnside, Rebecca Churnside and Jill Churnside at Thalayindi
Moonrise at Thalayindi
Thalayindi
Thalayindi is the homestead for Croydon Station that sits on the banks of the Sherlock River. Now, there are only remnants of the old stone house that once stood nestled into these hills. Many Ngarluma people grew up around this area, living in the old camp that was adjacent to the main house. They worked as general station hands, stockmen and domestic labour undertaking duties such as mustering, fencing, shearing and housework for the station owners up until the 1960s when people moved into Aboriginal reserves near Roebourne from the stations. There used to be old law grounds in the creek bed nearby the homestead that is now washed away. Thalayindi, Courtesy State Library of Western Australia
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Rebecca Churnside, Jeannie Churnside and Jill Churnside at Murrumbiina
Murrumbiina
Many families visit Murrumbiina to camp
Ngarluma people used to eat the beetle by
and also to fish as the yirnda (pool) is
cooking it in the middle of the coals. You have
plentiful with thayangurl (catfish) and milinja
to perform a ritual and then the beetles will
(freshwater perch). This is a homeland for
come out; you take a special grinding stone
many Ngarluma people on Croydon Station.
that can be found underneath the rock and
People come to hunt around this area,
then you rub this onto the flat thalu rock, then
and further up the Sherlock at Boweerana,
you call out names of the places where you
Marripiyanha, and Gawinbayi.
want the beetles to breed. It’s a dangerous place, so it’s best to leave it alone.
Murrumbiina means beetle and this place also has a thalu, an increase site that is next to the yirnda, it is a big granite rock which sits atop the other rocks and looks like a large table.
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Photo: Jim Fredericks and Keith Churnside at Murrumbiina
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Jim Fredericks at a camp site, Sherlock Station
Bawarrunha (Old Stockyards)
Gawinbayi
Gawinbayi was an outstation mustering
My mother was born down at the river, here at Bawarrunha (Old Stockyards), this
camp. The old people used to go and do
is our Ngarluma Country at the back of Croydon Station. My mother’s been round
mustering on Croydon Station, they had to
here as a young girl. When I was a young fella everything was different here, what
muster all the paddocks. The main camp
I see now, everything is just about gone since when I was jackarooing around here.
used to be where everyone would stay, it
The house that I knew there is all gone, the kitchen gone, where the workers used
was the only building. - Jeannie Churnside
to work and even old Johnny Walker’s place, and the wool shed, that’s all gone. It was a good memory, still in my heart. That old place could have been restored to its beauty, but these are distant memories. - Jim Fredericks
Jeannie Churnside
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Gurgarra Pyramid Hill, my old people came from this place. This hill has a younger brother over near Cooya Pooya. A long time ago they had a fight. The other one hits this one on the head and today we see the lump that formed on this head after he had been hit. - Reg Sambo
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Stories from Ngarluma Country In the Ngarluma language we call the Bloodwood tree, a Barlgarringu tree, this produces a crystallized red sap, it forms crystals which you can see where the old parts have been weeping, and it’s blood red. It comes out of the little holes and produces a beautiful red medicine. When it’s weeping a big glob sits there and when you take it out,
Barlgarringu
it’s really soft and then the more you remove the more it bleeds and it can go on and on. Sometimes you can get big globs of crystal that sit on there, you pull it out and put it in the mug, it’s used as bush medicine and
It makes your spirit feel free in the Country, you feel good. We only got Country left now. Only got this land left for our generations and our families, that’s all we got, land. We are the caretakers of this land.
it’s very bitter. You only need a little bit and people put it in boiling water, let it cool then they drink it. A lot of local people are always out looking for it. - Jill Churnside
Pansy Hicks
Keith Churnside collecting bush medicine from the Barlgarringu tree
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Ernest Lund, Pearling luggers off Roebourne, 1911. Photograph courtesy of State Library of Western Australia
Cossack, Alistair Paterson Head, School of Social Sciences, University of Western Australia
Bajinhurrba
The Ngarluma name for Cossack is Bajinhurrba. This is an old ghost town and in its heyday was a big busy pearling port. There were pearling luggers in the creek, and the white pearlers used Aboriginal people as slave labourers for diving. Records say that men, women and even children as young as ten, were used for diving down and collecting pearl shells. Ngarluma culture values pearl shell as significant ceremonial items that hold sacred exclusivity to men. Hence, placing Ngarluma women and children in constant contact with pearl shells continuously broke cultural and gender taboos. There was a large Asian population here, and as you wander along in different parts of Cossack there are remnants of blue and white pottery that they brought with them when they came on the luggers. It’s also been a very popular spot for archaeologist and anthropologists. For Ngarluma people and many of the other Indigenous people we gather here and do our fishing, swimming and fossicking, catching our food. - Jill Churnside.
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Aboriginal prisoners outside Roebourne Gaol, 1896
Historic Photographs Cossack, courtesy of Hon. Peter Dowding
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Daryl Jones, Cossack, Oz Aerial Photography, 2008
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Bunjina
Me and my brother put this house up, more than 40 years ago, I think. I used to live here when I was a young man, with our parents, working on the station. My Mum and Dad used to sleep on tin beds, and my brother. We built this little house ourselves, with bits of iron tin from here and there. We got some of the tin in the roof from the other house; we chopped the trees around here with an axe and made them into posts. There were some bits that were only tied with a wire, no nuts and bolts. It’s strong and still standing today. It got a bit hot here during the summer with no windows, but it kept us dry when the cyclones came. We was quite happy, quite satisfied, couldn’t ask for more than that I guess since we built this with our own bare hands. I think our boss was too mean to give us something decent. I haven’t been back here since the 1960s. The old house is still standing today. - Reg Sambo
Reg Sambo at his old house, Bunjina
Bunjina
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Buriyamangga
Aboriginal people call this place, Buriyamangga (Red Rock) Pool, which is on the Maitland River. When I was young we would come here from Cherreta Station where I was stopping. Violet and me we used to come to the river. We used to walk from Cherreta Station to here, do some swimming, fishing have some lunch and go back in the afternoon then go back to Cherreta. - Pansy Hicks
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Daryl Jones, Cape Lambert, Oz Aerial Photography, 2012
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Cooya Pooya Station
Me and my husband used to stop in this house here on Cooya Pooya Station, he used to go mustering and I used to be here. I used to go fishing down at the river, come back with a fish and cook it up. My husband would come back late and I was doing the cooking here, you know. This was a sheep station, my husband and Betty’s husband used to go mustering with the sheeps, all the old fellas were here too and would come back in the afternoon. Our station manager was Bruce Patterson. We used to go to town and come back on the weekends, come back to here then. Those good old days, there was no alcohol in town, we’d just go meet our families and see our families. He was here for three or four years working. This is Ngarluma land too, dam is Ngarluma land. We got to come and see it back again. – Pansy Hicks
Pansy Hicks at Cooya Pooya Station
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Gurnabuga As a kid I’d come here to Gurnabuga Pool,
When I was growing up people used to live
which is on the Harding River with my
other side, where the hills are, old reserve
grandfather, we’d come with them to
was just starting and there were only a few
have lunch, and dinner. They used to cut
houses in the old reserve. People used to live
boomerangs, and spears from the trees. My
here as well, probably from the station areas,
grandfather would climb up the trees, get all
when there were no more jobs for them on
the bardi grub, then he used to sing out to me,
the station. They got moved from the station
come here grandson and he’d chuck it down
to two mile or ended up here, Ngarluma and
to us, we’d catch it in the billy can or our hats.
Yindjibarndi people. When I was going to
Then he’d say watch this and it would go
school, we used to come out here hunting. The
straight down the hatch, live, still kicking. He’d
old people used to know when this water was
bite the bottom off and chuck the head away. –
drying up. I remember one time we came with
Keith Churnside
two old fellas from the old reserve, they shot a small kangaroo and they tell us, you cook
When I was young I used to walk from the old reserve to here with the other girls, we used to come swimming, have a dinner here, and when its 3pm go back to old reserve again. Pansy Hicks
the kangaroo. Then, they went further up to the next pool and wait for the emus up there. Shot the emus further up at that pool, and they came back, carrying the emu on their shoulder. – Reg Sambo
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Inthanoona Station
Inthanoona was a pastoral station which
Pooya, Mount Fisher, Old Sherlock, Andover,
has an assemblage of more than 250 rock
Tambrey and Mount Welcome. The stations
engravings. These include images of clothed
were mainly in Ngarluma country, as well
men and women, guns, horses, sheep, wheeled
as Jaburrara, Kariyarra, Yindjibarndi and
vehicles, houses and ships. These engravings
Marthuthunira land. All were established as
were used by people of the Pilbara during
sheep stations. The settler invasion of north-
the early phases of contact to represent
west Western Australia followed quickly
aspects of the frontier. Rock engraving in the Pilbara region was an integral part of tradition. Ngarluma country has an immense
on the heels of the explorations of Francis Gregory; early station homesteads were nodes of settler activity.
wealth of rock engravings depicting animals, human figures, tracks and implements. Some engravings were renewed as part of rituals, and it is clear that engravings are the physical symbols of cultural practice.
Reference: Alistair Paterson and Andrew Wilson, Indigenous perceptions of contact at Inthanoona, Northwest Western Australia Archaeology, School of Social and Cultural
These engraving sites exist on the stations of
Studies, University of Western Australia,
Inthanoona, Old Woodbrook, Spring, Cooya
Crawley. All photographs courtesy, Alistair Paterson Head, School of Social Sciences, University of Western Australia
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Freshwater meets Saltwater
This waterhole runs from Balla Balla Creek, it
All the year round is fresh water. Kangaroos
There is the date palm which the Afghan
flows from Whim Creek. There is fresh water
and animal come here. There are galhuburlu
cameleers grew, after eating a date they would
on one side and other side of the limestone
(bullfrog) a big source of energy food which
put it in the ground and you can see how they
ridge is saltwater. We used to come and camp
come out after the rain, you hear him croaking
grow all over the country where they travelled
here as children with our parents and mali
in the mud, just dig it up and put him in the
on their camels. - Keith Churnside
used to bring me here, we’d camp and catch
bucket. We’d go and make a fire, chuck the
fish on the ocean side. Now there are a lot of
galhuburlu on the fire. Eat the galhuburlu, it
caravans here and they have water pumping
tastes like a cross between mutton and pig.
into their caravans.
Ernest Lund, A camel train leaving Roebourne to bring copper ore from Croydon, 1911, Courtesy of State Library of Western Australia
Keith Churnside at the waterhole near Balla Balla Creek.
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Mirrganhuna
This hill is called Mirrganhuna. Old people told us a story about this hill, a man stole a woman from Balla Balla, they came this way and hid here, the other man was looking for his wife, he found them hiding away there, this was a long time ago and these men had maban (magic). So he found them hiding there. He grabbed his boomerang and threw it. The other man saw the boomerang coming. He deflected the boomerang with his shield and the boomerang hit the side of the hill. The boomerang hit the hill and carved the side. Frank Smith
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Nganyinbuga Pool When this waterhole has dried up, kangaroos still come here and dig the moist soil but they can’t get too far with their little hands, so me and my old hunting friend have come here many times and used a little shovel to dig up enough water for them. This water will fill up when the next cyclone comes or the next storm and then this waterhole will fill up with clean, clear crystal water. - Keith Churnside
Keith Churnside at Nganyinbuga Pool
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Nyana Pool I used to come here, to Nyana Pool, when I was a child. This place has changed now. There’s not a lot of water now. It’s like a spring country with the paperbark and cork bark trees and reeds growing in this spring country and water. This is a good place for kangaroos in summer time; it’s nice and shady in the water, a good place for dinner or a picnic, or catching fishes. We catch just about all those freshwater, and river fish here. That paperbark we use as an antiseptic medicine, for swelling and bruises. - Ricky Smith
Ricky Smith at Pyramid Station
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Purple Murla Murla
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Development Tabi in Karierra/Ngarluma by Tjabi magardu pannegu warngagu jurdujurdumalgu railwayline waranba narrii, pilamanula Pilbara Marndanullangana narrii, pilamanula turulgatirrijaba jurlga tumbu manarralaba walanmalgu Karrgarrninu
There he sits, bald as an egg And he wants to tell us That railway tracks will criss cross the desert, the liar! They’d even cross the Pilbara, near Warden’s Pool. So he lies, the idiot! Sand is all he’ll find up here To wipe his arse with,the big shot from Perth.
Daryl Jones, Baynton West, Oz Aerial Photography, 2012
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When I was nine years old, my father allowed me to be fostered by an Asian couple who lived in Roebourne. I called my foster father Uncle Tommy and my foster mother Aunty Lulu. He was a butcher and also the town baker. Uncle Tommy was Chinese and she was Japanese.
Yee Palk General Store, 1961 - 69, John K. Ewers, Courtesy State Library of Western Australia
Stories from Roebourne Roebourne was settled in 1866, and is the
in the sky; the Ngarluma Warlu was pushed
oldest town along the Western Australian
back out to the sea, the Yindjibarndi people
coastline north of Geraldton. Aboriginal
were allowed to stay on Ngarluma land. The
people refer to Roebourne as Yirramagadu.
reserve was closed in 1975. Today, Roebourne
Following the 1968–69 introduction of equal
is predominantly an Aboriginal town with
wages for Aboriginal pastoral workers there
a mix of Ngarluma, Yindjibarndi, Gurrama
was an exodus from the stations where people
and Banjima people living here. Literacy and
had lived and worked into the Roebourne
numeracy levels are low, hindering access
Native Reserve. This was reported to be the
to the limited employment opportunities
largest reserve in Western Australia. Along
available in the nearby larger towns.
with Ngarluma people dispossessed from
Ngarluma people also live in Wickham and
their lands were Yindjibarndi people who were
Karratha.
also displaced. When the Yindjibarndi people came onto Ngarluma Country, the Seaside
My fondest memories were of coming home from school at lunchtime and seeing a hundred loaves of bread coming out of an old style wood oven. My treat for lunch was a slice of freshly baked bread, spread with treacle on top. As a child I remember a number of Chinese people living in Roebourne, old Freddy Yee Palk who owned the General Store and lived across the road from us, frequently came to dinner at our place. There were other Chinese shopkeepers who lived in Roebourne too. Jill Churnside
Warlu that belongs to the Ngarluma got angry and arose into the sky to drive the strangers away. As the Yindjibarndi people feared for their lives they called out to their own Warlu
Stuart Gore, Washing clothes in the river, Roebourne, 1948, Courtesy of State Library of Western Australia
This place [Roebourne] is before Karratha,
I am always there to help anyone in this
before Dampier, we came before the mining
community, even with a little bit of bread or
company came. First town and so we still
meat or something. The door is always open
struggle here, the things that we want to
in my home for anyone. - Violet Samson
achieve out here you know. [We need] better place to live in, better homes, ... takes time,
that’s other side of Mallina, the old road going
time, time to fix it.
to Yandeyarra. My father’s country is Whim I was born in Cherrata Station in 1948, I had
Creek, Mum’s from Shaddock Station, she
seven kids, I only got four left, three passed
born there. I grew up in Cheeritha Station.
away. When I was six or seven years of age
I was about 14 when my mother had her
we moved into town, because Mum passed
last child and after she had a baby we lost
away I went to school in the Old Court House.
her and we were stuck with my Aunty. We
The old people used to take us fishing at the
lived in the old reserve. When I went to
Harding River from the old reserve with a
school, I had a job at Tom Lee’s, working in
net. We used to get a lot of fish. That is how
the shop, pulling all the bread out from the
we used to survive when we were down the
oven - before working there I was at Mount
old reserve. We would get bags and bags and
Welcome Station, me and my sister Violet,
go and feed the community and the people
wash the dishes, sweep the floor. These days
at the old reserve. It’s a good little town
in Roebourne we’ve got a swimming pool,
to live always; everyone knows the family,
new houses, but we need a new shop, and we
wherever grandchildren are, families looking
need more houses. - Pansy Hicks
after them. Old people were really caring
to save them. The two snakes fought a battle
sharing people. They left that value with me.
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I was born around 1943 at Mount Cedric,
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Keith Churnside near ‘Stone Hut’
Pansy Hicks and Vincent True on Yigagutharra
Stone Hut I’m told in the early days people used to live here and some Chinese tried to grow a vegetable garden
Yigagutharra
along the river, in those days many Chinese used to be working in the station as cooks and gardeners. They used to grow vegetable gardens wherever there was water and I believe many Aboriginal people The Aboriginal name for Pyramid Station is Yigagutharra. Many years ago there were stone
used to live here as well. - Reg Sambo
buildings along the bank of the river, when the people moved out, all the buildings got flattened out. I lived here as a kid and left to go to school. Come back, after I went to live and work in Croydon Station. This is where many people lived. My family used to work at the homestead we stopped further down towards Bunjina out camp, we used to work shearing time, bringing up sheep up from Bunjina out camp to here, they would get shorn in the wool shed. During shearing time we used to have two or three thousand sheep here, you can imagine all the dust we used to get from here down to the camp, but we managed somehow. They’ve only got a couple of round roofed buildings here now. During a big rain or cyclone time, the river used to come right up to the houses where we were staying. I used to like it here. - Reg Sambo
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Distaff by Bob Churnside, Ngaluma and Niabai languages, Roebourne, Pilbara WA. Wood composite and human hair string, 48.3 x 10 x 12.7 cm. G.C. von Brandenstein Collection, 1964. Berndt Museum, UWA [WU1655]
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Walina
Walina is another pool of the Maitland River. There are memories of my father, mother - everyone have a dinner in this river now. We used to come here, with aunties and uncles, happy times, swim in the river, fish, cook the fish. Go back to swimming again, have a little bit of a rest in this river. Go swimming again, it was during the hot, hot days, summer time. - Pansy Hicks
Cherreta Pool Cherreta Pool is on the Maitland. We used to come here when we was young, with the old people. There was a watermelon patch which was there, we used to come here and get some watermelons. The old people chuck some seed
Pansy Hicks at Cherreta Pool
when they see the clouds, when the rain come down it make the plant grow up, and there are many, many watermelons then. When the river is running everyone come here, camp, other river, this is a good place, there is a lot of water in this river. We caught some fish here, big ones, over where the rocks are, we used to go there fishing, get plenty of them. Come Pansy Hicks and Keith Churnside at Walina
back and cook it, we come here now; my sons take me down there to where the big gum trees are. - Pansy Hicks
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Yirragudji Thalu
We have a Thunderstorm thalu (increase site). To make this work, the old people used to come and bring water in a billy can, when you come to this site, you bring water and wet it, then tell the thalu in Ngarluma language where you want the rain to go to. Old people take the rock and rub them together. If you rub them too much, you’ll get big lightning. Some old people come with a spear and talk to the site. They would poke the ground next to the site. If you throw the spear too hard, a big lightning will come. They came with a grader here once and the site was damaged by a grader, it flattened it and the rocks got pushed back. Luckily, the old people were here to stop them and they repaired the site. Frank Smith
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Encountering Cultures The black and white photographs are by
town of Bajinhurrba more commonly known
From here, we travelled to the Burrup
the Indian photographer, Sohrab Hura who
as Cossack. Established in 1872, this town is
Peninsula, thought to have the largest
traveled to the Pilbara for the first time as
at the mouth of the Harding River. Cossack
concentration of rock art in the world,
part of an international residency in 2012.
was for many decades a hub of the West
estimated at perhaps a million petroglyphs. It
Australian pearling industry, a small but
is also the site of the Flying Foam Massacre,
bustling port, before it was abandoned in
which is a subject that Jill grapples with in
the 1940s. There is a lookout in Cossack
her paintings. The plaque on the site reads
from where you can see Settlers Beach,
‘Hereabouts in February 1868, a party of
Jarman Island, and the distant port. There
settlers from Roebourne shot and killed as
are iron ore ships on the horizon and the red
many as 60 Yapurarra people in response to
brick and white mortar historic buildings
the killing of a European policeman in Nickol
where river meets the sea. A cemetery with
Bay. This incident has become known as the
the headstones of Japanese and European
Flying Foam Massacre.’ This is a symbol of
settlers, are mostly young men and it
Aboriginal cultural heritage as well as an
suggests how tough and dangerous life would
ongoing site of contestation. The sun was
have been in Cossack and the surrounding
setting and kangaroos were bounding by, the
area. With the heat of the sun and the brutal
gas hub was in the background and the noise
wind, you feel what it may have been like to
of industry could be heard. The complicated
Diary Notes from Ngarluma Country, R.D. Wood reflects on a Pilbara experience with Ngarluma people.
September 28th, 2012 We landed in Karratha Airport at 10:30 am, arriving for a trip to Thalayindi (Croydon Station) and to film the artist, Jill Churnside and her family members as they returned to Country. It was balmy and warm, the sky was impossibly blue and the land was flat, red and dry with yellow Spinifex dotted throughout, with boulders and hills like a Wild West film. There were markings of
arrive in the frontier land.
legacy of colonial interactions remains present at the Burrup.
towards the North-East for Pyramid Station, and although this is relatively close to Roebourne, it feels remote and there is a
I haven’t bought meat from a super market for five years, I just eat kangaroo.
industry nearby, but these were dwarfed by
After Cossack we returned to Roebourne,
the expanse of natural space. From Karratha
Jill and Jeannie explained this was named
we drove to Roebourne where we met with
after John Septimus Roe. Roebourne was
the artist, Jill Churnside. With enthusiasm,
a gold rush town that was once the largest
Although we had intentions to leave early,
which we put it in the back of the car. By
settlement between Perth and Darwin.
there were delays because of a funeral in
early afternoon we had arrived at Kangan.
It includes historic buildings such as a
water and what they hunted. Station life was
operation – deft sharp movements misted
town. We left at 11am after collecting Jill
It is a beautiful deep cool pool with a rich
homestead, gaol with court and a reserve
reminiscent of a slower, fuller life. To be back
slightly by the heat coming from the freshly
Churnside, Jeannie Churnside, Rebecca
ecosystem of catfish, mangrove jack and
on country was an emotional experience for
killed kangaroo.
that was across the other side of the Harding
Churnside, Keith Churnside and Jim
barramundi; visited by kangaroos, dingoes
everyone and Jim repeated how the sound of
River; at sunset Aboriginal people had to be
Fredericks; the cars were loaded up with
and many types of birds. We set up camp
no cars was beautiful.
back at the old reserve.
swags, ice, supplies and a rifle. We set out
– billy tea and roo stew – and caught two
Jill mapped the next two days and described heading out to her family’s traditional country on Croydon Station; it was clear that for her returning to Country was about reconnection and renewal. Our first stop for filming was the coastal
September 29th
sense of risk attached to travelling this way. We made steady progress to Kangan Pool on
Keith Churnside
Pyramid Station, where Keith shot a kangaroo
oven. With a damper in a small one and
drove to the flats and set up camp, swags
potatoes roasted in foil, we sat round the fire
Later in the afternoon we set off for
rolled out on the red dust, cars parked at
and swapped stories. The jinda (coals) were
Thalayindi (Croydon Station). We stopped
angle to shade us when we woke up, fold out
doing their work, the meat tasted rich and
at a working homestead where there were
chairs round the fire. We collected firewood,
lean – it was gamey but tender and there was
chickens in the yard and a large vegetable
trying to avoid the splinters and shards that
plenty of it. With full bellies we climbed into
garden. Here we interviewed Jeanie, Rebecca,
stuck out from the Snakewood branches.
our swags and drifted off to sleep.
Keith and Jim about the station and their memories; they touched on mustering, childhood, station life, songs and dancing. The musterers would go out bush for two to three months at a time, living on flour and
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guts before placing both in a large camp
With the sun down and the moon rising we
catfish.
The Hunter, Sohrab Huram 2012
Keith chopped up the meat and washed the
Keith went out hunting and came back with another kangaroo tied to the front of his bullbar. He strung it up from a branch in a tree and skinned and butchered it. It was a skilled
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Acknowledgements Throughout the map and the catalogue you will see four icons, these relate to different categories on Ngarluma country.
FORM gratefully acknowledges the
Thank you to Anthropos Australis for the
contribution and support of the following
in-kind contributions to the Ngarluma field
Ngarluma Ngurra partners and individuals:
trip. In particular, we are grateful for the
Principal partner, Ngarluma Tharndu Karrungu Maya Limited and the Ngarluma Aboriginal Corporation. Andrew Dowding who conceptualized and created the map in collaboration with FORM. The Ngarluma elders who have participated waterholes
vision and support of the Board of Directors and Staff at the Ngarluma Tharndu Karrungu Maya Limited and the Ngarluma Aboriginal Corporation. Published by FORM ISBN: 978-0-9872624-6-2
in, and encouraged this project: Pansy Hicks,
Written by Sharmila Wood
Reg Sambo, Keith Churnside, Jim Fredericks,
Curator Sharmila Wood
Jill Churnside, Jeannie Churnside, Rebecca
historic site
Churnside, Violet Samson, Vincent True,
Edited by Andrew Dowding,
Frank Smith, David Walker and Ricky Smith.
Sharmila Wood & Travis Kelleher
The Google Earth Outreach Team; Rebecca
Designed by Rodrigo Cassini
Moore, Founder & Manager; Allison Lieber,
Folklore Brand Storytelling
Program Manager and Raeleigh Seamster, Program Manager. The State Library of Western Australia; The University of Western Australia Berndt Museum of Anthropology and the assistance of Kelly Rowe, Assistant Curator (Collections) in working with FORM to loan objects from the collection, and Professor Alistair Paterson,
bush tucker
Head of School of Social Sciences University of Western Australia for his contributions to
FORM - Building a state of creativity
the exhibition and catalogue.
357 Murray Street Perth, Western Australia, 6000
The talented team who contributed to this
cultural site
project: writer and historian, R.D. Wood; Sam
T +61 89226 2799
Field & Alice Ross, Glare Productions; Andrew
F + 61 89226 2250
Dowding, Anthropologist from Tarruru, and
mail@form.net.au
David Tryse, Google Earth Developer.
www.form.net.au
Earth Outreach
FORM is supported by the Visual Arts and Crafts Strategy, an initiative of the Australian State and Territory Governments. FORM is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
Bidarra (White Cockatoos) in ight, Sharmila Wood 2013
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www.form.net.au
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