Waru (Fire)

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Martumili Artists & Kanyirninpa Jukurrpa Artists and rangers collaborate on Country to share knowledge, stories and artworks about waru (fire).

Martu have harnessed the power of waru in various forms as an integral cultural and functional practice for thousands of years. A tool for hunting, signalling and land management- knowledge of waru has been passed down through generations, and is still used for all these things today. Focused around a bush camp held in 2021, Martumili Artists and KJ rangers have collaborated on a body of creative and cultural works that explore and demonstrate the importance of waru for Martu- with programmed activities directly contributing to the continuing intergenerational transfer of Traditional and Ecological Knowledge (TEK), and with an exhibition showcasing the ongoing work of Martu in caring for ngurra (Country).

The Waru exhibition is the first part in a collaborative series of Martu-led workshops, camps and exhibits delivered by Martumili and KJ that foster opportunities for Martu led intergenerational learning, and showcase the ways in which both ranger and artistic work is embedded in maintaining Warrarnku Ninti (knowledge of Country).

For sales and enquiries contact mmasales@eatpilbara.wa.gov.au, or visit the website Martumili.com.au

Martumili Artists and Kanyirninpa Jukurrpa gratefully acknowledge principal partner BHP. The Waru | Warrarnku Ninti project has been supported by the Department of Local Government, Sport and Cultural Industry through the Future Focus funding program.

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Corban Clause Williams Kaalpa (Canning Stock Route Well 23)

Pauline Williams Kunawarritji Rockholes

#21-252 acrylic on linen, 91 x 122 cm

#21-250 acrylic on linen, 91 x 122 cm

$3,330

$2,000

WARU [FIRE]

Corban Clause Williams Kaalpa (Canning Stock Route Well 23)

Pauline Williams Kunawarritji Rockholes

#21-252 acrylic on linen, 91 x 122 cm

#21-250 acrylic on linen, 91 x 122 cm

$3,330

$2,000

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LAND MANAGEMENT Equally significant to the use of waru (fire) as an integral hunting aid is its engagement in the maintenance and care of Warrarn (Country). Specifically, fire burning is practiced in small, controlled areas during cooler weather to reduce the risk of unmanageable, spontaneous bush fires. As can be imagined, the often harsh, arid nature of the Martu lands of central and north Western Australia necessitated such caution. At the same time, however, and in a remarkably fine balance, Martu have harnessed the potential of waru in such a way that the destructive potential power of fire is contained while the regenerative nature of fire is encouraged, thus optimising diverse habitats for plant and animal species alike.

Providing diverse regenerating habitats Over thousands of years, as Martu travelled and hunted on foot they would burn tracts of land, not only for hunting, but also to encourage regenerative growth, and to increase plant and animal biodiversity. Some plant species in particular require fire burning followed by rains in the months preceding their growth. Wamurla (bush tomatoes) and jinyjiwirrily (wild gooseberry, or desert raisin), both small prickly shrubs that produce spherical yellow bush fruits, are two such plants.

Whilst fire burning practices have modernised in recent times, with Martu burning areas close to Aboriginal communities and along roads, or else further afield using helicopters and 4WDs with Indigenous ranger group Karnyirninpa Jukurrpa (KJ), the same land management objectives are met as those during pujiman (traditional, desert dwelling) times.

This is the waru-waru (green shoots and young plants), the yukuri (green grass, vegetation) warta (vegetation, tree). After the waru (fire) the mirrka (vegetable food) grows up. After the burning you get all the animals coming to that place.

- Ngamaru Bidu

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Corban Clause Williams Kaalpa (Canning Stock Route Well 23)

Pauline Williams Kunawarritji Rockholes

#21-252 acrylic on linen, 91 x 122 cm

#21-250 acrylic on linen, 91 x 122 cm

$3,330

$2,000

Ngamaru Bidu Waru (Fire)

Muuki Taylor Kulyakartu

#21-249 acrylic on linen, 91 x 122 cm

#21-250 acrylic on linen, 91 x 122 cm

$3,885

$3,885

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Judith Anya Samson Emu Tracks to Puntawarri #21-86-3 print, 90cm x 90cm $2,775

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Wilson Mandijalu Kulyakartu Tuwa (Sandhills)

Wilson Mandijalu Kulyakartu Tuwa (Sandhills)

#22-405 acrylic on canvas, 61 x 91 cm

#22-408 acrylic on canvas, 61 x 91 cm

$1,100

$1,100

Brett Bidu Pitu

Brett Bidu Pitu

#22-469 acrylic on canvas, 61 x 91 cm

#22-494 acrylic on canvas, 61 x 91 cm

$1,000

$1,000

HUNTING/ TRACKING Whilst desert life has moved away from mobile hunter-gatherer subsistence throughout the course of the twentieth century, bush tucker continues to be a significant component of the modern Martu diet, ensuring the continued relevance of hunting and tracking skills.

Targeted waru is an important tool in animal hunting and tracking, with fire burning continuing to be practiced for the same objectives today.

Directing game As a means of purposefully, and often even directionally driving game from their habitats, waru is exceptionally effective. For example, one of most highly prized and largest of the species forming part of the Martu diet, marlu (kangaroo) are first typically directed via fire, and then tracked through newly cleared terrain.

Clearing vegetation to expose burrows and tracks Targeted waru clears vegetation and exposes burrows of underground dwellers such as parnajarrpa (sand goanna) and lungkurta (blue tongue lizard). Jina (tracks, footprints) also become more readily visible in the exposed sands of early growth lands, such as nyurnma (freshly burnt Country) and waruwaru (growth of new shoots and young plants).

Game attracted to burn areas Waru is not only an effective aid in hunting immediately following target fire burning; it also increases the visitation of game to burnt areas in the months following the initial event. For example, kipara (Australian bustard, bush turkey) are known by Martu to be attracted to burn areas in the nyurnma (freshly burnt) and waru-waru (green shoots and young plants are sprouting from burnt areas) stages.

Food preparation/ cooking Once successfully hunted, game is typically singed and then cooked in a coal and ash bed. Many types of plant foods are also cooked in fire, either by necessity or as a means of improving taste.

Minyarra (bush onion), kalaru (Samphire, salt bush) and yuwinyji (Woolly Butt grass seed) – too much! You can grind the seed from those ones and put him in the waru (fire), make a damper. You can’t have him like that, raw one.

- Karnu (Kanu) Nancy Taylor (dec.)

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Judith Anya Samson Rabbit Proof Fence

Marlene Anderson Bush Tucker

#21-251 acrylic on linen, 91 x 122 cm

#22-596 acrylic on linen, 91 x 91 cm

$2,775

$1,160

Jenny Butt Linyji (claypan)

Cyril Whyoulter Linyji (claypan)

#21-324 acrylic on canvas, 46 x 61 cm

#22-345 acrylic on linen, 46 x 61 cm

$450

$700

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Raylene Butt Waru camp (2021) #22-527 acrylic on linen, 91cm x 91cm $1,160

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Marianne Burton Punmu waterholes #21-1107 acrylic on canvas, 36 x 46cm $415

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COMMUNICATION During the pujiman era, families would typically travel together for a time before arranging to meet further along at another camp site. When they arrived at the meeting place, they would light a large waru so that the others would know where they were.

We used to see the fires the pujiman (traditional, desert dwellers) had lit, left as messages.

People would light a fire and leave it burning so other Martu could see it [and say] “Martu are burning there.” We would meet up with them then.

- Minyawe Miller as translated by Kanyirninpa Jukurrpa

Wokka been grow up in Kulyakartu and Kirriwirri side, his countryside. When he come down looking for people [at the close of the traditional nomadic era, when most of the Martu had moved to stations and missions], he come down Karlamilyi side. He came with his family. That time everybody all gone, only us living in the desert. He found us with a waru (campfire). Light him up waru, [and it’s] just like a telephone. You see the smoke, know somebody there.

- Karnu (Kanu) Nancy Taylor (dec.)

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Nancy Nyanjilpayi Pilankujarra

Minyawe Miller Untitled

#21-300 acrylic on canvas, 46 x 76 cm

#20-449 acrylic on linen, 46 x 76 cm

$4,225

$1,400

Lucinda Burton Punmu

Thelma Dundan Ngarga Judson Untitled

#22-478 acrylic on canvas, 91 x 91 cm

#22-465 acrylic on canvas, 61 x 91 cm

$1,160

$1,665

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May Mayiwalku (May Wokka) Chapman Untitled #21-885 acrylic on canvas, 76 x 122cm $3,245

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Ngamaru Bidu Untitled #21-886 acrylic on canvas, 76 x 122cm $3,245

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WARMTH / SHELTER/ TOGETHERNESS Parallel to the pragmatic function of waru in hunting and land management is its capacity to elicit human comfort through the warmth and light it generates. Less tangible is the soothing, mesmerising quality of the flames of a fire, working multiplicity to bring people together and encourage culturally significant storytelling and dance performance.

We travelled all around as pujiman (traditional, desert dweller), camping and then setting off again by foot. We didn’t get tired. We just kept on going. Sometimes it would rain, so we would build a shelter, just like a tent. Inside we would light a fire. Our pujiman lifestyle was very healthy and we didn’t get sick very often. Even when it was cold we continued to walk around in good health.

- Nyanjilpayi (Ngarnjapayi) Nancy Chapman as translated by Kanyirninpa Jukurrpa

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Judith Anya Samson Waru (fire)

Marlene Anderson Waru (fire)

#22-520 acrylic on canvas, 61 x 91 cm

#22-375 acrylic on canvas, 61 x 91 cm

$1,390

$775

Montana Clause Waru (fire)

Robina Clause Waru (fire)

#22-482 acrylic on canvas, 46 x 61 cm

#22-559 acrylic on canvas, 46 x 61 cm

$395

$395

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Jenny Butt Waru (fire) #21-224 acrylic on canvas, 36 x 46 cm $265

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Muuki Taylor Kulyakartu

Roxanne Newberry Ngurra (home country, camp)

#20-149 acrylic on canvas, 61 x 91 cm

#22-151 acrylic on canvas, 61 x 91 cm

$1,945

$1,000

JUKURRPA Jukurrpa narratives continue to be passed through family as they sit down together around waru. The term Jukurrpa is often translated in English as the ‘dreaming’, or ‘dreamtime’.

It refers generally to the period in which the world was created by ancestral beings, who assumed both human and nonhuman forms. These beings shaped what had been a formless landscape; creating waters, plants, animals, and people. At the same time they provided cultural protocols for the people they created, as well as rules for interacting with the natural environment. At their journey’s end, the ancestral beings transformed themselves into important waters, hills, rocks, and even constellations. Jukurrpa narratives contain significant references to waru, including the chronicling of humans being taught how to make fire by the Wati Kujarra (Two Goanna Men).

In the Jukurrpa (Dreamtime) the Warnman people caught two big jila (snakes). While they were sitting down around the waru (fire) getting ready to cook the jila, the bird kirrki (hawk) was sitting in the tree watching. He was calling out ‘Burn them, burn them!’. When the Warnman people were cutting open the jila his guts bust and his hot kumpu (urine) and jinyji (fat) burnt them all. When they got burnt they all turned into rocks. You can still see those Warnman people out on the lake on here [at Tarl].

-Wurta Amy French

Jila Kujarra (Two Snakes) is one of the key Jukurrpa narratives for the Martu. Though the story belongs to Warnman people, it is shared across the Western Desert with several other language groups. The narrative centres on the travels of two snakes as they are pursued by the Niminjarra, spiritual ancestors of the Warnman people. When the Niminjarra eventually caught the Jila Kujarra, they made a fire and cooked the snakes at the site of Kumpupirntily (Lake Disappointment).

This is Taparl-taparl soak. The story is about an eagle who had two wives. He became jealous and he built the biggest fire. He put more and more wood on the fire until it was really enormous. The eagle turned into a rock, a black rock. One day I might show you this place, it’s really nice, you can clearly see the eagle in the rock, you can see the story.

Right next to the fire, the eagle’s two wives were fighting. The older wife was fighting the younger one and she fell into the fire and was burnt up. The eagle left with the younger wife. That was Taparl-taparl wanti (woman).

- Yikartu Bumba, as translated by Ngalangka Nola Taylor

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Bugai Whyoulter Wantili (Warntili, Canning Stock Route Well 25)

Kumpaya Girgirba Kunawarritji, Kinyu, Kirtipirli, My Country

#19-594 acrylic on linen, 76 x 152 cm

$3,330

#21-314 acrylic on linen, 91 x 121 cm

$4,600

Gladys Kuru Bidu Wantili (Warntili, Canning Stock Route Well 25) #21-1011 acrylic on canvas, 76 x 121 cm $1,670

Marianne Burton Wirlarra #22-595 acrylic on linen, 91 x 122 cm $2,775

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May Mayiwalku (May Wokka) Untitled #21-864 acrylic on canvas, 76cm x 122cm $4,045

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WARU - LIFE CYCLE Following controlled fire burning, a defined mosaic fire scar pattern emerges in the land, across tali (sand dunes), linyji (clay pans), parulyukurru (spinifex country) and pila (sandy plains). This patterning is clearly visible from an aerial perspective, and becomes even more defined as new growth emerges.

The patchwork nature of regrowth is aligned with the Martu cycle of burning and regrowth and its five distinct phases. First is nyurnma, followed after the rains by waru-waru, when young, bright green plants start to grow. As described in Ngamaru’s account, the presence of jurnpa (ashes) during this stage assists with subsequent regrowth. Nyukura occurs between one and three years after burning, when plants have matured and are fruiting and seeding. Manguu is four to six years post burning, when spinifex has matured to the point that it can be burned once again.

Finally, kunarka signifies the time when spinifex and other plant species have become old growth, and pose a risk of destructive bushfires.

The patchwork nature of regrowth is evident in many landscape works, with each of the five distinctive phases of fire burning visually described with respect to the cycle of burning and regrowth.

After the waru (fire) the wiliny (wind) comes through and blows all the jurnpa (ashes). The rain comes and makes it wet. Jurnpa everywhere, ready for yukuri (green grass, vegetation).

- Ngamaru Bidu

The Country is always changing. One day you might see one kind of flower and the next day they are gone; they have given way to a new kind of flower.

-Derrick Butt

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Curtis Taylor Waru (fire) #21-272, acrylic on linen 30cm x 30cm $360

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Minyawe Miller Untitled

Nola Ngalangka Taylor Nyurnma

#20-490 acrylic on canvas, 61 x 91 cm

#21-326 acrylic on canvas, 36 x 76 cm

$2,495

$820

Derrick Butt Kulyakartu

Derrick Butt Kulyakartu

#21-316 acrylic on linen, 76 x 152 cm

#21-316 acrylic on linen, 76 x 152 cm

$2,540

$2,540

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Muuki Taylor Kulyakartu #21-313 acrylic on linen, 91 x 121cm $3,885

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Marita Lubin Punmu Waterholes #22-153 acrylic on linen, 61 x 91cm $775

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YOUTH - TRANSFERRAL OF TCEK

Our knowledge is ancient and has been passed on by our grandparents. Young people need to keep looking after it. Our home is where our ancestors walked around. They knew how to care for it. Now we are teaching the younger generation.

- Nyanjilpayi (Ngarnjapayi) Nancy Chapman as translated by Kanyirninpa Jukurrpa

It is of great significance to the creative output of Martumili Artists that some of the last of the remaining pujiman comprise a high portion of the core elders that paint with the group.

Through these elders critical Traditional Cultural and Ecological Knowledge (TCEK) has been, and continues to be passed on to younger Martu artists; knowledge from the pujiman era. At this time Martu traversed very large distances annually in small family groups, moving seasonally from water source to water source, and hunting and gathering bush tucker as they went.

Whilst desert life has moved away from mobile hunter-gatherer subsistence throughout the course of the twentieth century, all Martumili Artists, young and old, have regular experience in the practices that most closely approximate the pujiman lifestyle. Living between Newman and the remote Martu communities of Punmu, Parnngurr, Kunawarritji, Jigalong, Irrungadji (Nullagine) and Warralong, knowledge of Jukurrpa (Dreaming) narratives, kapi location and quality, and the medicinal properties of native plants, as well as the continued practices of hunting, gathering, and waru (fire) burning are all transferred to younger generations as integral components of everyday life.

In addition to strong cultural and social maintenance through life in Aboriginal communities, cultural knowledge is transferred through visual arts as practiced by Martumili Artists. Younger Martu artists typically begin painting with their parents, grandparents and extended family, thus fostering an organic process of learning, not only about painting techniques, but also specific locations, family histories, traditional ways of life, bush tucker and Jukurrpa.

Through the Waru (fire) camp of 2021, held collaboratively by Martumili Artists and Kanyirninpa Jukurrpa (KJ), traditional fire making techniques, applications and other interconnected knowledge were taught on Country to younger Martu by their elders.

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Raylene Butt Waru (fire) around Kapi (water)

Robina Clause Untitled

#21-226 acrylic on canvas, 36 x 46 cm

#21-227acrylic on canvas, 36 x 46 cm

$200

$230

Janita Kelly Kaalpa (Canning Stock Route Well 23)

Judith Anya Samson Puntawarri

#21-228 acrylic on canvas, 36 x 46 cm

#21-229 acrylic on linen, 36 x 46 cm

$200

$415

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Bianca Simpson Untitled #21-230 acrylic on canvas 36 x 46cm $330

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Corban Clause Williams Kaalpa (Canning Stock Route Well 23)

Danita Wise Untitled

#21-231 acrylic on canvas 30 x 44 cm

#21-918 acrylic on canvas, 46 x 76 cm

$495

$420

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Bianca Simpson Untitled #22-600-1/3 Digital Print on Cotton Rag, 40 x 60cm $200

Ignatius Paul Taylor No Cigarette Lighter #22-601-1/3 Digital Print on Cotton Rag, 40 x 60cm $200

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Janita Kelly Little Ranger #22-602-1/3 Digital Print on Cotton Rag, 40 x 60cm $200

Ignatius Paul Taylor Parnajarrpa (sand goanna) Ngurra #22-603-1/3 Digital Print on Cotton Rag, 40 x 60cm $200

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Curtis Taylor Untitled #22-604-1/3 Digital Print on Cotton Rag, 40 x 60cm $200

Bianca Simpson Nyurnma (Freshly Burnt Country) near Punmu (2018) #22-605-1/3 Digital Print on Cotton Rag, 40 x 60cm $200

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Janita Kelly Waru (fire) #22-606-1/3 Digital Print on Cotton Rag, 40 x 60cm $200

Bianca Simpson Untitled #22-607-1/3 Digital Print on Cotton Rag, 40 x 60cm $200

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Tamisha Williams Waru (fire) #22-608-1/3 Digital Print on Cotton Rag, 40 x 60cm $200

Tamisha Williams Waru (fire) #22-609-1/3 Digital Print on Cotton Rag, 40 x 60cm $200

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Sylvia Wilson Untitled #22-610-1/3 Digital Print on Cotton Rag, 60 x 40cm $200

Ignatius Paul Taylor No Cigarette Lighter #22-612-1/3 Digital Print on Cotton Rag, 40 x 60cm $200

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REDUCING RISK OF LARGE FIRES In what is increasingly understood to be an incredibly effective land management strategy, the practice of controlled, small scale fire burning during cooler months produces a fine scale mosaic of differing vegetation types and fuel ages. The result is a dramatic reduction in the likelihood of intense, spontaneous, and unmanageable bushfires.

Wokka Taylor (dec) described an uncontrolled bush fire near Punmu Aboriginal community that was started by lightning in 2019 to devastating effect;

Nyurnma (freshly burnt Country), burnt area north from Punmu [in] sandhill Country. One big one, no yukuri (green grass, vegetation) left. Last year [2018], no rain yet. Big area. From lighting did it, it started that waru (fire). It kept burning from the westerly wind turning it kakarra (east) [moves hands around gesturing the fire moving around].

I went up in the helicopter from Punmu and saw that Country. [At] that time the waru finished. The country was clear- good for hunting, you can easily see the tracks. Plenty parnajarrpa (sand goanna) there, big one. Nyurnma only. But it was a no good feeling- really big one, out of control [The fire was burning a large area of Country and became out of control].

Long time ago in pujiman (traditional, desert dwelling) times same way- big fires would start from lighting.

- Wokka Taylor (dec.)

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Wokka Taylor Panngurr - Boy in troopie #21-627a acrylic on linen, 125cm x 300cm

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WARU WORD LIST Jina

Jukurrpa

(tracks, footprints)

Jurnpa

(ashes)

Kapi

(water)

Kunarka

(when spinifex and other plant species have become old growth, and pose a risk of destructive bushfires)

Linyji

(clay pans)

Manguu

(four-six years after burning, when spinifex has matured to the point that it can be burned once again)

Mirrka

(vegetable food)

Nyukura

(one-three years after burning, when plants have matured and are fruiting and seeding)

Nyurnma

(freshly burnt Country)

Parulyukurru

(spinifex country)

Pila

(sandy plains)

Pujiman

(traditional, desert dwelling)

Tali

(sand dunes)

Warrarn

(Country)

Warta

(vegetation, tree)

Waru-waru

(growth of new shoots and young plants)

Wiliny

(wind)

(dreaming)

For sales and enquiries contact mmasales@eatpilbara.wa.gov.au or visit the website martumili.com.au