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.
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 use d 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 im portance of waru for Martu- with programmed activities directly contributing to the continuing intergenerational transfer of Traditional and Ecological Knowledge (TEK), and with an exhibition showcasi ng 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 & Kanyirninpa Jukurrpa Artists and rangers collaborate on Country to share knowledge, stories and artworks about waru (fire).
3 Corban Clause Williams Kaalpa (Canning Stock Route Well 23) #21-252 acrylic on linen, 91 x 122 cm $ 3,330 Corban Clause Williams Kaalpa (Canning Stock Route Well 23) #21-252 acrylic on linen, 91 x 122 cm $ 3,330 Pauline Williams Kunawarritji Rockholes #21-250 acrylic on linen, 91 x 122 cm $2,000 Pauline Williams Kunawarritji Rockholes #21-250 acrylic on linen, 91 x 122 cm $2,000 W A R U [ F I R E ]
Whilst fire burning practices have modernised in recent times, w ith Martu burning areas close to Aboriginal communities and along roads, or else further afield u sing helicopters and 4WDs with Indigenous ranger group Karnyirninpa Jukurrpa (KJ), the same la nd 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 (vege table food) grows up. After the burning you get all the animals coming to that place.
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 burn ing followed by rains in the months preceding their growth. Wamurla (bush tomatoes) and jinyjiwirri ly (wild gooseberry, or desert raisin), both small prickly shrubs that produce spherical yellow bush fr uits, are two such plants.
Equally significant to the use of waru (fire) as an integral hunt ing aid is its engagement in the maintenance and care of Warrarn (Country). Specifically, fire bur ning is practiced in small, controlled areas during cooler weather to reduce the risk of un manageable, spontaneous bush fires. As can be imagined, the often harsh, arid nature of the M artu 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 natu re of fire is encouraged, thus optimising diverse habitats for plant and animal species alike.
- Ngamaru
LANDBidu MANAGEMENT
Providing diverse regenerating habitats
5 Pauline Williams Kunawarritji Rockholes #21-250 acrylic on linen, 91 x 122 cm $2,000 Muuki Taylor Kulyakartu #21-250 acrylic on linen, 91 x 122 cm $3,885 Corban Clause Williams Kaalpa (Canning Stock Route Well 23) #21-252 acrylic on linen, 91 x 122 cm $3,330 Ngamaru Bidu Waru (Fire) #21-249 acrylic on linen, 91 x 122 cm $3,885
Judith Anya Samson Emu Tracks to Puntawarri #21-86-3 print, 90cm x 90cm $2,775
7 Brett Bidu Pitu #22-469 acrylic on canvas, 61 x 91 cm $1,000 Brett Bidu Pitu #22-494 acrylic on canvas, 61 x 91 cm $1,000 Wilson Mandijalu Kulyakartu Tuwa (Sandhills) #22-405 acrylic on canvas, 61 x 91 cm $1,100 Wilson Mandijalu Kulyakartu Tuwa (Sandhills) #22-408 acrylic on canvas, 61 x 91 cm $1,100
Food preparation/ cooking
Game attracted to burn areas
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
Whilst desert life has moved away from mobile hunter-gatherer subsistence throughout the course of the twentieth century, bush tucker continues to b e 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 tracki ng, with fire burning continuing to be practiced for the same objectives today.
Directing game
Targeted waru clears vegetation and exposes burrows of undergro und 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 nyu rnma (freshly burnt Country) and waruwaru (growth of new shoots and young plants).
Waru is not only an effective aid in hunting immediately followi ng target fire burning; it also increases the visitation of game to burnt areas in the months following t he initial event. For example, kipara (Australian bustard, bush turkey) are known by Martu to be attr acted to burn areas in the nyurnma (freshly burnt) and waru-waru (green shoots and young plants ar e sprouting from burnt areas) stages.
Once successfully hunted, game is typically singed and then coo ked in a coal and ash bed. Many types of plant foods are also cooked in fire, either by necessity or a s a means of improving taste. Minyarra (bush onion), kalaru (Samphire, salt bush) and yuwinyj i (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
HUNTING/(dec.) TRACKING
9 Cyril Whyoulter Linyji (claypan) #22-345 acrylic on linen, 46 x 61 cm $700 Jenny Butt Linyji (claypan) #21-324 acrylic on canvas, 46 x 61 cm $450 Marlene Anderson Bush Tucker #22-596 acrylic on linen, 91 x 91 cm $1,160 Judith Anya Samson Rabbit Proof Fence #21-251 acrylic on linen, 91 x 122 cm $2,775
10 Raylene Butt Waru camp (2021) #22-527 acrylic on linen, 91cm x 91cm $1,160
11 Marianne Burton Punmu waterholes #21-1107 acrylic on canvas, 36 x 46cm $415
COMMUNICATION(dec.)
- Karnu (Kanu) Nancy Taylor
- Minyawe Miller as translated by Kanyirninpa Jukurrpa Wokka been grow up in Kulyakartu and Kirriwirri side, his count ryside. 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 smok e, know somebody there.
During the pujiman era, families would typically travel togethe r for a time before arranging to meet further along at another camp site. When they arrived at t he meeting place, they would light a large waru so that the others would know where they wer e. We used to see the fires the pujiman (traditional, desert dwelle rs) had lit, left as messages. People would light a fire and leave it burning so other Martu co uld see it [and say] “Martu are burning there.” We would meet up with them then.
13 Thelma Dundan Ngarga Judson Untitled #22-465 acrylic on canvas, 61 x 91 cm $1,665 Lucinda Burton Punmu #22-478 acrylic on canvas, 91 x 91 cm $1,160 Minyawe Miller Untitled #20-449 acrylic on linen, 46 x 76 cm $1,400 Nancy Nyanjilpayi Pilankujarra #21-300 acrylic on canvas, 46 x 76 cm $4,225
14 May Mayiwalku (May Wokka) Chapman Untitled #21-885 acrylic on canvas, 76 x 122cm $3,245
15 Ngamaru Bidu Untitled #21-886 acrylic on canvas, 76 x 122cm $3,245
WARMTH / TOGETHERNESSSHELTER/
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 performa nce. 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. Some times 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 wa s cold we continued to walk around in good health.
- Nyanjilpayi (Ngarnjapayi) Nancy Chapman as translated by Kanyirninpa Jukurrpa
17 Robina Clause Waru (fire) #22-559 acrylic on canvas, 46 x 61 cm $395 Montana Clause Waru (fire) #22-482 acrylic on canvas, 46 x 61 cm $395 Marlene Anderson Waru (fire) #22-375 acrylic on canvas, 61 x 91 cm $775 Judith Anya Samson Waru (fire) #22-520 acrylic on canvas, 61 x 91 cm $1,390
Jenny Butt Waru (fire) #21-224 acrylic on canvas, 36 x 46 cm $265
19 Roxanne Newberry Ngurra (home country, camp) #22-151 acrylic on canvas, 61 x 91 cm $1,000 Muuki Taylor Kulyakartu #20-149 acrylic on canvas, 61 x 91 cm $1,945
-Wurta Amy French
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 yo u this place, it’s really nice, you can clearly see the eagle in the rock, you can see the story.
- Yikartu Bumba, as translated by Ngalangka Nola Taylor
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 create d by ancestral beings, who assumed both human and nonhuman forms. These beings shaped what had bee n 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 w ith 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).
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).
JUKURRPA
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 Dese rt with several other language groups. The narrative centres on the travels of two snakes as t hey 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 Kumpupirnt ily (Lake Disappointment). In the Jukurrpa (Dreamtime) the Warnman people caught two big j ila (snakes). While they were sitting down around the waru (fire) getting ready to cook the ji la, the bird kirrki (hawk) was sitting in the tree watching. He was calling out ‘Burn them, bu rn them!’. When the Warnman people were cutting open the jila his guts bust and his hot kum pu (urine) and jinyji (fat) burnt them all. When they got burnt they all turned into rocks. You c an still see those Warnman people out on the lake on here [at Tarl].
21 Marianne Burton Wirlarra #22-595 acrylic on linen, 91 x 122 cm $2,775 Gladys Kuru Bidu Wantili (Warntili, Canning Stock Route Well 25) #21-1011 acrylic on canvas, 76 x 121 cm $1,670 Kumpaya Girgirba Kunawarritji, Kinyu, Kirtipirli, My Country #21-314 acrylic on linen, 91 x 121 cm $3,330 Bugai Whyoulter Wantili (Warntili, Canning Stock Route Well 25) #19-594 acrylic on linen, 76 x 152 cm $4,600
22 May Mayiwalku (May Wokka) Untitled #21-864 acrylic on canvas, 76cm x 122cm $4,045
The patchwork nature of regrowth is aligned with the Martu cycl e 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 occ urs 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 plan t species have become old growth, and pose a risk of destructive bushfires.
The patchwork nature of regrowth is evident in many landscape w orks, 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 (gr een grass, vegetation).
-Derrick
WARUButt
- LIFE CYCLE
- 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.
Following controlled fire burning, a defined mosaic fire scar patt ern 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.
24 Curtis Taylor Waru (fire) #21-272, acrylic on linen 30cm x 30cm $360
25 Nola Ngalangka Taylor Nyurnma #21-326 acrylic on canvas, 36 x 76 cm $820 Minyawe Miller Untitled #20-490 acrylic on canvas, 61 x 91 cm $2,495 Derrick Butt Kulyakartu #21-316 acrylic on linen, 76 x 152 cm $2,540 Derrick Butt Kulyakartu #21-316 acrylic on linen, 76 x 152 cm $2,540
Muuki Taylor Kulyakartu #21-313 acrylic on linen, 91 x 121cm $3,885
Marita Lubin Punmu Waterholes #22-153 acrylic on linen, 61 x 91cm $775
Our knowledge is ancient and has been passed on by our grandpar ents. Young people need to keep looking after it. Our home is where our ancestors walked a round. They knew how to care for it. Now we are teaching the younger generation.
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.
- Nyanjilpayi (Ngarnjapayi) Nancy Chapman as translated by Kanyirninpa Jukurrpa
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.
YOUTH - TRANSFERRAL OF TCEK
29 Judith Anya Samson Puntawarri #21-229 acrylic on linen, 36 x 46 cm $415 Janita Kelly Kaalpa (Canning Stock Route Well 23) #21-228 acrylic on canvas, 36 x 46 cm $200 Robina Clause Untitled #21-227acrylic on canvas, 36 x 46 cm $230 Raylene Butt Waru (fire) around Kapi (water) #21-226 acrylic on canvas, 36 x 46 cm $200
30 Bianca Simpson Untitled #21-230 acrylic on canvas 36 x 46cm $330
31 Danita Wise Untitled #21-918 acrylic on canvas, 46 x 76 cm $420 Corban Clause Williams Kaalpa (Canning Stock Route Well 23) #21-231 acrylic on canvas 30 x 44 cm $495
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
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
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
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
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
37 Ignatius Paul Taylor No Cigarette Lighter #22-612-1/3 Digital Print on Cotton Rag, 40 x 60cm $200 Sylvia Wilson Untitled #22-610-1/3 Digital Print on Cotton Rag, 60 x 40cm $200
Long time ago in pujiman (traditional, desert dwelling) times same way- big fires would start from lighting.
REDUCING(dec.)
- Wokka Taylor
RISK OF LARGE FIRES
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].
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 Panngurr - Boy in troopie #21-627a acrylic on linen, 125cm x 300cm
40 (tracks, (when(water)(ashes)(dreaming)footprints)spinifexandother plant species have become old growth, and pose a risk of destructive bushfires) (clay (four-sixpans)years after burning, when spinifex has matured to the point that it can be burned once again) (vegetable food) (one-three years after burning, when plants have matured and are fruiting and seeding) (freshly burnt Country) (spinifex country) (sandy (traditional,plains)desert dwelling) (sand (growth(vegetation,(Country)dunes)tree)ofnewshoots and young plants) (wind)
LIST
WARU WORD
For sales and enquiries contact mmasales@eatpilbara.wa.gov.au or visit the website martumili.com.au
