Year: 2017

Medium: Acrylic on canvas

Description:

“Pitu, soak, big one. Water there all the time. Pitu, the place for our whole family. [As a young girl] I walked around and went east back to my dad’s area, to Pitu and Kulilu, Nakaly and Kunapila. Then I was a teenager. My Country is Pitu and Nakaly, that’s my Country.

This man here, he came through here in the Dreamtime, walking right up through here and then he flew. Other one, a man and a woman, coming behind him, following him right up through here and then finish, I don’t know where they’ve gone. There is one more woman, going across here. Those three people walked through this Country and disappeared when they flew somewhere.
They went forever. That was in the Dreamtime when they were walking around.”

– Ngamaru Bidu, as translated by Ngalangka Nola Taylor

Pitu (Separation Well) is an important cultural site and large soak located yulparirra (south) of Wuranu (Canning Stock Route Well 29) and Kulilu rockhole and soak. As a site where fresh water was available all year, Pitu was an important camp and a meeting place for Kartujarra and Manyjilyjarra people during the pujiman (traditional, desert dwelling) era. At this time, knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location and type of water. Each of the hundreds of claypans, rockholes, waterholes, soaks and springs found in the Martu desert homelands is known by name, location, quality and seasonal availability through real life experience and the recounting of Jukurrpa (Dreaming) narratives.
Pitu lies within Ngamaru’s ngurra (home Country, camp), the area which she knew intimately and travelled extensively with her family in her youth. Ngamaru’s family name, ‘Bidu’, derives from this place name. In her account of the area, Ngamaru relates a Jukurrpa narrative that occurred in and around Pitu. 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.

Martumili Artists was established in late 2006 and supports Martu artists in Kunawarritji, Punmu, Parnngurr, Jigalong, Warralong,Irrungadji (Nullagine) and Parnpajinya (Newman). Many Martu artists have close relationships with established artists amongst Yulparija, Kukatja and other Western Desert peoples and are now gaining recognition in their own right for their diverse,
energetic and unmediated painting styles. Their works reflect the dramatic geography and scale of their homelands in the Great Sandy Desert and Rudall River regions of Western Australia. Martumili Artists represents speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra and Martu Wangka languages, many of whom experienced first contact with Europeans in the 1960s. The
artists include painters, working in acrylics and oils, as well as weavers coiling baskets and sculptors working in wood, grass and wool. Martu artists proudly maintain their creative practices whilst pursuing social and cultural obligations across the Martu homelands.

 

SOURCE: Martumili Artists