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Andrew Jampijinpa Brown - Nguru Nyirrpi-wana (Country around Nyirrpi)

$155.00

• Details
• Artwork

• Artist: Andrew Jampijinpa Brown
  Artwork: Nguru Nyirrpi-wana (Country around Nyirrpi)
  Catalogue Number: 3423/19ny
  Size: 30cm x 30cm
  Acrylic on canvas - prestretched.
  Ready to hang
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Nguru Nyirrpi-wana (Country around Nyirrpi)
  This painting depicts the natural landscape around Nyirrpi, a small Warlpiri community (originally an outstation) about 160 km west of Yuendumu. About 200 people live in Nyirrpi today. The bush around Nyirrpi features plenty of ‘watiya’ (trees), ‘marna’ (grass), ‘kuyu’ (animals) to hunt, and ‘miyi’ (edible plants) to gather.
  
  There are a number of beautiful natural features close to Nyirrpi, including sandhills, soakages, and Karrku (Mt. Stanley), a large flat-topped hill that is an important source of red ochre used during ceremonies. There are also a number of small outstations around Nyirrpi. These include Wayililinpa, Yinjirimardi, Karrinyarra (Mt. Wedge), Nginyirripalangu, and many more.
  
  Many sites around Nyirrpi are associated with different ‘Jukurrpa’ (Dreamings). These sites include Karrku, which is associated with a ‘karnta Jukurrpa’ (womens’ Dreaming) and a ‘ngalyipi Jukurrpa’ (snake vine [Tinospora smilacina] Dreaming). In the Jukurrpa, two women of the Napaljarri skin subsection threw a hairstring rope around Karrku and tried to pull it down.
  
  Other Jukurrpa around Nyirrpi include the ‘warna Jukurrpa’ (snake Dreaming) that travels north from Kunajarrayi (Mt. Nicker), the ‘maliki Jukurrpa’ (dog Dreaming) associated with Winijardu, a hill, and the ‘marlu Jukurrpa’ (kangaroo Dreaming) that travels from north to south past Nyirrpi. There is also a ‘pamapardu Jukurrpa’ (termite Dreaming) and ‘mukaki Jukurrpa’ (bush plum [Santalum lanceolatum] Dreaming) associated with Warntungurru, a hill close to Nyirrpi. This ‘pamapardu Jukurrpa’ (termite Dreaming) travels from Wapurtali (Mt. Singleton) in the west to Warntungurru.
  
  The Jukurrpa sites around Nyirrpi are all owned and cared for by different skin subsections. Some people are ‘kirda’ (owners) of the Jukurrpa, and others are ‘kurdungurlu’ (custodians).
  
  In Warlpiri paintings, traditional iconography can be used to represent the landscape around Nyirrpi, the Jukurrpa, and other elements. Paintings of Jukurrpa around Nyirrpi can include wavy lines that are used to represent the ‘ngalyipi’ (snake vine), dashed lines used to represent the ‘pamapardu’ (termites), and concentric circles used to represent waterholes or ‘mingkirri’ (termite mounds).
  

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Athena Nangala Granites - Napaljarri-warnu Jukurrpa (Seven Sisters Dreaming)

• Details
• Artwork

• Artist: Athena Nangala Granites
  Artwork: Napaljarri-warnu Jukurrpa (Seven Sisters Dreaming)
  Catalogue Number: 5125/19
  Size: 152cm x 122cm
  Acrylic on canvas - unstretched.
  Painting will be shipped rolled, unstretched.
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Napaljarri-warnu Jukurrpa (Seven Sisters Dreaming)
  The Napaljarri-warnu Jukurrpa (seven sisters Dreaming) depicts the story of the seven ancestral Napaljarri sisters who are found in the night sky today in the cluster of seven stars in the constellation Taurus, more commonly known as the Pleiades. The Pleiades are seven women of the Napaljarri skin group and are often depicted in paintings of this Jukurrpa carrying the Jampijinpa man ‘wardilyka’ (the bush turkey [Ardeotis australias]) who is in love with the Napaljarri-warnu and who represents the Orion's Belt cluster of stars. Jukurra-jukurra, the morning star, is a Jakamarra man who is also in love with the seven Napaljarri sisters and is often shown chasing them across the night sky. In a final attempt to escape from the Jakamarra the Napaljarri-warnu turned themselves into fire and ascended to the heavens to become stars. The custodians of the Napaljarri-warnu Jukurrpa are Japaljarri/Jungarrayi men and Napaljarri/Nungarrayi women. Some parts of the Napaljarri-warnu Jukurrpa are closely associated with men’s sacred ceremonies of a very secretive nature. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, associated sites and other elements. Often depicted in paintings for this Jukurrpa is the female star Yantarlarangi (Venus - the Evening Star) who chases the seven Napaljarri sisters for having stolen the night from her.
  

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Brereton Jungarrayi Spencer - Janganpa Jukurrpa (Brush-tail Possum Dreaming) - Mawurrji

$155.00

• Details
• Artwork

• Artist: Brereton Jungarrayi Spencer
  Artwork: Janganpa Jukurrpa (Brush-tail Possum Dreaming)-  Mawurrji
  Catalogue Number: 2200/19ny
  Size: 30cm x 30cm
  Acrylic on canvas - prestretched.
  Ready to hang
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Janganpa Jukurrpa (Brush-tail Possum Dreaming)-  Mawurrji
  Janganpa Jukurrpa (common brush-tail possum [Trichosurus vulpecula] Dreaming) travels all over Warlpiri country. ‘Janganpa’ are nocturnal animals that often nest in the hollows of white gum trees (‘wapunungka’). This story comes from a big hill called Mawurrji, west of Yuendumu and north of Pikilyi (Vaughan Springs). A group of ‘janganpa’ ancestors resided there. Every night they would go out in search of food. Their hunting trips took them to Wirlki and Wanapirdi, where they found ‘pamapardu’ (flying ants). They journeyed on to Ngarlkirdipini looking for water.
  
  A Nampijinpa women was living at Mawurrji with her two daughters. She gave her daughters in marriage to a Jupurrurla ‘janganpa’ but later decided to run away with them. The Jupurrurla angrily pursued the woman. He tracked them to Mawurrji where he killed them with a stone axe. Their bodies are now rocks at this place. Warlpiri people perform a young men’s initiation ceremony, which involves the Janganpa Jukurrpa. The Janganpa Jukurrpa belongs to Jakamarra/Jupurrurla men and Nakamarra/Napurrurla women.
  
  In Warlpiri paintings traditional iconography is used to represent this Jukurrpa. ‘Janganpa’ tracks are often represented as 'E' shaped figures and concentric circles are used to depict the trees in which the ‘janganpa’ live, and also the sites at Mawurrji.
  

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Chris Japanangka Michaels - Janganpa Jukurrpa (Brush-tail Possum Dreaming) - Mawurrji

• Details
• Artwork

• Artist: Chris Japanangka Michaels
  Artwork: Janganpa Jukurrpa (Brush-tail Possum Dreaming) - Mawurrji
  Catalogue Number: 260/19ny
  Size: 30cm x 30cm
  Acrylic on canvas - prestretched.
  Ready to hang
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Janganpa Jukurrpa (Brush-tail Possum Dreaming) - Mawurrji
  Janganpa Jukurrpa (common brush-tail possum [Trichosurus vulpecula] Dreaming) travels all over Warlpiri country. ‘Janganpa’ are nocturnal animals that often nest in the hollows of white gum trees (‘wapunungka’). This story comes from a big hill called Mawurrji, west of Yuendumu and north of Pikilyi (Vaughan Springs). A group of ‘janganpa’ ancestors resided there. Every night they would go out in search of food. Their hunting trips took them to Wirlki and Wanapirdi, where they found ‘pamapardu’ (flying ants). They journeyed on to Ngarlkirdipini looking for water.
  
  A Nampijinpa women was living at Mawurrji with her two daughters. She gave her daughters in marriage to a Jupurrurla ‘janganpa’ but later decided to run away with them. The Jupurrurla angrily pursued the woman. He tracked them to Mawurrji where he killed them with a stone axe. Their bodies are now rocks at this place. Warlpiri people perform a young men’s initiation ceremony, which involves the Janganpa Jukurrpa. The Janganpa Jukurrpa belongs to Jakamarra/Jupurrurla men and Nakamarra/Napurrurla women.
  
  In Warlpiri paintings traditional iconography is used to represent this Jukurrpa. ‘Janganpa’ tracks are often represented as 'E' shaped figures and concentric circles are used to depict the trees in which the ‘janganpa’ live, and also the sites at Mawurrji.
  

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Debbie Napaljarri Brown - Wanakiji Jukurrpa (Bush Tomato)

$1,045.00

• Details
• Artwork

• Artist: Debbie Napaljarri Brown
  Artwork: Wanakiji Jukurrpa (Bush Tomato)- Ngaru
  Catalogue Number: 802/18ny
  Size: 91cm x 76cm
  Acrylic on canvas - unstretched.
  Painting will be shipped rolled, unstretched.
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Wanakiji Jukurrpa (Bush Tomato)
  The Wanakiji Jukurrpa (bush tomato [Solanum chippendalei] Dreaming) travels through Yaturlu (near Mount Theo, north of Yuendumu). “Wanakiji” grows in open spinifex country and is a small, prickly plant with purple flowers that bears green fleshy fruit with many small black seeds. After collecting the fruit the seeds are removed with a small wooden spoon called ‘kajalarra’. The fruit then can be eaten raw or threaded onto skewers called ‘turlturrpa’ and then cooked over a fire. ‘Wanakiji’ can also be skewered and left to dry. When they are prepared in this way it is called ‘turlturrpa’ and the fruit can be kept for a long time. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, particular sites and other elements. The Wanakiji Jukurrpa belongs to Napanangka/Napangardi women and Japanangka/Japangardi men.
  

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Debbie Napaljarri Brown - Wanakiji Jukurrpa (Bush Tomato)- Ngaru

$550.00

• Details
• Artwork

• Artist: Debbie Napaljarri Brown
  Artwork: Wanakiji Jukurrpa (Bush Tomato)- Ngaru
  Catalogue Number: 846/16ny
  Size: 122cm x 30cm
  Acrylic on canvas - unstretched.
  Painting will be shipped rolled, unstretched.
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Wanakiji Jukurrpa (Bush Tomato)- Ngaru
  This painting shows two Napaljarri women collecting ‘wanakiji’ for tucker around Ngaru country to the west of Yuendumu that is also the site for Yawulyu, an important women's ceremony. Wanakiji (bush tomato [Solanum chippendalei]) are really good bush foods that can be eaten raw or cooked. In Warlpiri paintings traditional iconography is used to represent the Jukurrpa, particular sites and other elements. Circles of different colours are used to depict cooked and uncooked ‘wanakiji’, ‘U’ shapes often are used to represent the two Napaljarri sisters and concentric circles are used to portray their ‘ngurra’ (camp sites).
  

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Elaine Warnatjura Lane - History Stories

$3,080.00

• Details
• Artwork

• Artist: Elaine Warnatjura Lane
  Artwork: History Stories
  Catalogue Number: 12-076
  Size: 75cm x 150cm
  Acrylic on canvas - unstretched.  
  Painting will be shipped rolled, unstretched.
  Artworks include a Certificate of Authenticity from Papulankutja Artists. 
  
• History Stories
  We bin walkin round looking for kooka, we seen old Blackstone. We bin see em house with white man. He bin say, Where you from? and we said we from Warburton we bin walking from rock hole and bush. He had a tap with water, he gave sugar and bread. We stayed for a week and we say better go back too many white fella. They drilling then we went back to Lindan Bore. Elaine would have been a teenager, and had already spent time at school in Warburton. They came for their holidays back to her home land, and saw the first white men starting to mine Blackstone.
  
  Papulankutja was established after Ngaayatjarra people walked out of Warburton mission in the1970s and returned to their land. Papulankutja Artists was established in 2001 and incorporated in 2004 growing out of Blackstone’s women’s centre. After many years of working through the women’s centre and then the community hall, Papulankutja Artists opened their own Art Studio in 2009. Papulankutja Artists are very community focussed. Today, women and men, young people and old people, work together.
  

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Elaine Warnatjura Lane - Minyma Ninyanyi

$1,430.00

• Details
• Artwork

• Artist: Elaine Warnatjura Lane
  Artwork: Minyma Ninyanyi
  Catalogue Number: 16-179
  Size: 76cm x 56cm
  Acrylic on canvas - unstretched.  
  Painting will be shipped rolled, unstretched.
  Artworks include a Certificate of Authenticity from Papulankutja Artists. 
  
• Minyma Ninyanyi
  There are lots of ladies, ladies sittng down at camp. They look for bush food together.
  
  Papulankutja was established after Ngaayatjarra people walked out of Warburton mission in the1970s and returned to their land. Papulankutja Artists was established in 2001 and incorporated in 2004 growing out of Blackstone’s women’s centre. After many years of working through the women’s centre and then the community hall, Papulankutja Artists opened their own Art Studio in 2009. Papulankutja Artists are very community focussed. Today, women and men, young people and old people, work together.
  

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Elaine Warnatjura Lane - Pukara

$1,980.00

• Details
• Artwork

• Artist: Elaine Warnatjura Lane
  Artwork: Pukara
  Catalogue Number: 16-209 
  Size: 101cm x 61cm
  Acrylic on canvas - unstretched.  
  Painting will be shipped rolled, unstretched.
  Artworks include a Certificate of Authenticity from Papulankutja Artists. 
  
• Pukara
  Two water snakes (really men) were trying to pass through the Piuyl Mountains, near Warburton. They threw a magic boomerang that broke the mountain in two. They then traveled down the back way to Pukara (a large water soak). When they got there the son was sick and said – only animals can drink at this water hole – but later the father allowed people to drink there too. They are still there today.
  

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Elaine Warnatjura Lane - Wati Kutjarra

$1,980.00

• Details
• Artwork

• Artist: Elaine Warnatjura Lane
  Artwork: Wati Kutjara
  Catalogue Number: 13-453 
  Size: 101cm x 61cm
  Acrylic on canvas - unstretched.  
  Painting will be shipped rolled, unstretched.
  Artworks include a Certificate of Authenticity from Papulankutja Artists. 
  
• Wati Kutjara
  The story of two men who took the form of goannas, they travelled from Perth across the desert through Blackstone to Docker River. The two men were powerful magicians. They often punished or killed wrong doers but sometimes went too far and were cruel in the exercise of their powers. To amuse themselves, they sometimes played the tricksters. They usually took the form of goanna but they could turn into other animals as well. At Blackstone, they actually tricked each other when they both changed their appearance at the same 􀆟me. This is behind the meaning of the name Papulankutja (they couldn’t recognize each other) which is the indigenous name for the Blackstone community. Finally, when they got to Docker River they had become so arrogant that they walked straight into some local men’s business even though they were warned not to by the women. The Docker River men killed them.
  
  Papulankutja was established after Ngaayatjarra people walked out of Warburton mission in the1970s and returned to their land. Papulankutja Artists was established in 2001 and incorporated in 2004 growing out of Blackstone’s women’s centre. After many years of working through the women’s centre and then the community hall, Papulankutja Artists opened their own Art Studio in 2009. Papulankutja Artists are very community focussed. Today, women and men, young people and old people, work together.
  

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Elaine Warnatjura Lane - Wati Kutjarra

$1,980.00

• Details
• Artwork

• Artist: Elaine Warnatjura Lane
  Artwork: Wati Kutjara
  Catalogue Number: 15-88
  Size: 101cm x 61cm
  Acrylic on canvas - unstretched.  
  Painting will be shipped rolled, unstretched.
  Artworks include a Certificate of Authenticity from Papulankutja Artists. 
  
• Wati Kutjara
  The story of two men who took the form of goannas, they travelled from Perth across the desert through Blackstone to Docker River. The two men were powerful magicians. They often punished or killed wrong doers but sometimes went too far and were cruel in the exercise of their powers. To amuse themselves, they sometimes played the tricksters. They usually took the form of goanna but they could turn into other animals as well. At Blackstone, they actually tricked each other when they both changed their appearance at the same 􀆟me. This is behind the meaning of the name Papulankutja (they couldn’t recognize each other) which is the indigenous name for the Blackstone community. Finally, when they got to Docker River they had become so arrogant that they walked straight into some local men’s business even though they were warned not to by the women. The Docker River men killed them.
  
  Papulankutja was established after Ngaayatjarra people walked out of Warburton mission in the1970s and returned to their land. Papulankutja Artists was established in 2001 and incorporated in 2004 growing out of Blackstone’s women’s centre. After many years of working through the women’s centre and then the community hall, Papulankutja Artists opened their own Art Studio in 2009. Papulankutja Artists are very community focussed. Today, women and men, young people and old people, work together.
  

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Elaine Warnatjura Lane - Wati Kutjarra

$1,430.00

• Details
• Artwork

• Artist: Elaine Warnatjura Lane
  Artwork: Wati Kutjara
  Catalogue Number: 15-279
  Size: 76cm x 56cm
  Acrylic on canvas - unstretched.  
  Painting will be shipped rolled, unstretched.
  Artworks include a Certificate of Authenticity from Papulankutja Artists. 
  
• Wati Kutjara
  The story of two men who took the form of goannas, they travelled from Perth across the desert through Blackstone to Docker River. The two men were powerful magicians. They often punished or killed wrong doers but sometimes went too far and were cruel in the exercise of their powers. To amuse themselves, they sometimes played the tricksters. They usually took the form of goanna but they could turn into other animals as well. At Blackstone, they actually tricked each other when they both changed their appearance at the same 􀆟me. This is behind the meaning of the name Papulankutja (they couldn’t recognize each other) which is the indigenous name for the Blackstone community. Finally, when they got to Docker River they had become so arrogant that they walked straight into some local men’s business even though they were warned not to by the women. The Docker River men killed them.
  
  Papulankutja was established after Ngaayatjarra people walked out of Warburton mission in the1970s and returned to their land. Papulankutja Artists was established in 2001 and incorporated in 2004 growing out of Blackstone’s women’s centre. After many years of working through the women’s centre and then the community hall, Papulankutja Artists opened their own Art Studio in 2009. Papulankutja Artists are very community focussed. Today, women and men, young people and old people, work together.
  

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Elaine Warnatjura Lane - Wati Kutjarra

$2,530.00

• Details
• Artwork

• Artist: Elaine Warnatjura Lane
  Artwork: Wati Kutjara
  Catalogue Number: 16-32
  Size: 91cm x 91cm
  Acrylic on canvas - unstretched.  
  Painting will be shipped rolled, unstretched.
  Artworks include a Certificate of Authenticity from Papulankutja Artists. 
  
• Wati Kutjara
  The story of two men who took the form of goannas, they travelled from Perth across the desert through Blackstone to Docker River. The two men were powerful magicians. They often punished or killed wrong doers but sometimes went too far and were cruel in the exercise of their powers. To amuse themselves, they sometimes played the tricksters. They usually took the form of goanna but they could turn into other animals as well. At Blackstone, they actually tricked each other when they both changed their appearance at the same 􀆟me. This is behind the meaning of the name Papulankutja (they couldn’t recognize each other) which is the indigenous name for the Blackstone community. Finally, when they got to Docker River they had become so arrogant that they walked straight into some local men’s business even though they were warned not to by the women. The Docker River men killed them.
  
  Papulankutja was established after Ngaayatjarra people walked out of Warburton mission in the1970s and returned to their land. Papulankutja Artists was established in 2001 and incorporated in 2004 growing out of Blackstone’s women’s centre. After many years of working through the women’s centre and then the community hall, Papulankutja Artists opened their own Art Studio in 2009. Papulankutja Artists are very community focussed. Today, women and men, young people and old people, work together.
  

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Elizabeth Skeen - Turtles and Water Snake

$420.00

• Details
• Artwork

• Artist: Elizabeth Skeen
  Artwork: Turtles and Water Snake
  Catalogue Number: 276-19
  Size: 50cm x 30cm
  Acrylic on canvas - unstretched.
  Painting will be shipped rolled, unstretched.
  Artworks include a Certificate of Authenticity from Yarliyil Art Centre. 
  
  
• Turtles and Water Snake
  This painting depicts turtles and a water snake. The dots and circles represent water plants.
  

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Gayle Napangardi Gibson - Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi

$2,090.00

• Details
• Artwork

• Artist: Gayle Napangardi Gibson
  Artwork: Mina Mina Jukurrpa (Mina Mina Dreaming)
  Catalogue Number: 628/17ny
  Size: 152cm x 76cm
  Acrylic on canvas - unstretched.
  Painting will be shipped rolled, unstretched.
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi
  This ‘Jukurrpa’ (Dreaming) comes from Mina Mina, a very important women’s Dreaming site far to the west of Yuendumu near Lake Mackay and the WA border. The ‘kirda’ (owners) of this Dreaming are Napangardi/Napanangka women and Japangardi/Japanangka men; the area is sacred to Napangardi and Napanangka women. There are a number of ‘mulju’ (water soakages) and a ‘maluri’ (clay pan) at Mina Mina.
  
  In the Dreamtime, ancestral women danced at Mina Mina and ‘karlangu’ (digging sticks) rose up out of the ground. The women collected the digging sticks and then travelled on to the east, dancing, digging for bush tucker, collecting ‘ngalyipi’ (snake vine [Tinospora smilacina]), and creating many places as they went. ‘Ngalyipi’ is a rope-like creeper that grows up the trunks and limbs of trees, including ‘kurrkara’ (desert oak [Allocasuarina decaisneana]). It is used as a ceremonial wrap and as a strap to carry ‘parraja’ (coolamons) and ‘ngami’ (water carriers). ‘Ngalyipi’ is also used to tie around the forehead to cure headaches, and to bind cuts.
  
  The women stopped at Karntakurlangu, Janyinki, Parapurnta, Kimayi, and Munyuparntiparnti, sites spanning from the west to the east of Yuendumu. When they stopped, the women dug for bush foods like ‘jintiparnta’ (desert truffle [Elderia arenivaga]). The Dreaming track eventually took them far beyond Warlpiri country. The track passed through Coniston in Anmatyerre country to the east, and then went on to Alcoota and Aileron far to the northeast of Yuendumu and eventually on into Queensland.
  
  In Warlpiri paintings, traditional iconography is used to represent the Jukurrpa and other elements. In many paintings of this Jukurrpa, sinuous lines are used to represent the ‘ngalyipi’ (snake vine). Concentric circles are often used to represent the ‘jintiparnta’ (desert truffles) that the women have collected, while straight lines can be used to depict the ‘karlangu’ (digging sticks).
  

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Isobelle Napaljarri Spencer - Karnta Jukurrpa (Womens Dreaming)

$155.00

• Details
• Artwork

• Artist: Isobelle Napaljarri Spencer
  Artwork: Karnta Jukurrpa (Womens Dreaming)
  Catalogue Number: 178/20
  Size: 30cm x 30cm
  Acrylic on canvas - prestretched.
  Ready to hang
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Karnta Jukurrpa (Womens Dreaming)
  This painting depicts Nakamarra and Napurrurla women hunting for bush foods. The ‘kirda’ (owners) for this story are Nakamarra/Napurrurla women and Jakamarra/Jupurrurla men. Yumurrpa and Wapurtali are two major Dreaming sites owned by the Nakamarra/Jakamarra and Napurrurla/Jupurrurla subsections; these sites are also associated with bush food Dreamings. Yumurrpa is a major waterhole to the northwest of Yuendumu and a ‘yarla’ (bush potato [Ipomea costata]) Dreaming site. The area north of Wapurtali/Yintaramurru (Mt. Singleton) is a ‘wanakiji’ (bush tomato [Solanum chippendalei]) Dreaming site.
  
  Warlpiri women hunt for a number of different bush foods at different times of the year. These include ‘ngarlkirdi’ (witchetty grubs [Endoxyla leucomochla larvae]), ‘yunkaranyi’ (honey ants [Camponotus inflatus]), ‘jintiparnta’ and ‘purlantarri’ (desert truffle [Elderia arenivaga]), ‘yuparli’ (bush bananas [Marsdenia australis]), ‘janmarda’ (bush onions [Cyperus bulbosus]), ‘pirlala’ (bush beans [Acacia coriacea seeds]), ‘ngarlajiyi’ (bush carrots [Vigna lanceolata]), ‘wayipi’ (small bush carrots [Boerhavia diffusa]), and ‘yakajirri’ (bush raisins [Solanum centrale]). Women traditionally dug for these foods using wooden ‘karlangu’ (digging sticks). The end of the digging sticks were charred and ground on a stone surface to create a bevelled edge. Today many Warlpiri women use crowbars (also called ‘karlangu’) to dig for bush foods. Collected bush foods are traditionally carried in ‘parraja’ (coolamons), which can be carried with a strap made from the ‘ngalyipi’ (snake vine [Tinospora smilacina]).
  
  In Warlpiri paintings, traditional iconography is used to represent the Jukurrpa and other elements. Concentric circles are often used to represent the bush foods that the women have collected, while straight lines can be used to depict the ‘karlangu’ (digging sticks). Sinuous lines are often used to represent the ‘ngalyipi’ (snake vine).
  

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Jacinta Napaljarri White - Karnta Jukurrpa (Womens Dreaming)

• Details
• Artwork

• Artist: Jacinta Napaljarri White
  Artwork: Karnta Jukurrpa (Womens Dreaming)
  Catalogue Number: 4278/19
  Size: 30cm x 30cm
  Acrylic on canvas - prestretched.
  Ready to hang
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Karnta Jukurrpa (Womens Dreaming)
  This painting depicts Nakamarra and Napurrurla women hunting for bush foods. The ‘kirda’ (owners) for this story are Nakamarra/Napurrurla women and Jakamarra/Jupurrurla men. Yumurrpa and Wapurtali are two major Dreaming sites owned by the Nakamarra/Jakamarra and Napurrurla/Jupurrurla subsections; these sites are also associated with bush food Dreamings. Yumurrpa is a major waterhole to the northwest of Yuendumu and a ‘yarla’ (bush potato [Ipomea costata]) Dreaming site. The area north of Wapurtali/Yintaramurru (Mt. Singleton) is a ‘wanakiji’ (bush tomato [Solanum chippendalei]) Dreaming site.
  
  Warlpiri women hunt for a number of different bush foods at different times of the year. These include ‘ngarlkirdi’ (witchetty grubs [Endoxyla leucomochla larvae]), ‘yunkaranyi’ (honey ants [Camponotus inflatus]), ‘jintiparnta’ and ‘purlantarri’ (desert truffle [Elderia arenivaga]), ‘yuparli’ (bush bananas [Marsdenia australis]), ‘janmarda’ (bush onions [Cyperus bulbosus]), ‘pirlala’ (bush beans [Acacia coriacea seeds]), ‘ngarlajiyi’ (bush carrots [Vigna lanceolata]), ‘wayipi’ (small bush carrots [Boerhavia diffusa]), and ‘yakajirri’ (bush raisins [Solanum centrale]). Women traditionally dug for these foods using wooden ‘karlangu’ (digging sticks). The end of the digging sticks were charred and ground on a stone surface to create a bevelled edge. Today many Warlpiri women use crowbars (also called ‘karlangu’) to dig for bush foods. Collected bush foods are traditionally carried in ‘parraja’ (coolamons), which can be carried with a strap made from the ‘ngalyipi’ (snake vine [Tinospora smilacina]).
  
  In Warlpiri paintings, traditional iconography is used to represent the Jukurrpa and other elements. Concentric circles are often used to represent the bush foods that the women have collected, while straight lines can be used to depict the ‘karlangu’ (digging sticks). Sinuous lines are often used to represent the ‘ngalyipi’ (snake vine).
  

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Jeanie Napangardi Lewis - Mina Mina Jukurrpa (Mina Mina Dreaming)

  SOLD  

• Details
• Artwork

• Artist: Jeanie Napangardi Lewis
  Artwork: Mina Mina Jukurrpa (Mina Mina Dreaming)
  Catalogue Number: 665/20ny
  Size: 30cm x 30cm
  Acrylic on canvas - prestretched.
  Ready to hang
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Mina Mina Jukurrpa (Mina Mina Dreaming)
  Mina Mina is an extremely important ceremonial site for Napangardi and Napanangka women that is located approximately 600kms west of Yuendumu, just east of Lake Mackay and the WA border. The area has a ‘marluri’ (salt lake or claypan) that is usually dry, without water. There are also a number of ‘mulju’ (soakages), sandhills, and a large stand of ‘kurrkara’ (desert oaks [Allocasuarina decaisneana]). The Mina Mina Jukurrpa is an important source of Warlpiri ritual knowledge and social organization, particularly relating to the different roles performed by men and women.
  
  The ‘kirda’ (owners) of this country are Napangardi/Napanangka women and Japangardi/Japanangka men, who can depict portions of the Mina Mina Jukurrpa in their paintings. There are a number of different components of the Mina Mina Jukurrpa; artists usually choose to depict one particular aspect. These can include ‘karnta’ (women), ‘karlangu’ (digging sticks), ‘majardi’ (hairstring skirts/tassels), ‘ngalyipi’ (snakevine [Tinospora smilacina]), ‘jintiparnta’ (desert truffle [Elderia arenivaga]), and ‘kurrkara’ (desert oak [Allocasuarina decaisneana]).
  
  The Mina Mina Jukurrpa tells the story of a group of ancestral ‘karnta’ (women) who traveled from west to east. In the Dreamtime, these ancestral women danced at Mina Mina and ‘karlangu’ (digging sticks) rose up out of the ground. They collected these digging sticks and started travelling to the east. They carried their digging sticks over their shoulders and they were adorned with ‘majardi’ (hairstring belts), white feathers, and necklaces made from ‘yinirnti’ (bean tree [Erythrina vespertilio]) seeds. They continuously anointed themselves with ‘minyira’ (shiny fat) to increase their ritual powers as they went along. As the women travelled, they were followed by a ‘yinkardakurdaku’ (spotted nightjar [Eurostopodus argus]) from the Jakamarra subsection. The bird would call out and then hide in the bushes behind them as they travelled.
  
  When the women danced at Mina Mina, they created a larrge dust cloud that swept up the ‘walyankarna’ (snake ancestors). The ‘walyankarna’ had previously transformed themselves from witchetty grubs into snakes at Kunajarrayi (Mount Nicker, 200km southwest of Yuendumu), and they had stopped at Mina Mina to watch the women dance. This dust cloud blew the ‘walyankarna’ further north to Yaturluyaturlu (near the Granites gold mine). In this way, the ‘karnta Jukurrpa’ (women’s Dreaming) and ‘ngarlkirdi Jukurrpa’ (witchetty grub Dreaming) intersect. This allowed the ancestral women to observe the witchetty grubs and learn how to best locate and cook them, which are skills that Warlpiri women still use today.
  
  The women went east from Mina Mina, dancing, digging for bush tucker, and creating many places as they went. As they went east, they passed through Kimayi (a stand of ‘kurrkara’ (desert oak)). They passed through sandhill country where the ‘yarla’ (bush potato or ‘big yam’ [Ipomea costata]) ancestors from Yumurrpa and the ‘ngarlajiyi’ (pencil yam or ‘small yam’ [Vigna lanceolata]) ancestors from Yumurrpa were engaged in a huge battle over women. This battle is also a very important Warlpiri Jukurrpa narrative. The women went on to Janyinki and stopped at Wakakurrku (Mala Bore), where they stuck their digging sticks in the ground. These digging sticks turned into mulga trees, which still grow at Wakakurrku today. The women then went on to Lungkardajarra (Rich Bore), where they looked back towards their country in the west and started to feel homesick for what they’d left behind.
  
  The women split up at Lungkardajarra. Some of them travelled eastwards to Yarungkanyi (Mount Doreen), and kept going east. They passed through Coniston in Anmatyerre country, and then went on to Alcoota and Aileron and beyond. The other group of women travelled travelled northwards from Lungkardajarra to Karntakurlangu. These women stopped at Karntakurlangu to dig for ‘wardapi’ (sand monitor/goanna [Varanus gouldii]) and ‘jintiparnta’ (desert truffle) before going further north. Both groups eventually got so homesick for their desert oak country in the west that they went all the way back to Mina Mina, where they stayed for good.
  
  This Jukurrpa contains important information about the different roles that men and women play in Warlpiri culture, particularly in the context of ritual performance. It alludes to an earlier time in which their ritual and social roles were reversed, in which women controlled the sacred objects and weapons that are now exclusively “owned” by men.
  
  In contemporary Warlpiri paintings, traditional iconography can be used to represent the Jukurrpa, particular sites, and other elements. In paintings of the Mina Mina Jukurrpa, sinuous lines are often used to represent ‘ngalyipi’ (snakevine). Circles and roundels can represent the ‘jintiparnta’ (desert truffle) that the women collected as they travelled, and straight lines are used to represent the ‘karlangu’ (digging sticks). ‘Majardi’ (hairstring skirts) are represented by wavy lines suspended from a single curved line.
  

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Jeanie Napangardi Lewis - Mina Mina Jukurrpa (Mina Mina Dreaming)

• Details
• Artwork

• Artist: Jeanie Napangardi Lewis
  Artwork: Mina Mina Jukurrpa (Mina Mina Dreaming)
  Catalogue Number: 141/20ny
  Size: 76cm x 61cm
  Acrylic on canvas - unstretched.
  Painting will be shipped rolled, unstretched.
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Mina Mina Jukurrpa (Mina Mina Dreaming)
  
  Mina Mina is an extremely important ceremonial site for Napangardi and Napanangka women that is located approximately 600kms west of Yuendumu, just east of Lake Mackay and the WA border. The area has a ‘marluri’ (salt lake or claypan) that is usually dry, without water. There are also a number of ‘mulju’ (soakages), sandhills, and a large stand of ‘kurrkara’ (desert oaks [Allocasuarina decaisneana]). The Mina Mina Jukurrpa is an important source of Warlpiri ritual knowledge and social organization, particularly relating to the different roles performed by men and women.
  
  The ‘kirda’ (owners) of this country are Napangardi/Napanangka women and Japangardi/Japanangka men, who can depict portions of the Mina Mina Jukurrpa in their paintings. There are a number of different components of the Mina Mina Jukurrpa; artists usually choose to depict one particular aspect. These can include ‘karnta’ (women), ‘karlangu’ (digging sticks), ‘majardi’ (hairstring skirts/tassels), ‘ngalyipi’ (snakevine [Tinospora smilacina]), ‘jintiparnta’ (desert truffle [Elderia arenivaga]), and ‘kurrkara’ (desert oak[Allocasuarina decaisneana]).
  
  The Mina Mina Jukurrpa tells the story of a group of ancestral ‘karnta’ (women) who traveled from west to east. In the Dreamtime, these ancestral women danced at Mina Mina and ‘karlangu’ (digging sticks) rose up out of the ground. They collected these digging sticks and started travelling to the east. They carried their digging sticks over their shoulders and they were adorned with ‘majardi’ (hairstring belts), white feathers, and necklaces made from ‘yinirnti’ (bean tree [Erythrina vespertilio]) seeds. They continuously anointed themselves with ‘minyira’ (shiny fat) to increase their ritual powers as they went along. As the women travelled, they were followed by a ‘yinkardakurdaku’ (spotted nightjar [Eurostopodus argus]) from the Jakamarra subsection. The bird would call out and then hide in the bushes behind them as they travelled.
  
  When the women danced at Mina Mina, they created a large dust cloud that swept up the ‘walyankarna’ (snake ancestors). The ‘walyankarna’ had previously transformed themselves from witchetty grubs into snakes at Kunajarrayi (Mount Nicker, 200km southwest of Yuendumu), and they had stopped at Mina Mina to watch the women dance. This dust cloud blew the ‘walyankarna’ further north to Yaturluyaturlu (near the Granites gold mine). In this way, the ‘karnta Jukurrpa’ (women’s Dreaming) and ‘ngarlkirdi Jukurrpa’ (witchetty grub Dreaming) intersect. This allowed the ancestral women to observe the witchetty grubs and learn how to best locate and cook them, which are skills that Warlpiri women still use today.
  
  The women went east from Mina Mina, dancing, digging for bush tucker, and creating many places as they went. As they went east, they passed through Kimayi (a stand of ‘kurrkara’ (desert oak)). They passed through sandhill country where the ‘yarla’ (bush potato or ‘big yam’ [Ipomea costata]) ancestors from Yumurrpa and the ‘ngarlajiyi’ (pencil yam or ‘small yam’ [Vigna lanceolata]) ancestors from Yumurrpa were engaged in a huge battle over women. This battle is also a very important Warlpiri Jukurrpa narrative. The women went on to Janyinki and stopped at Wakakurrku (Mala Bore), where they stuck their digging sticks in the ground. These digging sticks turned into mulga trees, which still grow at Wakakurrku today. The women then went on to Lungkardajarra (Rich Bore), where they looked back towards their country in the west and started to feel homesick for what they’d left behind. 
  
  The women split up at Lungkardajarra. Some of them travelled eastwards to Yarungkanyi (Mount Doreen), and kept going east. They passed through Coniston in Anmatyerre country, and then went on to Alcoota and Aileron and beyond. The other group of women travelled travelled northwards from Lungkardajarra to Karntakurlangu. These women stopped at Karntakurlangu to dig for ‘wardapi’ (sand monitor/goanna [Varanus gouldii]) and ‘jintiparnta’ (desert truffle) before going further north. Both groups eventually got so homesick for their desert oak country in the west that they went all the way back to Mina Mina, where they stayed for good.
  
  This Jukurrpa contains important information about the different roles that men and women play in Warlpiri culture, particularly in the context of ritual performance. It alludes to an earlier time in which their ritual and social roles were reversed, in which women controlled the sacred objects and weapons that are now exclusively “owned” by men.
  
  In contemporary Warlpiri paintings, traditional iconography can be used to represent the Jukurrpa, particular sites, and other elements. In paintings of the Mina Mina Jukurrpa,  sinuous lines are often used to represent ‘ngalyipi’ (snakevine). Circles and roundels can represent the ‘jintiparnta’ (desert truffle) that the women collected as they travelled, and straight lines are used to represent the ‘karlangu’ (digging sticks). ‘Majardi’ (hairstring skirts) are represented by wavy lines suspended from a single curved line.
  

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Jeanie Napangardi Lewis - Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi

$155.00

• Details
• Artwork

• Artist: Jeanie Napangardi Lewis
  Artwork: Mina Mina Jukurrpa (Mina Mina Dreaming) -  Ngalyipi
  Catalogue Number: 932/19
  Size: 30cm x 30cm
  Acrylic on canvas - prestretched.
  Ready to hang
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Mina Mina Jukurrpa (Mina Mina Dreaming) -  Ngalyipi
  This ‘Jukurrpa’ (Dreaming) comes from Mina Mina, a very important women’s Dreaming site far to the west of Yuendumu near Lake Mackay and the WA border. The ‘kirda’ (owners) of this Dreaming are Napangardi/Napanangka women and Japangardi/Japanangka men; the area is sacred to Napangardi and Napanangka women. There are a number of ‘mulju’ (water soakages) and a ‘maluri’ (clay pan) at Mina Mina.
  
  In the Dreamtime, ancestral women danced at Mina Mina and ‘karlangu’ (digging sticks) rose up out of the ground. The women collected the digging sticks and then travelled on to the east, dancing, digging for bush tucker, collecting ‘ngalyipi’ (snake vine [Tinospora smilacina]), and creating many places as they went. ‘Ngalyipi’ is a rope-like creeper that grows up the trunks and limbs of trees, including ‘kurrkara’ (desert oak [Allocasuarina decaisneana]). It is used as a ceremonial wrap and as a strap to carry ‘parraja’ (coolamons) and ‘ngami’ (water carriers). ‘Ngalyipi’ is also used to tie around the forehead to cure headaches, and to bind cuts.
  
  The women stopped at Karntakurlangu, Janyinki, Parapurnta, Kimayi, and Munyuparntiparnti, sites spanning from the west to the east of Yuendumu. When they stopped, the women dug for bush foods like ‘jintiparnta’ (desert truffle [Elderia arenivaga]). The Dreaming track eventually took them far beyond Warlpiri country. The track passed through Coniston in Anmatyerre country to the east, and then went on to Alcoota and Aileron far to the northeast of Yuendumu and eventually on into Queensland.
  
  In Warlpiri paintings, traditional iconography is used to represent the Jukurrpa and other elements. In many paintings of this Jukurrpa, sinuous lines are used to represent the ‘ngalyipi’ (snake vine). Concentric circles are often used to represent the ‘jintiparnta’ (desert truffles) that the women have collected, while straight lines can be used to depict the ‘karlangu’ (digging sticks).
  

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Jeanie Napangardi Lewis - Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi

$1,230.00

• Details
• Artwork

• Artist: Jeanie Napangardi Lewis
  Artwork: Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi
  Catalogue Number: 472/17ny
  Size: 107cm x 76cm
  Acrylic on canvas - unstretched.
  Painting will be shipped rolled, unstretched.
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi
  This ‘Jukurrpa’ (Dreaming) comes from Mina Mina, a very important women’s Dreaming site far to the west of Yuendumu near Lake Mackay and the WA border. The ‘kirda’ (owners) of this Dreaming are Napangardi/Napanangka women and Japangardi/Japanangka men; the area is sacred to Napangardi and Napanangka women. There are a number of ‘mulju’ (water soakages) and a ‘maluri’ (clay pan) at Mina Mina.
  
  In the Dreamtime, ancestral women danced at Mina Mina and ‘karlangu’ (digging sticks) rose up out of the ground. The women collected the digging sticks and then travelled on to the east, dancing, digging for bush tucker, collecting ‘ngalyipi’ (snake vine [Tinospora smilacina]), and creating many places as they went. ‘Ngalyipi’ is a rope-like creeper that grows up the trunks and limbs of trees, including ‘kurrkara’ (desert oak [Allocasuarina decaisneana]). It is used as a ceremonial wrap and as a strap to carry ‘parraja’ (coolamons) and ‘ngami’ (water carriers). ‘Ngalyipi’ is also used to tie around the forehead to cure headaches, and to bind cuts.
  
  The women stopped at Karntakurlangu, Janyinki, Parapurnta, Kimayi, and Munyuparntiparnti, sites spanning from the west to the east of Yuendumu. When they stopped, the women dug for bush foods like ‘jintiparnta’ (desert truffle [Elderia arenivaga]). The Dreaming track eventually took them far beyond Warlpiri country. The track passed through Coniston in Anmatyerre country to the east, and then went on to Alcoota and Aileron far to the northeast of Yuendumu and eventually on into Queensland.
  
  In Warlpiri paintings, traditional iconography is used to represent the Jukurrpa and other elements. In many paintings of this Jukurrpa, sinuous lines are used to represent the ‘ngalyipi’ (snake vine). Concentric circles are often used to represent the ‘jintiparnta’ (desert truffles) that the women have collected, while straight lines can be used to depict the ‘karlangu’ (digging sticks).
  

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Jeanie Napangardi Lewis - Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi

$2,475.00

• Details
• Artwork

• Artist: Jeanie Napangardi Lewis
  Artwork: Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi
  Catalogue Number: 1800/17ny
  Size: 183cm x 76cm
  Acrylic on canvas - unstretched.
  Painting will be shipped rolled, unstretched.
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Mina Mina Jukurrpa (Mina Mina Dreaming) - Ngalyipi
  This ‘Jukurrpa’ (Dreaming) comes from Mina Mina, a very important women’s Dreaming site far to the west of Yuendumu near Lake Mackay and the WA border. The ‘kirda’ (owners) of this Dreaming are Napangardi/Napanangka women and Japangardi/Japanangka men; the area is sacred to Napangardi and Napanangka women. There are a number of ‘mulju’ (water soakages) and a ‘maluri’ (clay pan) at Mina Mina.
  
  In the Dreamtime, ancestral women danced at Mina Mina and ‘karlangu’ (digging sticks) rose up out of the ground. The women collected the digging sticks and then travelled on to the east, dancing, digging for bush tucker, collecting ‘ngalyipi’ (snake vine [Tinospora smilacina]), and creating many places as they went. ‘Ngalyipi’ is a rope-like creeper that grows up the trunks and limbs of trees, including ‘kurrkara’ (desert oak [Allocasuarina decaisneana]). It is used as a ceremonial wrap and as a strap to carry ‘parraja’ (coolamons) and ‘ngami’ (water carriers). ‘Ngalyipi’ is also used to tie around the forehead to cure headaches, and to bind cuts.
  
  The women stopped at Karntakurlangu, Janyinki, Parapurnta, Kimayi, and Munyuparntiparnti, sites spanning from the west to the east of Yuendumu. When they stopped, the women dug for bush foods like ‘jintiparnta’ (desert truffle [Elderia arenivaga]). The Dreaming track eventually took them far beyond Warlpiri country. The track passed through Coniston in Anmatyerre country to the east, and then went on to Alcoota and Aileron far to the northeast of Yuendumu and eventually on into Queensland.
  
  In Warlpiri paintings, traditional iconography is used to represent the Jukurrpa and other elements. In many paintings of this Jukurrpa, sinuous lines are used to represent the ‘ngalyipi’ (snake vine). Concentric circles are often used to represent the ‘jintiparnta’ (desert truffles) that the women have collected, while straight lines can be used to depict the ‘karlangu’ (digging sticks).
  

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Jemma Galova - Mungai

$880.00

• Details
• Artwork

• Artist: Jemma Galova
  Artwork: Mungai
  Catalogue Number: 356-18
  Size: 70cm x 30cm
  Acrylic on canvas - unstretched.
  Painting will be shipped rolled, unstretched.
  Artworks include a Certificate of Authenticity from Yarliyil Art Centre. 
  
  
• Mungai 
  This painting depicts Jemma fathers country south of Balgo in the Great sandy Desert. This country is named Mungai. The central shape represents the people travelling through the country. The do􀆫ng represents the variety of seeds that can be found in this country and other bush foods such as kjirrilpatja (bush carrots)and Kantjilyi (bush raisin).
  

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Jillian Nampijinpa Brown - Ngapa Jukurrpa (Water Dreaming) - Mikanji

• Details
• Artwork

• Artist: Jillian Nampijinpa Brown
  Artwork: Ngapa Jukurrpa (Water Dreaming) - Mikanji
  Catalogue Number: 4025/19
  Size: 30cm x 30cm
  Acrylic on canvas - prestretched.
  Ready to hang
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Ngapa Jukurrpa (Water Dreaming) - Mikanji
  The country associated with this 'ngapa Jukurrpa' (water Dreaming) is Mikanji, a watercourse west of Yuendumu that is usually dry. There are ‘mulju’ (soakages) in this creek bed. The 'kirda' (owners) of this Dreaming site are Nangala/Nampijinpa women and Jangala/Jampijinpa men. Mikanji is an important water Dreaming site, and features in at least three different water Dreaming tracks.
  
  In one story, the water Dreaming travelled from Puyurru, northwest of Yuendumu, to a ‘mulju’ (soakage) in the Mikanji creek. It unleashed a huge storm there. Two old blind women of the Nampijinpa skin group were sitting by the side of the soakages. As the two women strained their eyes to see the sky, tears formed in their eyes, creating the rain. Their spirits can still be seen at Mikanji in the form of two ‘ngapiri’ (river red gums) growing near the soakage.
  
  A second water Dreaming track that passes through Mikanji is also owned by the Nangala/Jangala and Nampijinpa/Jampijinpa subsections, and travels further west. At Mikanji, the storm rained so hard it created a hole in the ground which became a soakage. At Mirawarri a ‘kirrkarlanji’ (brown falcon [Falco berigora]) picked up the storm and carried it on its wings to the west until it became too heavy for it. The falcon eventually dropped the storm at Pirlinyarnu (Mt. Farewell) about 165 km west of Yuendumu, where it formed an enormous ‘maluri’ (claypan). A ‘mulju’ (soakage) exists in this place today.
  
  A third Dreaming track that passes through Mikanji is the story of the water Dreaming and ‘pamapardu Jukurrpa’ (termite Dreaming). This Dreaming travels further north. This water Dreaming is owned by Nakamarra/Napurrurla women and Jakamarra/Jupurrurla men. The termite and water Dreamings travelled together from Warntungurru in the east past Warlura (a waterhole 8 miles east of Yuendumu), Wirnpa, Kanaralji, Ngamangama, and Jukajuka. A portion of this Dreaming track also includes the ‘kurdukurdu mangkurdu Jukurrpa’ (children of the clouds Dreaming). The termite Dreaming moved on to the west to Nyirrpi, a community approximately 160 km west of Yuendumu, whereas the water Dreaming travelled on to Mikanji. A ‘kirrkarlanji’ (brown falcon) eventually picked up the water and tied it to its head using hairstring. The falcon travelled north with the water Dreaming; at Puyurru, it flew under a tree and the water fell off of its head, forming a soakage there. The Dreaming then travelled on through other locations including Yalyarilalku, Mikilyparnta, Katalpi, Lungkardajarra, Jirawarnpa, Kamira, Yurrunjuku, and Jikaya before moving on into Gurindji country to the north.
  
  In contemporary Warlpiri paintings, traditional iconography is used to represent the ‘Jukurrpa’ (Dreaming), associated sites, and other elements. In many paintings of this Dreaming, short dashes are often used to represent ‘mangkurdu’ (cumulus & stratocumulus clouds), and longer, flowing lines represent ‘ngawarra’ (flood waters). Small circles are used to depict ‘mulju’ (soakages) and river beds. 
  

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Karen Yoomarie - Women Collecting Bush seeds

$420.00

• Details
• Artwork

• Artist: Karen Yoomarie
  Artwork: Women Collecting Bush seeds
  Catalogue Number: 381-19
  Size: 50cm x 30cm
  Acrylic on canvas - unstretched.
  Painting will be shipped rolled, unstretched.
  Artworks include a Certificate of Authenticity from Yarliyil Art Centre. 
  
  
• Women Collecting Bush seeds
  This painting depicts women collecting bush seeds (lugrarta) to make damper.
  

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Kelly Napangardi Michaels - Mina Mina Jukurrpa (Mina Mina Dreaming)

  SOLD  

• Details
• Artwork

• Artist: Kelly Napangardi Michaels
  Artwork: Mina Mina Jukurrpa (Mina Mina Dreaming)
  Catalogue Number: 51/20ny
  Size: 30cm x 30cm
  Acrylic on canvas - prestretched.
  Ready to hang
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Mina Mina Jukurrpa (Mina Mina Dreaming)
  Mina Mina is an extremely important ceremonial site for Napangardi and Napanangka women that is located approximately 600kms west of Yuendumu, just east of Lake Mackay and the WA border. The area has a ‘marluri’ (salt lake or claypan) that is usually dry, without water. There are also a number of ‘mulju’ (soakages), sandhills, and a large stand of ‘kurrkara’ (desert oaks [Allocasuarina decaisneana]). The Mina Mina Jukurrpa is an important source of Warlpiri ritual knowledge and social organization, particularly relating to the different roles performed by men and women.
  
  The ‘kirda’ (owners) of this country are Napangardi/Napanangka women and Japangardi/Japanangka men, who can depict portions of the Mina Mina Jukurrpa in their paintings. There are a number of different components of the Mina Mina Jukurrpa; artists usually choose to depict one particular aspect. These can include ‘karnta’ (women), ‘karlangu’ (digging sticks), ‘majardi’ (hairstring skirts/tassels), ‘ngalyipi’ (snakevine [Tinospora smilacina]), ‘jintiparnta’ (desert truffle [Elderia arenivaga]), and ‘kurrkara’ (desert oak [Allocasuarina decaisneana]).
  
  The Mina Mina Jukurrpa tells the story of a group of ancestral ‘karnta’ (women) who traveled from west to east. In the Dreamtime, these ancestral women danced at Mina Mina and ‘karlangu’ (digging sticks) rose up out of the ground. They collected these digging sticks and started travelling to the east. They carried their digging sticks over their shoulders and they were adorned with ‘majardi’ (hairstring belts), white feathers, and necklaces made from ‘yinirnti’ (bean tree [Erythrina vespertilio]) seeds. They continuously anointed themselves with ‘minyira’ (shiny fat) to increase their ritual powers as they went along. As the women travelled, they were followed by a ‘yinkardakurdaku’ (spotted nightjar [Eurostopodus argus]) from the Jakamarra subsection. The bird would call out and then hide in the bushes behind them as they travelled.
  
  When the women danced at Mina Mina, they created a large dust cloud that swept up the ‘walyankarna’ (snake ancestors). The ‘walyankarna’ had previously transformed themselves from witchetty grubs into snakes at Kunajarrayi (Mount Nicker, 200km southwest of Yuendumu), and they had stopped at Mina Mina to watch the women dance. This dust cloud blew the ‘walyankarna’ further north to Yaturluyaturlu (near the Granites gold mine). In this way, the ‘karnta Jukurrpa’ (women’s Dreaming) and ‘ngarlkirdi Jukurrpa’ (witchetty grub Dreaming) intersect. This allowed the ancestral women to observe the witchetty grubs and learn how to best locate and cook them, which are skills that Warlpiri women still use today.
  
  The women went east from Mina Mina, dancing, digging for bush tucker, and creating many places as they went. As they went east, they passed through Kimayi (a stand of ‘kurrkara’ (desert oak)). They passed through sandhill country where the ‘yarla’ (bush potato or ‘big yam’ [Ipomea costata]) ancestors from Yumurrpa and the ‘ngarlajiyi’ (pencil yam or ‘small yam’ [Vigna lanceolata]) ancestors from Yumurrpa were engaged in a huge battle over women. This battle is also a very important Warlpiri Jukurrpa narrative. The women went on to Janyinki and stopped at Wakakurrku (Mala Bore), where they stuck their digging sticks in the ground. These digging sticks turned into mulga trees, which still grow at Wakakurrku today. The women then went on to Lungkardajarra (Rich Bore), where they looked back towards their country in the west and started to feel homesick for what they’d left behind.
  
  The women split up at Lungkardajarra. Some of them travelled eastwards to Yarungkanyi (Mount Doreen), and kept going east. They passed through Coniston in Anmatyerre country, and then went on to Alcoota and Aileron and beyond. The other group of women travelled travelled northwards from Lungkardajarra to Karntakurlangu. These women stopped at Karntakurlangu to dig for ‘wardapi’ (sand monitor/goanna [Varanus gouldii]) and ‘jintiparnta’ (desert truffle) before going further north. Both groups eventually got so homesick for their desert oak country in the west that they went all the way back to Mina Mina, where they stayed for good.
  
  This Jukurrpa contains important information about the different roles that men and women play in Warlpiri culture, particularly in the context of ritual performance. It alludes to an earlier time in which their ritual and social roles were reversed, in which women controlled the sacred objects and weapons that are now exclusively “owned” by men.
  
  In contemporary Warlpiri paintings, traditional iconography can be used to represent the Jukurrpa, particular sites, and other elements. In paintings of the Mina Mina Jukurrpa, sinuous lines are often used to represent ‘ngalyipi’ (snakevine). Circles and roundels can represent the ‘jintiparnta’ (desert truffle) that the women collected as they travelled, and straight lines are used to represent the ‘karlangu’ (digging sticks). ‘Majardi’ (hairstring skirts) are represented by single wavy lined suspended from a single curved line.
  

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Lee Nangala Gallagher - Yankirri Jukurrpa (Emu Dreaming) - Ngarlikurlangu

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• Artist: Lee Nangala Gallagher
  Artwork: Yankirri Jukurrpa (Emu Dreaming) - Ngarlikurlangu
  Catalogue Number: 1366/19ny
  Size: 30cm x 30cm
  Acrylic on canvas - prestretched.
  Ready to hang
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Yankirri Jukurrpa (Emu Dreaming) - Ngarlikurlangu
  This particular site of the Yankirri Jukurrpa, (emu Dreaming [Dromaius novaehollandiae]) is at Ngarlikurlangu, north of Yuendumu. The ‘yankirri’ travelled to the rockhole at Ngarlikurlangu to find water. This Jukurrpa story belongs to Jangala/Jampijinpa men and Nangala/Nampijinpa women. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, associated sites and other elements. Emus are usually represented by their ‘wirliya’ (footprints), arrow-like shapes that show them walking around Ngarlikurlangu eating ‘yakajirri’ (bush raisin [Solanum centrale]). In the time of the Jukurrpa there was a fight at Ngarlikiurlangu between a ‘yankirri’ ancestor and Wardilyka (Australian bustard [Ardeotis australis]) ancestors over sharing the ‘yakajirri’. There is also a dance for this Jukurrpa that is performed during initiation ceremonies.
  

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Leston Japaljarri Spencer - Warna Jukurrpa (Snake Dreaming)

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• Artist: Leston Japaljarri Spencer
  Artwork: Warna Jukurrpa (Snake Dreaming)
  Catalogue Number: 581/16ny
  Size: 183cm x 61cm
  Acrylic on canvas - unstretched.
  Painting will be shipped rolled, unstretched.
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Warna Jukurrpa (Snake Dreaming)
  The place depicted in this painting, Ngama, is located south of Yuendumu in the Northern Territory. This Dreaming belongs to Nakamarra/Napurrurla women and Jakamarra/Jupurrurla men. This story describes the journey of Yarripiri, an ancestral ‘warna’ (snake). He travelled from Wirnparrku near Mt. Liebig to Yimparlu, and continued its way through the territories of Ngapanangka-jarra, Warlajirryi, Kurnmundu, Yinyirrinyi on to Ngama. Later Yarripiri travelled further north via Mijirlparnta (Mission Creek) and right through to the top end of Australia.Yarripiri was very sad as his family had left him behind at Wirnparrku. He was blind and crippled but he was determined to follow and search them out. He had to be carried. This was the job undertaken by the ‘kurdungurlu’ (ceremonial police) of the Dreaming: the Nangala/Nampijinpa women and Jangala/Jampijinpa men. Where Yarripiri's tail slumped and touched the ground creeks were formed, such as Mijirlparnta, west of Yuendumu. Yarripiri tracks and paths are often represented by arc shapes or curved lines depicted across the canvas.
  

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Lulu Trancollino - Dungi Valley

$715.00

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• Artwork

• Artist: Lulu Trancollino
  Artwork: Dungi Valley
  Catalogue Number: 460-12 
  Size: 50cm x 30cm
  Acrylic on canvas - unstretched.
  Painting will be shipped rolled, unstretched.
  Artworks include a Certificate of Authenticity from Yarliyil Art Centre. 
  
  
• Dungi Valley
  This painting represents the rockholes at my country, Bedford Downs-Halls Creek. These are the rock holes in the valley that get filled by the flood water. The lines between the rock holes is the water travelling. This water good for swimming, drinking but sometime its dirty water no good for drinking.
  

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Lulu Trancollino - Dungi Valley

$715.00

• Details
• Artwork

• Artist: Lulu Trancollino
  Artwork: Dungi Valley
  Catalogue Number: 207-17 
  Size: 50cm x 30cm
  Acrylic on canvas - unstretched.
  Painting will be shipped rolled, unstretched.
  Artworks include a Certificate of Authenticity from Yarliyil Art Centre. 
  
  
• Dungi Valley
  This painting represents the rockholes at my country, Bedford Downs-Halls Creek. These are the rock holes in the valley that get filled by the flood water. The lines between the rock holes is the water travelling. This water good for swimming, drinking but sometime its dirty water no good for drinking.
  

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Lulu Trancollino - Dungi Valley

$640.00

• Details
• Artwork

• Artist: Lulu Trancollino
  Artwork: Dungi Valley
  Catalogue Number: 112-18 
  Size: 60cm x 30cm
  Acrylic on canvas - unstretched.
  Painting will be shipped rolled, unstretched.
  Artworks include a Certificate of Authenticity from Yarliyil Art Centre. 
  
  
• Dungi Valley
  This painting represents the rockholes at my country, Bedford Downs-Halls Creek. These are the rock holes in the valley that get filled by the flood water. The lines between the rock holes is the water travelling. This water good for swimming, drinking but sometime its dirty water no good for drinking.
  

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Lulu Trancollino - Dungi Valley

$640.00

• Details
• Artwork

• Artist: Lulu Trancollino
  Artwork: Dungi Valley
  Catalogue Number: 113-18 
  Size: 60cm x 30cm
  Acrylic on canvas - unstretched.
  Painting will be shipped rolled, unstretched.
  Artworks include a Certificate of Authenticity from Yarliyil Art Centre. 
  
  
• Dungi Valley
  This painting represents the rockholes at my country, Bedford Downs-Halls Creek. These are the rock holes in the valley that get filled by the flood water. The lines between the rock holes is the water travelling. This water good for swimming, drinking but sometime its dirty water no good for drinking.
  

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Lynette Nangala Singleton - Ngapa Jukurrpa (Water Dreaming) - Puyurru

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• Artwork

• Artist: Lynette Nangala Singleton
  Artwork: Ngapa Jukurrpa (Water Dreaming) - Puyurru
  Catalogue Number: 752/20ny
  Size: 30cm x 30cm
  Acrylic on canvas - prestretched.
  Ready to hang
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Ngapa Jukurrpa (Water Dreaming) - Puyurru
  The site depicted in this painting is Puyurru, west of Yuendumu. In the usually dry creek beds are ‘mulju’ (soakages), or naturally occurring wells. The 'kirda' (owners) for this site are Nangala/Nampijinpa women and Jangala/Jampijinpa men. Two Jangala men, rainmakers, sang the rain, unleashing a giant storm. The storm travelled across the country from the east to the west, initially travelling with a ‘pamapardu Jukurrpa’ (termite Dreaming) from Warntungurru to Warlura, a waterhole 8 miles east of Yuendumu. At Warlura, a gecko called Yumariyumari blew the storm on to Lapurrukurra and Wilpiri. Bolts of lightning shot out at Wirnpa (also called Mardinymardinypa) and at Kanaralji. At this point the Dreaming track also includes the ‘kurdukurdu mangkurdu Jukurrpa’ (children of the clouds Dreaming). The water Dreaming built hills at Ngamangama using baby clouds and also stuck long pointy clouds into the ground at Jukajuka, where they can still be seen today as rock formations.
  
  The termite Dreaming eventually continued west to Nyirripi, a community approximately 160 km west of Yuendumu. The water Dreaming then travelled from the south over Mikanji, a watercourse with soakages northwest of Yuendumu. At Mikanji, the storm was picked up by a ‘kirrkarlanji’ (brown falcon [Falco berigora]) and taken farther north. At Puyurru, the falcon dug up a giant ‘warnayarra’ (rainbow serpent). The serpent carried water with it to create another large lake, Jillyiumpa, close to an outstation in this country. The ‘kirda’ (owners) of this story are Jangala men and Nangala women. After stopping at Puyurru, the water Dreaming travelled on through other locations including Yalyarilalku, Mikilyparnta, Katalpi, Lungkardajarra, Jirawarnpa, Kamira, Yurrunjuku, and Jikaya before moving on into Gurindji country to the north.
  
  In contemporary Warlpiri paintings, traditional iconography is used to represent the ‘Jukurrpa’ (Dreaming). Short dashes are often used to represent ‘mangkurdu’ (cumulus & stratocumulus clouds), and longer, flowing lines represent ‘ngawarra’ (flood waters). Small circles are used to depict ‘mulju’ (soakages) and river bed.
  

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Lynette Nangala Singleton - Ngapa Jukurrpa (Water Dreaming)-Puyurru

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• Artwork

• Artist: Lynette Nangala Singleton
  Artwork: Ngapa Jukurrpa (Water Dreaming) - Puyurru
  Catalogue Number: 754/20ny
  Size: 30cm x 30cm
  Acrylic on canvas - prestretched.
  Ready to hang
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Ngapa Jukurrpa (Water Dreaming) - Puyurru
  The site depicted in this painting is Puyurru, west of Yuendumu. In the usually dry creek beds are ‘mulju’ (soakages), or naturally occurring wells. The 'kirda' (owners) for this site are Nangala/Nampijinpa women and Jangala/Jampijinpa men. Two Jangala men, rainmakers, sang the rain, unleashing a giant storm. The storm travelled across the country from the east to the west, initially travelling with a ‘pamapardu Jukurrpa’ (termite Dreaming) from Warntungurru to Warlura, a waterhole 8 miles east of Yuendumu. At Warlura, a gecko called Yumariyumari blew the storm on to Lapurrukurra and Wilpiri. Bolts of lightning shot out at Wirnpa (also called Mardinymardinypa) and at Kanaralji. At this point the Dreaming track also includes the ‘kurdukurdu mangkurdu Jukurrpa’ (children of the clouds Dreaming). The water Dreaming built hills at Ngamangama using baby clouds and also stuck long pointy clouds into the ground at Jukajuka, where they can still be seen today as rock formations.
  
  The termite Dreaming eventually continued west to Nyirripi, a community approximately 160 km west of Yuendumu. The water Dreaming then travelled from the south over Mikanji, a watercourse with soakages northwest of Yuendumu. At Mikanji, the storm was picked up by a ‘kirrkarlanji’ (brown falcon [Falco berigora]) and taken farther north. At Puyurru, the falcon dug up a giant ‘warnayarra’ (rainbow serpent). The serpent carried water with it to create another large lake, Jillyiumpa, close to an outstation in this country. The ‘kirda’ (owners) of this story are Jangala men and Nangala women. After stopping at Puyurru, the water Dreaming travelled on through other locations including Yalyarilalku, Mikilyparnta, Katalpi, Lungkardajarra, Jirawarnpa, Kamira, Yurrunjuku, and Jikaya before moving on into Gurindji country to the north.
  
  In contemporary Warlpiri paintings, traditional iconography is used to represent the ‘Jukurrpa’ (Dreaming). Short dashes are often used to represent ‘mangkurdu’ (cumulus & stratocumulus clouds), and longer, flowing lines represent ‘ngawarra’ (flood waters). Small circles are used to depict ‘mulju’ (soakages) and river bed.
  

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Margaret Nangala Gallagher - Yankirri Jukurrpa (Emu Dreaming) - Ngarlikirlangu

$1,430.00

• Details
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• Artist: Margaret Nangala Gallagher
  Artwork: Yankirri Jukurrpa (Emu Dreaming) - Ngarlikirlangu
  Catalogue Number: 3963/19ny
  Size: 152cm x 61cm
  Acrylic on canvas - unstretched.
  Painting will be shipped rolled, unstretched.
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Yankirri Jukurrpa (Emu Dreaming) - Ngarlikirlangu
  This painting depicts a ‘yankirri Jukurrpa’ (emu [Dromaius novaehollandiae] Dreaming) from a place called Ngarlikurlangu, approximately 50kms north of Yuendumu. The ‘kirda’ (owners) of this Dreaming are Nangala/Nampijinpa women and Jangala/Jampijinpa men. 
  
  This Jukurrpa tells the story of a ‘yankirri’ (emu) and a ‘wardilyka’ (bush turkey [Ardeotis australis]). ‘Yankirri’ lived at a soakage to the west called Warnirripanu (or Walangkamirirri), while ‘wardilyka’ lived at a soakage to the east called Parirri.  The emu and bush turkey used to go around the country picking ‘yakajirri’ (bush raisins [Solanum centrale]) and mashing them into ‘kapurdu’ (fruit balls) to save in their nests for later. However, they were jealous of each other; the emu thought that the bush turkey was picking the best and juiciest ‘yakajirri’, and was leaving him with only the sour ‘yakajirri’.
  
  The emu went to the bush turkey’s nest to the east while the bush turkey was out hunting and smashed up the ‘kapurdu’ that the bush turkey had saved there. When the bush turkey returned, he found his smashed ‘yakajirri’ balls and realized that the emu had destroyed them. He went to the west to confront the emu and when he found him, they got into a big fight. The bush turkey eventually flew away to the north, leaving behind the smashed ‘yakajirri’ balls.
  
  This practice of making ‘kapurdu’ (fruit balls) is a traditional Warlpiri method of storing ‘yakajirri’; in the old days, people used to dry the ‘yakajirri’, grind them up with a rock in a coolamon, mix them with water and form balls from them, and cover the ‘kapurdu’ with red ochre so they would keep.
  
  Today at Ngarlikirlangu we can see round, red rocks which are the ‘kapurdu’ that the emu smashed up. There is also a dance for this ‘yankirri’ (emu) Jukurrpa that is performed during mens’ initiation ceremonies. A number of other Jukurrpa are also located at Ngarlikirlangu, including ‘wardilyka Jukurrpa’ (bush turkey Dreaming), ‘yardijiinypa Jukurrpa’ (meat ant Dreaming), and ‘pirntina Jukurrpa’ (woma or Ramsay’s python [Aspidites ramsayi] Dreaming). Lots of ‘yakajirri’ grow around the Ngarlikirlangu area today.
  
  

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Mary Napangardi Butcher - Pikilyi Jukurrpa (Vaughan Springs Dreaming)

  SOLD  

• Details
• Artwork

• Artist: Mary Napangardi Butcher
  Artwork: Pikilyi Jukurrpa (Vaughan Springs Dreaming)
  Catalogue Number: 1276/20
  Size: 30cm x 30cm
  Acrylic on canvas - prestretched.
  Ready to hang
  Artworks include a stamped signed Certificate of Authenticity from Warlukurlangu Artists. 
  
  
• Pikilyi Jukurrpa (Vaughan Springs Dreaming)
  Pikilyi is a large and important waterhole and natural spring near Mount Doreen station. Pikilyi Jukurrpa (Vaughan Springs Dreaming) tells of the home of two rainbow serpents, ancestral heroes who lived together as man and wife. The woman ‘rainbow serpent’ was of the Napanangka skin group, the man was a Japangardi. This was a taboo relationship contrary to Warlpiri religious law. Women of the Napanangka and Napangardi subsection sat by the two serpents, picking lice off them. For this service, the two serpents allowed the women to take water from the springs at Pikilyi. This was because the serpents were the ‘kirda’, or ceremonial owners, for that country. The spirits of these two rainbow serpents are still at Pikilyi today. This Dreamings belongs to the women and men of the Japanangka/Napanangka and Japangardi/Napangardi skin groups.
  

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