Browse by

Browse by art centre

kurtal

Name: Ngarralja Tommy May

Ngarralja Tommy May - Kurtal, Kaningarra and the Canning Stock Route [ORAL HISTORY]

Other Speaker/s: Ngilpirr Spider Snell, Jukuja Dolly Snell

Synopsis: Tommy talks about his painting Kurtal and Kaningarra, and tells the Jukurrpa story of these two. Tommy and Spider Snell talk about taking care of these two jila today, and who is left to look after Kurtal and Kaningarra. He talks about seeing bullock for the first time near Well 42. He talks about cultural and law boundaries throughout the Canning Stock Route Coutry and how kartiya doen't know about thes boundaries.

Date: 8/16/2007
Art centre(s):
Language spoken: Kriol, English
Catalogue number: CSROH_27_Ngarralja_Tommy_May
Interviewed By: Nicole Ma; ABC 7.30 Report reporters
Transcribed By: Monique La Fontaine
Recorded by: Nicole Ma; ABC 7.30 Report
Location Described: Kurtal, Kaningarra
Location Recorded: Nyarna, Lake Stretch
Latitude/Longitude: -19.0796/128.2542

Cultural Protocols: PUBLIC ACCESS - RESTRICTIONS ON USE
Access: PUBLIC
Notes: Recorded by Nicole Ma with ABC 7.30 Report/ Landline. It is likely the male reporter asking questions in this footage is David Mark. There were notes and corrections made to this story when the permission was gathered on 3 September 2008, these notes have been included in this transcript.
Full transcript:
Tommy May: Yeah, right through.

Nicole Ma: And what do you remember about this place from before?

TM: Yeah, this place right. We walked from desert, we been right around here, all around, when I was a kid. With my mother and my uncle. One of them, his father for Tax, Richard Tax. He up in Halls Creek, eh. Old people home. Richard Tax. That’s my cousin brother. He from this Country too. I know all of his family around in Balgo and here.

NM: What do you remember before the Stock Route came?

TM: Ah, that stock road I know is before all that, whitefella, kartiya [white man] bloke in the road been just, still I reckon only lately. That road been put, [by] all those Canning mob, whoever been working on that road, lately. But we trust this bloke. Dreamtime. That really true. And before it used to be blackfella Country, they used to walkin to Kurtal and walk to, what that place um, Kulyayi, or way down another place too. They was walking down, all around, walk around. See? Before that Canning Stock Road. That Canning Stock Road they been only put it lately. Still, lately, name. It wasn’t Canning Stock Road before. Before was a, now can’t drovin there. Nothing. Before that drovin, still lately. I say only yesterday. Before was just nothing: blackfella Country. Soakwater, jila [spring], jumu [ephemeral water], rockhole, that area.

NM: And now what?

TM: Now it’s Canning Stock Road now. For anybody to use. That camel man been working for the well, still lately. Before, these two man [pointing to painting of [Kurtal and Kaningarra], Dreamtime stories and before used to be blackfella Country this.

NM: Ngarralja, when you were a little kid in your Country what stories did you hear about the stock route?

TM: Still, I heard the cattle drovers still, but nother mob tell me jila [ancestral being, spring] side still very important Dreamtime stories really. Yeah. Dreamtime for jila, all of those stories. What jila been living in there, anywhere, in the hill or rocky Country. Dreamtime was before that, that really true. And this two person was a really true. Before, early days when I been a kid, might be before I been born, these two waterholes they been looking after, cleaning all the time. They, this mob [Kurtal] they used to come down to this mob, Kaningarra, Kaningarra. I know these people for that side, for old people. That’s the looking after Kaningarra. Keep it clean and sometime make it rain. That same two for that thing, story.

NM: It’s that old man. [Spider Snell sits down]

TM: Yeah. He know these stories, two, these two [Kurtal and Kaningarra jila].

Spider Snell: [asks question in language, nganayi]

TM: No, purrku [husband], Kurtal and Kaningarra

SS: Yeah, Kaningarra, Kurtal.

TM: [pointing] This one Kaningarra, Kurtal.

SS: [pointing] Kurtal here, Kaningarra there.

TM: That’s the one we sing and dance with these two. Anytime. For KALACC [Kimberley Aboriginal Law and Culture Centre], KALACC …

SS: [pointing to Kaningarra?] Shut him up, this one shut him up today, no more …

TM: No more today, nothing.

SS: No juju [song and dance] [gestures wide distance] juju, might be. [Speaks in language.]

TM: No more Kaningarra, no Kurtal, nothing.

NM: No more?

SS: Mm, all in Bayulu, what name [meaning sorry camp] ...

TM: Someone passed away in Fitzroy.

SS: Yuwayi [yes], Jakarra [Skipper].

TM: No more this one song.

SS: They been shut him away, leave it.

TM: Some day they can dance after one year, over.

SS: Only, any time [language], wati kujarra [two men] for Kaningarra there, Kurtal …

TM: This one [Kaningarra] he got no really boss. No one looking after properly. That jila [ancestral being, spring], cleaning up.

NM: No one’s looking after it?

TM: Yeah. This one [Kaningarra]. This one right [Kurtal].
[Both men pointing with their sticks]

SS: Oh, boss, right. [speaks in language] ... ngaju [points to Kurtal] this one boss [I’m the boss for this one].

TM: For this place, this place used to be before, keep it clean. Old people, jila people.

NM: [XX – indecipherable, referring to young people for Kaningarra?]

TM: They don’t know nothing. He lost that water hole. People used to live there. Kurtal help clean that special way. Very sad.

Dolly Snell: Ah, yawi [poor thing].

SS: Wayampajarti, nganayi [what’s this one]… Nyirla, Yawul [near Kaningarra] Wayampajartu [drawing in the sand] …

TM: No, these two [pointing to painting].

SS: Yeah … [XX – in language] make, Kurtal. I been shut him up.

[Dolly stands between the two men.]

NM: Dolly sit down, sit down. [Spider tells Dolly to sit in language]

[Dolly moves to left of Spider.]

NM: Stay there! [In the middle]

DS: No, I sit down here [looks at painting, camera moves to include her.]

TM: Story I did for all that road, well, putting well, still after, lately. These two first, Dreamtime. Jukurrpa [dreaming]. All of the Jukurrpa. Dreamtime, stories. And people used to walk up and down in the blackfella Country before, no worries.

SS: [In language: I took Kurtal dance to America and all around the world, everywhere. Dolly interjects and revises his story, he laughs and continues, Dolly adds to it.]

NM: Spider, do you know any stories about the Canning Stock Route?

SS: Yuwayi [yes], that one all the way.

TM: My story is finished.

SS: I’m have to go stock road, stock road any time, go. Yangurta time [XX] yawarta [horse] time.

[Dolly speaks in language referring to Tommy having made the painting they’re looking at.]

TM: My mother been taking me around here when I been a kid. To this place and this place, no worries. Show me waterhole, names.

Male Reporter: Tell me what Country you were in when you first saw the bullocks and the drovers?

TM: Ah, near Kurtal Country. Come from Kurtal to Canning Stock Route just for walk around with George Lee father, Ned Jamili. Way down desert, yeah.

Male Reporter: Were you just a boy?

TM: Yeah, me and my brother.

Male Reporter: What did you think when you saw them?

TM: See all the dust, drovers from here, and we come across for meat, for bullock. We knew some family was there. [Laughs] Married some fella, they want a tobacco, old people. That niki niki [tobacco] init? Kartiya [white people’s] tobacco.

SS: Yeah niki niki tobacco.

TM: Niki niki tobacco and flour might be, yeah.

Male Reporter: What did you think of the bullocks when you saw them the first time?

TM: No, I never come there. Frightened of big bullocks. I know one galloped at us near one place, another well the other side of Kulyayi. You might have come through, know that place? What they got here? 42. The Well. 42. Yeah, we been walk around there.

NM: You went there?

TM: Chasing all the rabbits. Did you see all the rabbits there? Rabbits, should be plenty there.


John Carty: Wallabi [Charlie Tjungurrayi] said there was a big mob but we never saw them. He said in that tali [sand hill] there …

TM: Scrub Country.

JC: Yeah, near the lake …

TM: Yeah, scrub Country [XX] place. [Film skips forward] No, no, no. [Skips forward again] Here in Balgo, and go back from Balgo to Lamboo Well there and from there we heading to another place. Through Fitzroy Crossing way. We was a kid. Lot of our people, old people, brothers, these days, brother, uncle they been already working in station. We couldn’t find anybody behind. [Chuckles] That’s why we went.

Male Reporter: So you left the Country?

TM: Yeah, but still now we think back to Kurtal. I been there now lately. Yeah.

Male Reporter: What County did you go to when you left?

TM: From here? Ah to Christmas Creek. Way down to long way to near Derby Country. Work around. Kid time.

Male Reporter: Was that when you where still a boy?

TM: Yeah, Meeda, Meeda Station. Man grow up there, ride a horse. Stock ringing job. Yep, wali, nyamu [that’s all, finished]. Yeah, me and my, I know, Richard Tax, he’s my really cousin brother. He from Kurtal Country.

SS: Desert country, Kurtal.

TM: Mariya janu [XX], he finish up in there in Halls Creek, yeah.

SS: Ngurra ngurra [Country, home is Kurtal].

TM: His Country is this place, Kurtal Country.

Karen Dayman: Ngarralja, do you still take your sons and Spider’s Grandsons back there now? You been doing ceremony at Kurtal and ...

TM: Yeah. Japeth [Rangie – Spider’s grandson], Thomas [May – Tommy’s son], they went.

SS: [In language] Japeth went there ...

TM: [smiling and pointing at Tom Lawford] This bloke was there too. [Laughs] Yeah, when that water was still full!

NM: But you said that no one is looking after it anymore?

TM: No, this place little bit [Kaningarra]. Not this place, we visit. When that no water we go a clean em this place [Kurtal]. He only shallow. He not, he ...

NM: You still wanna do that?

TM: Yeah, when he dried up. Might be dried up I don’t know.

SS: Might be dry or might be nothing ...

TM: It’s very important for us poor fella. It’s old people home there.

SS: All finish. Old people finish, langa this one there [Kurtal].

TM: Jila people. All the Lawa Lawa mob. You know Lawa Lawa?

SS: Lawa Lawa, this one father [pointing to Dolly] This one father, properly, Kurtal. And me too, but little bit outside me.

TM: That’s why you got no good road eh. To Kurtal. No you right. [chuckles]

NM: Do you want to get a road there?

TM: No, somebody might be come along behind eh, leave it quiet, eh. [To Nicole Ma:] Eh?

NM: Remember you asked me to build a road?

TM: Yeah. One time ago.

DS: You want to make it manga [girl]!

SS: Yeah, gotta make it.

TM: No nganayi [what], somebody might come along, tourist. Eh? Tourist, visiting, I reckon.

NM: To make a road they’ll all be there?

TM: Yeah.

DS: All can’t visit em kartiya [white people] langa there you know, that jila [spring].

TM: No.

DS: Yeah but one side where there might be, nother road.

TM: Not from other way.

DS: Yeah.

TM: Kulyayi side they might be come from cross way.

NM: You know they can go from the Canning Stock Route?

TM: Yeah, easy.

SS: Only one side, Stock Road …

NM: Helena Springs and then they’ll find it.

TM: Yeah easy. And they make camp there, big camp.

SS: [XX - speaks in language, says they’ll have to grade it]

TM: There was one man. One man he must be been running around there, one blackfella, in that Country, early days. That, who that bloke? Jangala bloke [Daniel Vachon] he was reading in the book eh. One Camel man come along, he had five camel I think.

KD: Carnegie.

TM: Carnegie. Carnegie, that’s the bloke eh. And he come, find that blackfella, walk around in the bush and kartiya [white man] want to find the water. Camel man eh.

And he saw that blackfella and he ask, ‘Any water?’ ‘Yeah, we know. I know, water here.’ He might be meet him in somewhere, other side eh. In Warla Country. Warla. He been ask for water, ‘Yeah, I’ll take you down to water.’ But he never tell him with English. I don’t know what he been do [chuckles] He might ‘Wiya nga katikunanta’ ‘I’ll show you.’ He might be take him to that Kurtal now. Show that big waterhole. They been stay there for five days. Story about there, camel man.

NM: Is that true?

TM: Yeah

NM: Carnegie was it?

TM: Yeah, his daughter init [isn’t it]?

KD: Helena.

TM: Helena, yeah. Man that, he had, now he lately, he’s name of, in that girl name now, that Helena Spring. Yeah. He had daughter behind, eh? Live.

NM: So he named that spring after his daughter?

TM: Yep, there now, Helena Spring.

[Film skips forward …]

TM: One been, might be one of them Lawa Lawa family, Lawa Lawa family, he been know that water. That kartiya [white man] couldn’t find water. And they been take him to that place, big water hole, [XX] he springing all the time see.

SS: Dead [?]

NM: Because why, why is it always dead [?], the water?

TM: No, he all the time, shallow thing, lotta spring water, lotta strong. He bubbling from under too. Under the gate [?] he in a good Country, not in hill, not in billabong, not in river, just in bush Country. Oh, you saw [to Nicole Ma, smiling] no, no, you never seen it properly, he was cover up [with water].

NM: Yeah, I haven’t seen it properly.

TM: Yeah.

NM: Maybe next time.

TM: Yeah, next time when dry time. But dry time you not allowed to stop there looking at the waterhole, you gotta be bush. All the woman bush, he did it [pointing to Karen Dayman?] all this mob, only man work, only be man, one time. Right down, like sunset, when everything finish, someone gotta call you out, come to waterhole, come to that place. After all the work finish. They used to do that too before when I been a kid. Stranger, only for law really, really hard. You gotta have water in drum or jerry can or whatever. Karen’s right. Yeah. All for old people for. Really punish, punish[ing work] for young people, gotta learn that way.

NM: Where are all of the old people then?

TM: No they work. They in the waterhole, gotta be work all the time. Old people. Or young people. Got to work by all the skin group too. That water got a skin group. Law for that water. Kurtal story. Mm, yeah … Yeah, Kurtal he not far from ... [ends, tape skips forward]

Male Reporter: What do you think about telling these Aboriginal stories about the Canning Stock Route?

TM: Well there is, very important thing for early days, really. This thing about before that Canning road been put up that, whoever been workin’ camel, making the wells, still lately. Mmm. I reckon it used to be blackfella Country before. All the jumu [ephemeral water], jumu like soak water.

Male Reporter: Why do you think it’s important to tell these stories?

TM: They don’t know anybody. They might be, they might be … [tape skips forward]
… and nother one round here, but they gotta come careful way, you know. Respect nother elders in front. Come there they gotta learn different way. But there they used to have a business might be, kid time, he right. Marlulu [law – boy’s initiation time]. Whoever know the Marlulu. Law time. He right. Palya [good]. Not just walk in anyway. No. Danger.

JC: Do you think that today, like when you see the map you just see the one road Canning Stock Route, that’s all kartiya [white people] see, do you think kartiya understand those boundaries you are talking about now?

TM: No, nothing.

Male Reporter: How did that road change what you are talking about, the blackfella travelling out there?

TM: He change, still lately. Might be been a lot of law ground there. Dreamtime. Whoever been live there early days really. And they been just claim all other boundaries, and nother boundary. They don’t care about. No respect really. Nothing. No. That white kartiya law not like blackfella, no. Blackfella got to respect, respect nother people, nother tribe, other language. Old people good stories. Yeah. He right. Today, lately. Any whitefella can through any … [tape jumps forward]

People get killed over there. Yeah, from not crossing, too rough, come to that nother tribe, other side. Making trouble, something wrong. Get speared, yeah. Someone might be get sing, mad. That blackfella way, early days. You gotta respect elders there. Not too rough. Not walkin anywhere.

Male Reporter: Do you know stories about people being killed because of the Stock Route?

TM: Oh, not for, before that. Before that everywhere too. You can’t come to cross to law time there, now lately too. You come too rough there nother way, and they won’t like you. Too rough. They gotta come really careful or manners, respect, he alright.

Male Reporter: And today you got tourists going everywhere.

TM: Mixed. Don’t know where they go. That’s why all the law finish. Mm. Grog too much

SS: Mmm mm.

TM: Another thing, ganja, drink too much, lotta business still there for old people. Yeah. All the marninwarntikura law [women’s law] there. I been grow up in different old people. They was telling me story, don’t, not to be do that. My time. I used I used to live in young people or old people in the, we get them, not in woman mix, kid time. That’s where you learn, get all the idea here, learn you there. Come good people, careful. That’s it. Not mad way. Someday you get spear through you. Nulla nulla [speared] in the head.

Yeah. That’s it.

END


Source: CSROH_27_Ngarralja_Tommy_May

Provenance: This material is sourced from Ngurra Kuju Walyja — the Canning Stock Route Project, which was initiated in 2006 by FORM and developed in partnership with Birriliburu, Kayili, KALACC, Mangkaja, Martumili, Ngurra, Papunya Tula, Paruku IPA, Warlayirti and Yulparija artists and art centres.

Name: Ngilpirr Spider Snell

Ngilpirr Spider Snell - Kurtal story and Kinki [ORAL HISTORY]


Synopsis: Spider tells the story of Kurtal, where he came from and his journey during Jukurrpa (Dreaming). Spider then tells his own story, about being left at Kurtal,and being one of his lightnings. His mother found him there as a snake and that is where he was born. He grew up there and would go hunting. He brother drank from the water at Kurtal and was grabbed by the snake and pulled into the water, he let him go. Kurtal is quiet now, Spider is the only one looking after him now. He went from Kurtal to Billiluna, where he was initiated and he finished law at Wangkatjungka.He married Dolly when they were young and they still live with each other. Finally Spider tells the Kinki story.

Date: 11/16/2007
Art centre(s):
Language spoken: Wangkajunga, Walmajarri
Catalogue number: CSROH_52_Ngilpirr_Spider_Snell
Interviewed By: John Carty
Translated By: Putuparri Tom Lawford
Location Described: Kurtal
Location Recorded: Fitzroy Crossing
Latitude/Longitude: -18.17/125.59

Cultural Protocols: PUBLIC ACCESS - RESTRICTIONS ON USE
Access: PUBLIC
Full transcript:
I am jila. I will tell you about jila, I’m talking about Kurtal jila [ancestral being, and spring]. Rain came, a big one, in the early days. It rained for a while, a big rain. After the rain, grasses started to grow. That was him, the grass that began to grow, purrun purrun [grass] we call it. From the grass he turned into a man. Kurtal turned into a man from the grass, purrun purrun. From all that grass he grew into a man. From there he sent a kutukutu [rain-bearing cloud] but it came back. He sent it again, it still came back. He sent it again, this time north, it still came back, that cloud kutukutu. To the east he sent another cloud [kutukutu]. This time it didn’t come back. The cloud went into his own Country, Kurtal, and it went into the waterhole. From a grass he became a man. From there he said, ‘Kurtal wanyjurla wanyjurla’ [He’s singing here: Kurtal, where are you?] He called himself Kurtal. Kurtal is big. He is very big. From there he went to a place called Japingka. Japingka is another jila [ancestral being, and spring] too; Japingka gave him some sacred objects.

From there he went off again past Karlijita [St. George Ranges]. He came to a place call Mangunampi, [a place near Yakanarra] another jila [ancestral being]. He was there with that jila for a while. From there he took off again heading towards Broome, he been travel there. He arrived at Broome and had a rest there for a while. After hanging around at Broome he took off again, heading up the coast. He arrived at another jila called Jintirripil [somewhere near One Arm Point]. He stayed with Jintirripil for a while there. Jintirripil told Kurtal to stay with him near the sea. Kurtal tricked him saying, ‘Yes, I’ll stay with you’.

Jintirripil then told Kurtal to look for anther jila [ancestral being] call Paliyarra [near Nookanbah] because Paliyarra stole sacred objects that belonged to him and he wanted them back. Kurtal set off to find Paliyarra. After finding Paliyarra he went hunting, killing bush animals and cooking them up. He gave them to Paliyarra. Paliyarra knew what he was there for: to steal back the sacred objects he stole from Jintirripil. From there he told Kurtal, tricking him, ‘I haven’t got what you came here looking for.’ [Singing:] ‘Ngajirta Pa Mintirr Mintirr.’ He told him he got nothing. Kurtal could see through him, he could see lighting flashing inside him all that time he was telling him, ‘I can’t give you anything.’ From there he set his dogs onto Kurtal. They bit him all over. He ran around Paliyarra with the dogs after him, tripping him over. They both fell down, Paliyarra spilling the stolen objects onto the ground. Kurtal kicked them objects towards his home, into his waterhole, all them objects they used to make rain with, the same objects we still make rain with, but I am only one left now. I don’t know how I got to do it now, maybe with my grandsons.
With the dogs still chasing him he took off running, heading north to a place called Pinykurrngu [don’t know where this place]. On top of a hill he had a rest for while there, away from the dogs because he was bitten. After that he went to another waterhole called Kunjurrpung [not far from Ngumpan]. He had a look around to see if he had any objects with him for Kurtal to steal but he had none. After talking to that jila he went on his way. He came to another jila [Spider doesn’t know the name of this one], they sat down and had a chat. Kurtal went hunting for that jila. That’s what they did in the Dreamtime, to kill feed for another person. We still do that today but in the law way. After having a feed that other jila told him the same thing: he got nothing, no objects. [Singing:] ‘Ngajirta Pa Mintirr Mintirr’. He could look through him and seen lightning flashing inside him. Kurtal then made willy willies [whirlwinds] come up around them then. They all became one big willy willy and it covered them both with dust. They couldn’t see. The other jila didn’t know what was going on. With fright he dropped his objects on the ground. Kurtal kicked them towards his Country, Kurtal. Into the waterhole, they went. Yuwa [yes].

Kurtal took off again, this time north. He came to a hill and had a rest there on top, looking around where he’s going to steal the next stuff from. He climbed down and went to a place called Kilalaparri [at Christmas Creek]. He sat down there with that jila [ancestral being] and then all this little men, Murungkurr, came out of the ground and started attacking him. He was killing them with his lightning. Off he went again to another jila [Spider doesn’t know this one either]. This time he stole everything from him, all the rain-making stuff. He took them all with him till he came to Kaningarra. That jila Kaningarra was waiting for him. Kurtal and Kaningarra are yalpurru [were born at the same time]. They’re mates. Kaningarra told Kurtal, ‘Let’s lay down here then we can be together.’ Kurtal, tricking him, said, ‘You lie down over there and I’ll lay down here.’ Kaningarra then went into the ground and turned into a snake, kalpurtu [rainbow serpent], and today that waterhole Kaningarra is still there. Kurtal kept on going, carrying all them stolen objects in a coolamon to his Country. He was slowly getting weak. He fell down on one knee and that place we call it Tujulu. He then started to crawl towards his waterhole. He crawled inside with all his stolen objects for good. He went inside and turned into a snake, and he is there today, at his home, Kurtal. That’s the song ‘Kurtal wanyjurla wanyjurla’ we sing. That’s Kurtal, that’s where he went inside for good. He sent up a kutukutu [rain-bearing clouds] like the ones I made at the water hole. He his still there, even to this day.

[Now Spider is telling his story.]

I am from there. That’s where Kurtal left me. He left me and my wife Dolly [Snell], and her brothers and Mosquito, Johnny Mosquito, my brother. Kurtal put them there. And Wiyli Wiyli, my son [Richard Tax]. He put everybody there, that Kurtal. Kurtal left me further up north. I am one of his lightnings.

There was a big storm, lighting everywhere, big rain. From that place my parents found me. I was a snake, a water snake. My mother saw me and was coming up to me, creeping me up, I saw her coming and laid down for her. She hit me, killing me and she pulled me out of the ground from my ribs. She then lit a fire to cook me. She covered me in hot coals and ash. Then all of a sudden there was water where she had me cooking. Water and a tiny snake. She then threw that tiny snake away saying, ‘What happened to that big snake I had cooking here? Did it turn into water too?’ Then I was born right there at Kurtal. That little snake was my Dreaming. I was a kid at Kurtal. My mother and father went hunting sometimes for two or three days or more. I was there alone, and at night I would say, ‘Kurtal, look after me. I am alone, my parents haven’t came back yet. Can you look after me?’

In the mornings I would get up, go hunting. I was a good hunter when I was a kid, killing all kinds of animals in the desert. I used to cook them near the waterhole, chucking bones in the water. I was a good child when I was a kid, looking after my own self, and then my parents would return. Kurtal is cheeky. He doesn’t let any animals drink water. He’ll swallow them up. One time me and my brother went to have a drink. I drank first, then him. Next thing he went into the water! That snake grabbed him! I was scared. I ran to tell the old men who were sitting under a tree, calling out, ‘There’s a kid in the water! That snake got him! He swallowed him! Come and get him out!’ They all got up carrying axes with them. They ran to the waterhole saying, ‘Let him go or we will chop you up!’ From there Kurtal let him out alive. He kept him inside there for a while then spewed him out. He’s my brother. He was okay. Then they picked him up and took him to a shady tree. He’s a cheeky bugger. He don’t let anything drink water, that Kurtal, man, wanya [featherfoot/sorcerer], devil, anything. He’ll just chuck you in the water and swallow you up. Cheeky bugger.

Today he’s finished now. Nothing now. He’s quiet. He’s got no people left now, all his mob all gone. I am the only one visiting and looking after him now. Everybody all passed away now, all the old people that belong to Kurtal. Wilyi Wilyi Mosquito, my brother who died in Adelaide, the whole lot, all finished now. He’s only seeing me now, looking after him. Only one. Today Kurtal is full of water. Everywhere, it’s flooded. We went there recently. I had a swim there.

I haven’t got that story for Kinki and I never seen camels in the Stock Route. I went from Kurtal to Billiluna. I was initiated at Billiluna. I stayed there for a while finishing my law, the law that belongs to them old people. Then I went to Wangkatjungka, then I finished everything there. They told me, ‘You’ve finished your law now. You are a law man.’ I was a young fella then. I didn’t have a wife then. Because I’ve finished my law, my lamparr and yumari [father in law and mother in law] gave me Jukuja [Dolly Snell] as my wife. They gave Jukuja to me when she was a young girl. We lived together until we got old, still today. I had no trouble. We lived a good life.
I know about a white man who got killed at Natawalu [Well 40] and there’s another two that got killed at Lampu [Well 49]. One, he’s buried there. That kartiya [white man] shot that other kartiya. We were all bushmen then when that two kartiya killed each other. There’s a grave for one of them at Lampu. That fella at Natawalu speared that kartiya and then that kartiya shot him with a 44 maybe.

[Kinki story]

Little story I’ll tell you: Old man kartiya [white man] came. I don’t [know] where he came from, they shot and killed old man Kinki, and his daughter as well. They salted them and gave them to us at Jikarn [Well 50]. We thought it was goat meat. They killed them. We ate him. That old fella. My old man (that’s what I called him: father). We had a good feed. We didn’t know it was a human. We boiled some in a billycan. All that time we were thinking it was goat meat. We all ate them. Nothing was left. We thought it was goat we were eating but it was old man Kinki, poor fella. It wasn’t good meat. It had no fat and it tasted horrible. But we still ate it. They killed him and his daughter at Kaningarra. They cut them up and salted them. We ate my old man and my sister. We ate em all up. Finished. Wali [that’s all].

END
Source: CSROH_52_Ngilpirr_Spider_Snell

Provenance: This material is sourced from Ngurra Kuju Walyja — the Canning Stock Route Project, which was initiated in 2006 by FORM and developed in partnership with Birriliburu, Kayili, KALACC, Mangkaja, Martumili, Ngurra, Papunya Tula, Paruku IPA, Warlayirti and Yulparija artists and art centres.

Kurtal

Story:Before Kurtal turned into an ancestral snake being and entered the 'living water' or permanent spring that bears his name, he was a man. In the words of Kurtal boss Ngilpirr Spider Snell: 'A big rain came. After the rain, grasses started to grow. From the grass Kurtal turned into a man.'

'Kurtal travelled to Jintirripil, a jila near the sea, who asked him to stay for good. Tricking him, Kurtal agreed. Jintirripil told Kurtal to find the jila Paliyarra, who had stolen his sacred objects.

'Paliyarra knew that Kurtal had come to steal back Jintirripil’s objects. He told Kurtal he didn’t have them but Kurtal could see the lightning flashing inside him. Paliyarra set his dogs onto Kurtal. Badly bitten, Kurtal tripped over Paliyarra, who spilled the objects on the ground. Kurtal kicked them towards his jila.

'Kurtal stole more objects from other jila, then went to visit his friend Kaningarra. Kaningarra asked Kurtal to stay with him there forever. Tricking him, Kurtal agreed, saying, "You lie down over there and I’ll lay down here.” Kaningarra went into the ground, turning into a snake, and Kurtal took off for his country.

'Getting weak, Kurtal crawled inside his waterhole with all his stolen objects and turned into a snake.

'That’s the song "Kurtal wanyjurla wanyjurla" we sing. He sent up a kutukutu [rain bearing cloud] like the ones I made at Kurtal.'

This is Kurtal's song:

'In the north-west I saw leaping fish sparkling in the sunlight. Carrying the sacred object I wade through the water. The waves carry me down to the depths. In the north-west I saw a seagull. The seagull was speaking. I saw lightning flickering in the north; I was the rain cloud. I am Kurtal. I bring the meat and make the country fruitful. The wind is wild, the lightning flickers in the sky. Up there Kaningarra is crying. The wind roars. I am Kaningarra, the great rock. Look to the south. That flat ground is sloping now. Who is that coming after me? I am a maparn [magic man] but I’m losing my powers. Look to the west. See his headdress.' (Ngilpirr Spider Snell)

Media Creator:Tim Acker

Media date: 2008
Story Location: Kurtal

Media Description:Kids all ready to perform Kurtal. Majarrka Workshop at Ngumpan Community.

Story contributor(s):Karen Dayman, Monique La Fontaine, Ngilpirr Spider Snell

Art Centre(s): Kimberley Aboriginal Law and Culture Centre, Mangkaja Arts Resource Agency
Publisher: FORM
Media copyright: FORM
Accession ID:20131024_FORM_MIRA_B0046_0001

This material is sourced from Ngurra Kuju Walyja — the Canning Stock Route Project, which was initiated in 2006 by FORM and developed in partnership with Birriliburu, Kayili, KALACC, Mangkaja, Martumili, Ngurra, Papunya Tula, Paruku IPA, Warlayirti and Yulparija artists and art centres.This material is sourced from Ngurra Kuju Walyja — the Canning Stock Route Project, which was initiated in 2006 by FORM and developed in partnership with Birriliburu, Kayili, KALACC, Mangkaja, Martumili, Ngurra, Papunya Tula, Paruku IPA, Warlayirti and Yulparija artists and art centres.

Ngumpan workshop, 2008

Location: Ngumpan

Date: 2008

Event Description: The late 2008 Ngumpan workshop revolved around the intergenerational transfer of cultural knowledge, and was one of the most transformative events of the project. Senior Ngurra artist Ned Cox, who had led the very first bush trip to Jilji Bore, was the instigator of this event. Coordinated by cultural advisor and senior translator Putuparri Tom Lawford, Ned and other senior men and women taught teenagers and children carving and ceremonial skills, and passed on the knowledge of important dances and body decoration to both young people and adults.
Four dances were performed by new generations at the Ngumpan workshop: little boys danced Kurtal, young men performed Majarrka and girls performed Mangamanga, all for the first time. One important ceremonial dance, Kaningarra, was revived for the first time in many years following the death of its custodian. The dance for Kaningarra, which is now Well 48 on the Canning Stock Route, was passed down to a new generation of Kaningarra people by elders from closely related areas.

Art Centre(s): Kimberley Aboriginal Law and Culture Centre, Mangkaja Arts Resource Agency, Ngurra Artists

Provenance: This material is sourced from Ngurra Kuju Walyja — the Canning Stock Route Project, which was initiated in 2006 by FORM and developed in partnership with Birriliburu, Kayili, Kimberley Aboriginal Law and Culture Centre, Mangkaja, Martumili, Ngurra, Papunya Tula, Paruku IPA, Warlayirti and Yulparija artists and art centres.

Putuparri Tom Lawford

 

Putuparri Tom Lawford - Ngumpan workshop 2008 [ORAL HISTORY]
Synopsis: Putuparri Tom Lawford talks about the Ngumpan workshop in 2008. He discusses the importance of learning to make artefacts and also discusses the Kaningarra dance that was performed for the first time in a long time.

Date: 2008
Art centre(s): CSR Project, Kimberley Aboriginal Law and Culture Centre
Language spoken: English
Catalogue number: CSROH_291_Putuparri_Tom_Lawford
Date: 2008
Transcribed By: Monique La Fontaine
Location Recorded: Mount Newman Creek

Cultural Protocols: Public Access - Restrictions on Use
Access: Public
Notes: This transcript is transcribed from Karen Dayman’s fieldnotes.
Full transcript: [Speaking about the Ngumpan workshop in September 2008] Putuparri Tom Lawford: It was good for young ones and old people. Old people were happy because all the young ones been dancing and learning artefact making, karli [boomerangs], ngurti [coolamon] and mukurru [hitting sticks] and collecting materials for ceremony. They been passing down to their grandkids so they can carry on that dancing. Dancing is the easy part, what we need to do now is get them to learn the songs for the dances. Kaningarra was never performed for a long time, so what we did at Ngumpan was get the old fellas together and we talked about trying to get Kaningarra back, the dance, the songs. There’s only one old fella [Spider Snell] who still knows how to sing that song as well as the old ladies - all the bosses for Kaningarra have passed away. Spider wanted to pass it onto the rightful owners before he passed away. So it was good, all the old people been singing it and teaching it to Pampirla [Hansen Boxer] because he’s a Kaningarra man and he can carry that on. Old ladies been crying, it was like they were bringing something back from the dead. Spider’s a Kurtal man, we need to keep that carrying on because Kaningarra and Kurtal are like brothers in the Dreamtime. What I liked about that workshop was the young ones, the young kids, they were all humbugging me for dancing and making boomerang, they been waiting for us in town to take them out there. We go from generation to generation: from old people to our generation, and from me to younger generation. We had more kids there than adults. The little ones were really interested, and the young men were too. We had kids and we had teenagers, and they all wanted to have a go. And it made the old ones happy too to see their grandkids, sons and daughters up there dancing. If we had more time to get everybody involved, it would be good to focus on the girls next time, so the girls don’t miss out. We hope they keep it in their heads for the future. Some of the boys were learning how to make artefacts properly for the first time. After Ngumpan them young boys felt proud dancing in front of all their CFountrymen and different people from all over the Kimberley at the big KALACC festival at Mt Barnett, dancing their own dance from their ancestors, with the karli [boomerangs] and mukurru [hitting sticks] that they made with their own hands at Ngumpan. And it made old people and me proud too. END
Source: CSROH_291_Putuparri_Tom_Lawford
Rights: Cultural Owner & Storyteller: Putuparri Tom Lawford; © FORM, transcript only

Provenance: This material is sourced from Ngurra Kuju Walyja — the Canning Stock Route Project, which was initiated in 2006 by FORM and developed in partnership with Birriliburu, Kayili, KALACC, Mangkaja, Martumili, Ngurra, Papunya Tula, Paruku IPA, Warlayirti and Yulparija artists and art centres.

Jukuja Dolly Snell, Ngarralja Tommy May, Manmarr Daisy Andrews

Jukuja Dolly Snell, Ngarralja Tommy May, Manmarr Daisy Andrews - droving [ORAL HISTORY]
Synopsis: Jukuja Dolly Snell, Ngarralja Tommy May, and Manmarr Daisy Andrews talk about drover men and women on the Canning Stock Route.

Date: 2009-03
Art centre(s): Mangkaja Arts Resource Agency
Language spoken: Kriol, English
Catalogue number: CSROH_230_Jukuja_Dolly_Snell_Ngarrlija_Tommy_May_Manmarr_Daisy_Andrews
Date: 2009-03
Transcribed By: Monique La Fontaine
Location Recorded: Fitzroy Crossing
Latitude/Longitude: -18.17/125.59

Cultural Protocols: Public Access - Restrictions on Use
Access: Public
Notes: This transcript is from fieldnotes written in a notebook by Karen Dayman.
Full transcript: Dolly Snell: Mother been bring me up in Kurtal, take me to Balgo, keep me there. I been grow up and shift from station to Fitzroy [Crossing].

Tommy May: How many people been walkin’ Canning Stock Road? People been travel across from Country side to Canning Stock Road for bullock. Get a meat take him back Country.

Daisy Andrews: Splinters [Flinders?], Jamili [Chum Lee], Pakala [Jack Gordon for uncle] handling the camel with his wife, [Tommy] Bull, Roger [Wangkajunga – Olive Knight mob - this was how Daisy described it but we also learned that Roger was also Chamia Samuels’ father], Pelican – Jamili’s brother. All the Japalyi. Gogo, Jimmy Bieunderry – Wally [Dowling] pick him up kid.

DS: All my sisters been droving. Nyuju [Stumpy Brown], two Wakajiya — mother for Jimmy Bieunderry — ‘nother sister Jinamungkurr [translated here as ‘four foot’ or ‘little bit of toes’ reference to her missing toe]. Minyayi [Dolly’s sister]. Minyayi been leave that little boy, Jungurrayi, behind.

TM: Johnny Boy, Billiluna, Wimpingkil, Roger’s son. Putting old people’s names back in the book. Nyuju husband [first one] walked all the way to Warburton. Big war between tribes – spear fight. He came from southern Canning Stock Route.

END
Source: CSROH_230_Jukuja_Dolly_Snell_Ngarrlija_Tommy_May_Manmarr_Daisy_Andrews
Rights: Cultural Owner & Storyteller: Jukuja Dolly Snell, Ngarralja Tommy May, Manmarr Daisy Andrews; © FORM, transcript only

Provenance: This material is sourced from Ngurra Kuju Walyja — the Canning Stock Route Project, which was initiated in 2006 by FORM and developed in partnership with Birriliburu, Kayili, KALACC, Mangkaja, Martumili, Ngurra, Papunya Tula, Paruku IPA, Warlayirti and Yulparija artists and art centres.

Name: Jukuja Dolly Snell

Jukuja Dolly Snell - Mulan, hiding from kartiya, and painting [ORAL HISTORY]


Synopsis: Dolly Snell tells how she was born in Kurtal and walked up to Mulan where there were no houses. She talks about how her mother told to hide from white men in a creek bed, and also told her she couldn't eat the sheep of white men. She then talks about how she started painting when she moved to Fitzroy Crossing. Dolly finishes by telling how you have to light a fire when going to Kurtal to let jila know you're coming.

Date: 2007-11-16
Art centre(s):
Language spoken: Wangkajunga
Catalogue number: CSROH_51_Jukuja_Dolly_Snell
Interviewed By: John Carty
Translated By: Putuparri Tom Lawford
Recorded by: Carly Davenport
Location Recorded: Fitzroy Crossing
Latitude/Longitude: -18.17/125.59

Cultural Protocols: Public Access - Restrictions on Use
Access: Public
Notes: The original recording of this oral history is damaged.
Full transcript: Jukuja Dolly Snell: Yeah, I was born at Kurtal. My parents kept us there, me and my three brothers. I only had three brothers. The oldest passed away at Kupartiya. He was the boss of that jila [spring] Kurtal, and the other two, they finished up here in Fitzroy [Crossing]. Then we left Kurtal, my mother, me and my oldest brother. We left them other mob behind. My other mother was looking after them. We camped half way in the morning, we set off again.

There was no house at Mulan then. My mother took us to Jalyiwan, a place not far from where Mulan is now. My mother told me, ‘daughter there’s a whitefella on a horse coming!’ I ran and hid in a creek bed. My mother was still sitting there. After he left she went and got me from my hiding place, telling me, ‘He’s gone now, that man, let’s keep walking’. We went to Pankupiti. There was a big camp there with people. They were looking after cattle and sheep. I told my mother, ‘Can you kill that animal with woolly hair?’ It was a sheep. That animal that goes ‘maaaa, maaaa’. ‘Can you kill that for me Mum? I’m hungry.’ ‘I won’t kill it,’ she said, ‘it belongs to the white man. No.’ ‘But I’m hungry!’ I said. She said, ‘No. I am taking you away.’

We went north and we arrived at Balgo in the afternoon. We stayed at Balgo for a while, a good while. After that we took off again heading west. We came to Warnku. My mother, my brother and I. We camped there. In the morning my sister Woggagia gave me a digging stick. She told me, ‘Let’s go digging for bush tucker, mangarri [food] called mulaynpa.’ ‘What is mulaynpa?’ I said. ‘See that tree over there? That’s mulaynpa [an edible root],’ she said. We dug up plenty that day. My sister said, ‘Let’s go to Sturt Creek. There’s plenty of tucker there at Sturt Creek. There’s a big water there.’ We were collecting bush tucker around the water’s edge. After collecting enough we went back to Warnku. After a while we left Warnku and went to a place called Putalja. From Putalja we went to Louisa Downs.

We stayed at Louisa for a while until a man called Billy Cox came. He said, ‘Who are you mob and where did you mob come from?’ He was speaking in English. We didn’t know what he was talking about because we couldn’t understand. There was only a few of us ladies and two man who walked into Louisa Downs Station. We had no English then. We came in from the bush. Billy Cox gave us rations and we went walking towards Kupartiya. We stayed at Kupartiya and that kartiya [white person] gave us jobs. We stayed and worked there. We were looking after the goats and milking them and we took them goats to old Kupartiya. We kept them there for a while and then we took them back to Kupartiya. After a while that manager left the station. We all then went to Kurungal [Christmas Creek, Wangkatjungka]. We stayed there for good.

We worked there in the station doing anything for the white man. I was working in the stock camps. My brother told me, ‘I’m going back to Kupartiya.’ My other two brothers were with us at Kurungal. That was the last time I saw my brother. He died at Kupartiya a while after. We all moved to Fitzroy then. I’m living here now. I never went back to Kurungal. I came here for good. In Fitzroy we started to paint. I paint my Country that I left in the bush. Daisy Andrews and I were the first two to start painting. We went to school. These mob here are painting now. We were the first ones to paint. I paint my Country my jila [Kurtal, a permanent spring inhabited by an ancestral snake being]. We took our kids to Kurtal not long ago. We showed them the jila. They saw it for the first time. These mob that go in the front are Tom Lawford and Spider [Snell].

They are the boss for that jila now.

When you go there you have to light a fire so that jila [Kurtal] can know you’re coming. He smells that smoke and he knows that people are coming to visit him. Well, Spider taught everybody for Kurtal. Kartiya [white people], and all our kids, and everybody. Them three now, Tom Lawford, Tommy May and Spider, they are the boss. They taught all our kids and other people. They’re the ones who light that fire to let the jila [ancestral snake being which inhabits Kurtal] know we coming. He’s not cheeky. He’s quietened down now. You can go and camp there on top the sand hill, and you can see that jila down the bottom. You can camp at Kutukutu [the name of two sandhills]. There’s two Kutukutu there. One on this side and the other on that side and the water in the middle.

Nyamu [finished] now.

END


Source: CSROH_51_Jukuja_Dolly_Snell
Rights: Cultural Owner & Storyteller: Jukuja Dolly Snell; © FORM, transcript only

Provenance: This material is sourced from Ngurra Kuju Walyja — the Canning Stock Route Project, which was initiated in 2006 by FORM and developed in partnership with Birriliburu, Kayili, KALACC, Mangkaja, Martumili, Ngurra, Papunya Tula, Paruku IPA, Warlayirti and Yulparija artists and art centres.

Ngumpan


Place description: Ngumpan Community is east of Fitzroy Crossing in the Kimberley. The workshop that took place at Ngumpan in late 2008, revolved around the intergenerational transfer of cultural knowledge, and was one of the most transformative events of the Canning Stock Route Project. Senior Ngurra artist Ned Cox, who had led the very first bush trip to Jilji Bore, was the instigator of this event. Coordinated by cultural advisor and senior translator Putuparri Tom Lawford, Ned and other senior men and women taught teenagers and children carving and ceremonial skills, and passed on the knowledge of important dances and body decoration to both young people and adults.

Traditional knowledge: Old people were happy because all the young ones been dancing and learning artefact making, karli [boomerangs], ngurti [coolamon] and mukurru [hitting sticks] and collecting materials for ceremony. They been passing down to their grandkids so they can carry on that dancing. Dancing is the easy part, what we need to do now is get them to learn the songs for the dances.

Kaningarra was never performed for a long time, so what we did at Ngumpan was get the old fellas together and we talked about trying to get Kaningarra back, the dance, the songs. There’s only one old fella [Spider Snell] who still knows how to sing that song as well as the old ladies. All the bosses for Kaningarra have passed away. Spider wanted to pass it onto the rightful owners before he passed away. So it was good, all the old people been singing it and teaching it to Pampirla [Hansen Boxer] because he’s a Kaningarra man and he can carry that on. Old ladies been crying, it was like they were bringing something back from the dead. Spider’s a Kurtal man. We need to keep that carrying on because Kaningarra and Kurtal are like brothers in the Dreamtime.

What I liked about that workshop was the young ones, the young kids, they were all humbugging me for dancing and making boomerang. They been waiting for us in town to take them out there. We go from generation to generation: from old people to our generation, and from me to younger generation. We had more kids there than adults. The little ones were really interested, and the young men were too. We had kids and we had teenagers, and they all wanted to have a go. And it made the old ones happy too to see their grandkids, sons and daughters up there dancing. If we had more time to get everybody involved, it would be good to focus on the girls next time, so the girls don’t miss out.

We hope they keep it in their heads for the future. Some of the boys were learning how to make artefacts properly for the first time. After Ngumpan them young boys felt proud dancing in front of all their Countrymen, dancing their own dance from their ancestors, with the karli and mukurru that they made with their own hands at Ngumpan. And it made old people and me proud too. (Putuparri Tom Lawford, 2008)

Related art centre(s): Ngurra Artists, Mangkaja Arts Resource Agency

Media title: Majarrka dancers
Media creator: Tim Acker
Date: 2008

Media description: Majarrka dancers get ready at Ngumpan. Majarrka juju [song and dance] is based on the heroic exploits of two Walmajarri law bosses. Near Paruku Ned Cox's grandfather Wirrali had discovered a group of men performing a ceremony with their sacred Majarrka totem. Intent on reclaiming the stolen object, the two bosses snuck in unobserved after the ceremony had finished and reclaimed in. The tall pukurti headdresses worn by Majarrka dancers depict the thieves, and dancers wearing the square kumunungku headdresses represent Wurtuwaya and Wirrali.
Media Copyright: FORM
Format: Image
Accession ID: FORM_MIRA_B0088_0037

Provenance: This material is sourced from Ngurra Kuju Walyja — the Canning Stock Route Project, which was initiated in 2006 by FORM and developed in partnership with Birriliburu, Kayili, KALACC, Mangkaja, Martumili, Ngurra, Papunya Tula, Paruku IPA, Warlayirti and Yulparija artists and art centres.

Kurtal


Traditional knowledge: Spider Snell is the brother of Jarinyanu David Downs and the ceremonial boss for Kurtal:

I am jila. I am one of his lightnings. I was a good hunter when I was a kid, killing all kinds of animals. I used to cook them and chuck bones in the waterhole. I was a good kid, looking after my own self. My mother and father went hunting sometimes for two days or more. At night I would say, "Kurtal, I’m alone, my parents haven’t came back yet. Can you look after me?"

Before Kurtal turned into an ancestral snake being and entered the 'living water' or permanent spring that bears his name, he was a man. In the words of Kurtal boss Ngilpirr Spider Snell:

A big rain came. After the rain, grasses started to grow. From the grass Kurtal turned into a man.

Kurtal travelled to Jintirripil, a jila near the sea, who asked him to stay for good. Tricking him, Kurtal agreed. Jintirripil told Kurtal to find the jila Paliyarra, who had stolen his sacred objects.

Paliyarra knew that Kurtal had come to steal back Jintirripil’s objects. He told Kurtal he didn’t have them but Kurtal could see the lightning flashing inside him. Paliyarra set his dogs onto Kurtal. Badly bitten, Kurtal tripped over Paliyarra, who spilled the objects on the ground. Kurtal kicked them towards his jila.

Kurtal stole more objects from other jila, then went to visit his friend Kaningarra. Kaningarra asked Kurtal to stay with him there forever. Tricking him, Kurtal agreed, saying, "You lie down over there and I’ll lay down here.” Kaningarra went into the ground, turning into a snake, and Kurtal took off for his country.

Getting weak, Kurtal crawled inside his waterhole with all his stolen objects and turned into a snake.

That’s the song "Kurtal wanyjurla wanyjurla" we sing. He sent up a kutukutu [rain bearing cloud] like the ones I made at Kurtal.'

This is Kurtal's song:

'n the north-west I saw leaping fish sparkling in the sunlight. Carrying the sacred object I wade through the water. The waves carry me down to the depths. In the north-west I saw a seagull. The seagull was speaking. I saw lightning flickering in the north; I was the rain cloud. I am Kurtal. I bring the meat and make the country fruitful. The wind is wild, the lightning flickers in the sky. Up there Kaningarra is crying. The wind roars. I am Kaningarra, the great rock. Look to the south. That flat ground is sloping now. Who is that coming after me? I am a maparn [magic man] but I’m losing my powers. Look to the west. See his headdress. (Ngilpirr Spider Snell)

Related art centre(s): Other

Media title: Jila Kurtal
Media creator: Nicole Ma
Date: 2010

Media description: Kurtal boss Ngilpirr Spider Snell teaches Kaningarra man, Pampirla Hansen Boxer, the dance for Kurtal, his Country, at Ngumpan in 2008
Media Copyright: FORM
Format: Video
Accession ID: 20131016_FORM_MIRA_B0089_0007

Provenance: This material is sourced from Ngurra Kuju Walyja — the Canning Stock Route Project, which was initiated in 2006 by FORM and developed in partnership with Birriliburu, Kayili, KALACC, Mangkaja, Martumili, Ngurra, Papunya Tula, Paruku IPA, Warlayirti and Yulparija artists and art centres.

Jitirr

Artist(s): Jukuja Dolly Snell

Date created: 2007
Art Centre(s): Mangkaja Arts Resource Agency
Size: 89x89.5
Medium: acrylic on canvas

Artwork Story: This is my Country, my uncle’s side near Kurtal. These aren’t proper waterholes; only one good one. Lot of mungalpa [grass] and janturntu [paperbark], that short one. It grows near the waterhole. Jitirr is also the place where Dolly’s father passed away.

Place of creation: Mangkaja
Latitude/Longitude: -18.17/125.59

Artwork copyright: ©2013 Jukuja Dolly Snell
Catalogue ID: DS/171/MJ
Protocols: Public Access - Restrictions on use

Photographer: Jason McCarthy
Photograph date: 2009-05-18
Photography copyright: National Museum of Australia
Format: Image
Category: Artwork

Artist(s) biography:
born about 1933
Wangkajunga language group
Nampijin skin group
Fitzroy Crossing
Mangkaja Arts
[At] Pankupiti, I told my mother, ‘Can you kill that animal with woolly hair?’ It was a sheep. ‘I won’t kill it,’ she said. ‘It belongs to the white man.’

Dolly was born at Kurtal. When her father died, she travelled with her mother to Balgo, then Louisa Downs and Kupartiya (Bohemia Downs) stations, where she worked and married her childhood sweetheart, Ngilpirr Spider Snell.

Accession ID: 20131014_FORM_MIRA_B0045_0045

Provenance: This material is sourced from Ngurra Kuju Walyja — the Canning Stock Route Project, which was initiated in 2006 by FORM and developed in partnership with Birriliburu, Kayili, KALACC, Mangkaja, Martumili, Ngurra, Papunya Tula, Paruku IPA, Warlayirti and Yulparija artists and art centres.

Pages

Subscribe to RSS - kurtal