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Sarah Napaljarri Simms, Mina Mina Jukurrpa (Mina Mina Dreaming), 91x76cm
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  • Aboriginal Art by Sarah Napaljarri Simms, Mina Mina Jukurrpa (Mina Mina Dreaming), 91x76cm - ART ARK®
  • Aboriginal Art by Sarah Napaljarri Simms, Mina Mina Jukurrpa (Mina Mina Dreaming), 91x76cm - ART ARK®
  • Aboriginal Art by Sarah Napaljarri Simms, Mina Mina Jukurrpa (Mina Mina Dreaming), 91x76cm - ART ARK®
  • Aboriginal Art by Sarah Napaljarri Simms, Mina Mina Jukurrpa (Mina Mina Dreaming), 91x76cm - ART ARK®
  • Aboriginal Art by Sarah Napaljarri Simms, Mina Mina Jukurrpa (Mina Mina Dreaming), 91x76cm - ART ARK®
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Aboriginal Art by Sarah Napaljarri Simms, Mina Mina Jukurrpa (Mina Mina Dreaming), 91x76cm - ART ARK®
Aboriginal Art by Sarah Napaljarri Simms, Mina Mina Jukurrpa (Mina Mina Dreaming), 91x76cm - ART ARK®
Aboriginal Art by Sarah Napaljarri Simms, Mina Mina Jukurrpa (Mina Mina Dreaming), 91x76cm - ART ARK®
Aboriginal Art by Sarah Napaljarri Simms, Mina Mina Jukurrpa (Mina Mina Dreaming), 91x76cm - ART ARK®
Aboriginal Art by Sarah Napaljarri Simms, Mina Mina Jukurrpa (Mina Mina Dreaming), 91x76cm - ART ARK®

Sarah Napaljarri Simms, Mina Mina Jukurrpa (Mina Mina Dreaming), 91x76cm

£527.00

Original Work of Art (they all are!)

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  • Aboriginal Artist - Sarah Napaljarri Simms
  • Community - Nyirripi
  • Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation
  • Catalogue number - 1578/23ny
  • Materials - Acrylic on linen
  • Size(cm) - H91 W76 D2
  • Postage variants - Posted un-stretched and rolled for safe shipping
  • Orientation - Painted from all sides and OK to hang as wished

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 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.

Sarah Napaljarri Sims was born in 1988 in Derby Hospital, the closest hospital to Balgo, a remote Aboriginal community in Western Australia, linked with both the Great Sandy Desert and the Tanami Desert. Her Mum was from Balgo and her Dad from Nyirripi, another remote Aboriginal community approx. 660 km north-east from Balgo.  Sara lived with her parents in Balgo until she was thirteen years old, when her Mum passed away. Her father, Evan Jungarrayi Sims moved back to Nyirripi, where Sara’s Grandmother, Bessie Nakamarra Sims (1931-2012) raised her. Sarah began her schooling in Balgo and finished it in Nyirripi. After she left school she travelled, visiting family in Kintore and Balgo, before returning to Nyirripi where she now lives. She is a single Mum with one son, born in 2010.

Sarah began painting with Warlukurlangu Artists Aboriginal Corporation, an Aboriginal owned and governed art centre located in Yuendumu, in 2013. The Art Centre makes regular visits to Nyirripi to drop off canvas, paint and brushes for the artists and to collect finished artwork.  She paints her Grandmother’s Jukurrpa, stories about women’s ceremony held near Pikilyi (Vaughan Springs). ”I use to watch my grandmother paint and listen to her stories.”  These stories have been passed down through generations for millennia and relate directly to the land, its features and the plants and animals that inhabit it. Sara finds painting relaxing and uses an unrestricted palette to develop a modern interpretation of her traditional culture.

When Sarah is not painting she enjoys her home and is ‘house proud’ creating a clean home to share with family and friends, especially when watching TV. On weekends she sometimes goes hunting with her family.

All paintings come with a certificate of authenticity provided by the community-run Aboriginal Art Centre, not us, which is the gold standard for ethical purchasing and documentation.

We take great pride in offering high-quality, authentic Aboriginal Art pieces to you and in addition to our 120-day returns(they don't come back), we are pleased to offer a lifetime money-back authenticity guarantee to all customers who purchase Aboriginal Art from us, both past and present.

This guarantee covers any disrepute or wrongdoing in association with the authenticity of any Aboriginal artwork ever sold by ART ARK®. We understand that purchasing authentic Aboriginal Art is important to you, and we want to provide you with peace of mind in knowing that you are getting what you expect.

We take the authenticity of Aboriginal Art seriously and are committed to providing you with high-quality and genuine works of art. If at any time you have any concerns whatsoever about the authenticity of any art piece, please do not hesitate to contact us and we will investigate further. If we find any wrongdoing or disrepute in regards to the provenance or authenticity of any artwork sold by us we will promptly provide a full refund to you at any time in the future, be it in one year, or in ten!

Please find more information on authenticity here: https://artark.com.au/pages/aboriginal-art-authenticity

All of our Desert Paintings, with the exception of the Stretched Desert Paintings Collection, are sent rolled.

Sending paintings rolled is the best option for their safe arrival and allows us to include free shipping, provide timely service, and maintain consistent and transparent pricing relating to the prices set by each Aboriginal Art centre.

The size of the painting listed relates to the painted surface. There is also a painted edge(2cm) and additional canvas for stretching.

A local framer will easily stretch the work for you at a nominal cost. Framers are everywhere and there is likely one just up the road. We recommend choosing one with good reviews and if you call ahead you will generally get a better-quoted price than if you turn up, painting in hand.

Please find further details and examples relating to framing here: https://artark.com.au/pages/how-to-frame-your-aboriginal-art