Gladys Kuru Bidu, Linyji (Claypan), 91x61cm

• Aboriginal Artists - Gladys Kuru Bidu
• Community - 
• Aboriginal Art Centre - Martumili Artists
• Catalogue number - 24-798
• Materials - Acrylic paint on linen
• Size(cm) - H91 W61 D2
• Postage variants - Artwork posted un-stretched and rolled for safe shipping
• Orientation - Painted from all sides and OK to hang as wished

"This linyji (claypan) story, it's about when the old people used to be living in the desert, a long, long time ago, thousands of years ago. They used to make a hole in the linyji for the wilyki (seed), using the wind to separate the seed [from the husk; winnowing]. Also, when we used to be sick, old people used to wet the parna (sand/soil/earth) with the kapi (water), [then] mix it and use on burns. For headaches, they put it on the kata (head). Like a Band-Aid, or Panadol, pujiman (traditional, desert dwelling) way!" - Kuru Gladys Bidu

This work depicts a linyji (claypan) within the artists’ ngurra (home Country, camp), typically represented with circular forms. Claypans were visited more often during the wet seasons as they filled with water. As Kuru here describes, besides being a valuable water source, claypans were also ingeniously utilized for the removal of husks from seeds before consumption. Additionally, the clay itself was applied topically for its healing properties, aiding in the treatment of burns and soothing headaches.

During the pujiman (traditional, desert dwelling) period, knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location and type of water. Each of the hundreds of claypans, rockholes, waterholes, soaks and springs found in the Martu desert homelands is known through real life experience and the recounting of Jukurrpa (Dreaming) narratives by name, location, quality and seasonal availability. This encyclopedic knowledge extends even to the nature and movement of arterial waterways, and sustained Martu as they travelled across their Country, hunting and gathering, visiting family, and fulfilling ceremonial obligations. They would traverse very large distances annually, visiting specific areas in the dry and wet season depending on the availability of water and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant.

“Wantili is my place, where I was born. It’s a place where everyone was living, it’s all of their ngurra (home). It’s the Jukurrpa (Dreaming) of that place. All those claypans, a place where everyone comes together for ceremony and gatherings, all meeting with different families. I went there with my aunt [Jakayu Biljabu] (dec.) and my sister [Kumpaya Girgirba], they told me the story of where I was born, in pujiman (traditional, desert dwelling) times. We walked all over the place, I was just a little one.”
– Gladys Bidu Kuru

Gladys is a Karimarra woman. She was born near Wantili and speaks Manjilyajarra. Gladys and her family were picked up when she was a baby in Yulpul and taken first to Parngurr, then to Jigalong Mission, where she attended the mission school. From there she travelled with her family to Strelley Station, and then to Camp 61, an outstation on Bilanooka Station. “We stayed there with the old people, so many old people they set up a Martu school there” she says. “Then we heard Martu were going back to their homeland, their ngurra, so then we came to Punmu with those old people, Mr Lane and the other old people.” Settling in Punmu during the Return to Country movement of the early 1980s, Gladys assisted with the establishment of the Punmu School in the community’s bough shelter when she was looking after her sister’s children.

Today Gladys is an accomplished teacher and respected cultural advisor for Martumili and the Kanyirninpa Jukurrpa Martu ranger program. She also works with Punmu School as a senior cultural and linguistics adviser and board member. “I speak on behalf of Martu as a board member of the school and KJ and with Martumili. I am a cultural adviser and language adviser supporting people with interpreting, recording, going out bush and going to conferences for language. The school has two way learning: Martu way and English. Helping people to be strong in both ways. It’s a lot of travel, many, many places.”

Gladys was taught to paint in Jigalong by her aunt, renowned senior artist Jakayu Biljabu (dec.), and the two would regularly paint together. Gladys paints her ngurra (home Country, camp); Wantili, a large round jurnu (soak) and linyji (claypan) near Well 25 on the Canning Stock Route. The area is dominated by claypans surrounded by tuwa (sandhills). Nyilangkurr, a prominent yapu (hill) is located on the edge of the claypan. Following rains the typically dry claypans are filled with water, with the overflow from nearby waterholes flowing to Wantili. At that time, Wantili becomes an important place for obtaining fresh water for drinking and bathing. Wantili is significant for the fact that at this site Kartujarra, Manyjilyjarra, Putijarra and Warnman people would all come together for ceremonies during the pujiman (traditional, desert dwelling) era. Many jiwa (stones used by women for grinding seeds) from these times can still be found there today.

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