Virginia Napaljarri Sims, Mina Mina Jukurrpa (Mina Mina Dreaming), 61x46cm

• Aboriginal Artist - Virginia Napaljarri Sims
• Community - Nyirripi
• Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation
• Catalogue number - 592/23ny
• Materials - Acrylic paint on canvas
• Size(cm) - H61 W46 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 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.

Virginia Napaljarri Sims was born in Royal Perth Hospital, a long way from her home in Nyirripi, a remote aboriginal community located approximately 430 km from Alice Springs in the Northern Territory of Australia. She is the granddaughter of Ena Nakamarra Gibson, a major Warlpiri artist. Virgina grew up in Nyirripi but later was sent to Cairns to finish her school at Djarragun College. She completed Year 10 before returning home.

Although she was taught art at school it was her Grandmother that inspired her to paint. When she was young she would listen to her grandmother’s jukurrpa and watch her paint. She began painting with Warlukurlangu Artists Aboriginal Corporation, an Aboriginal owned and governed art centre located in Yuendumu and Nyirripi, in 2017. She paints her Grandmother’s Mina Mina Jukurrpa (Mina Mina Dreaming – Ngalyipi) - a very important women’s dreaming site west of Nyirripi near Lake Mackay and the WA border. These stories have been passed down to her by her grandmother and her grandmother’s mother before her for millennia. Virginia loves colour and uses an unrestricted palette and enjoys painting patterns to depict her jukurrpa.

Virginia is married to Brad James and when she is not painting she loves cleaning house, watching movies and cooking shows on TV.

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