Figure 1.1 The Warlpiri regions. (Map by Brenda Thornley)
Figure 2.1 Paddy Sims, Paddy Stewart and Paddy Nelson watching television in the mid-1980s. Photo still from Satellite Dreaming (2016), courtesy of PAW Media.
Figure 2.2 Simon Japangardi Fisher and Elizabeth Napaljarri Katakarinja visit the Sydney University Archive, 2019. Photo by Georgia Curran.
Figure 2.3 Warlpiri men and women visit the Australian Institute of Aboriginal and Torres Strait Islander Studies in 2018 to review materials to return to the Warlpiri Media Archive. (Photo courtesy of Georgia Curran)
Figure 2.4 Warlpiri women viewing videos made during Women’s Law and Culture meetings in the 1990s at a dance camp at Bean Tree outstation in August 2019. Photo by Georgia Curran.
Figure 2.5 Trish Lechleitner and Ruth Napaljarri Oldfield view old photographs on an iPad at a dance camp at Bean Tree outstation in 2019. Photo by Georgia Curran.
Figure 3.1 The three leading kirda, Jimmy Jungarrayi, Paddy Japaljarri Sims and Banjo, dancing on one of the first days, with women visible in the background but not yet dancing. Photo by Nicolas Peterson, 1972.
Figure 3.2Kirda men moving to the ground for the daily dance. Photo by Nicolas Peterson, 1972.
Figure 3.3 (Left) Body painting on Joe Jampijinpa, a kurdungurlu, with the black pigment from burnt Hakea bark outlined in ground white ochre (ngunjungunju) mixed with plant down and laid onto a greased back; (right) a shield with another version of the Munga image. A few black lines can be seen attached to some of the stars. This is night emerging at sunset. Photo by Nicolas Peterson, 1972.
Figure 3.4Kirda dancing in front of the Milky Way earth mound with a kurdungurlu standing on the right. Their body decoration is made with plant down (mardukuru) coloured from the same sources as the kurdungurlu’s decoration. Photo by Nicolas Peterson, 1972.
Figure 3.5Kirda bringing the Wulpararri emblem onto the ceremonial ground on the final afternoon. This image appears in the David Betz film Singing the Milky Way (2006). Photo by Nicolas Peterson, 1972.
Figure 3.6 The ground at the end of the ceremony showing the Milky Way as an earth mound covered in the ashes from the overnight fires of people sleeping at the ground, with four of the kukulypa still upright on the mound and the emblems placed on it. The group of kirda and kurdungurlu men is settling up after the ceremony. Photo by Nicolas Peterson, 1972.
Figure 4.1 Barbara Gibson Nakamarra leading the Yawakiyi yawulyu dance.
Figure 4.2 Sketch of the Emu designs on the wooden dish. Image by Barbara Glowczewski.
Figure 4.3 Barbara Gibson, Yakiriya, Beryl Gibson and Barbara Glowczewski with the male and female wooden emu eggs. Image supplied by Barbara Glowczewski.
Figure 5.1 Barbara Napanangka Martin leads the Minamina yawulyu dances for the film. Photo still taken from a video made by Anna Cadden, 2016.
Figure 5.2 Two sisters, Alice Napanangka Granites and Elsie Napanangka Granites, dance as two ancestors from Minamina, who meet up with their age-brother from Mount Theo, danced by Audrey Napanangka Williams. Photo still taken from video footage by Ben Deacon.
Figure 5.3 Barbara Napanangka Martin and Alice Napanangka Granites dance as the Two Age-Brothers from Minamina with Jean Napanangka Brown as the Age-Brother from Mount Theo. Photo by Georgia Curran.
Figure 5.4 Minamina and the Country to the east are dominated by desert oak trees, symbolically representing the ancestral women as they travel and the digging sticks that they carry. Photo by Mary Laughren.
Figure 5.5 Barbara Napanangka Martin and Joyce Napangardi Brown painted up with Minamina designs in 2016. Photo by Georgia Curran, 2016.
Figure 6.1 The general location of Warlpiri and Anmatyerr “Edible Seed” yawulyu, including (in the north) Jipiranpa and Pawurrinji (from Curran et al. 2019). Map by Brenda Thornley.
Figure 6.2 Fanny Walker Napurrurla discusses her yawulyu Jipiranpa songs with Mary Laughren and Linda Barwick, witnessed by her daughters and other family members, Alekarenge, 19 July 2010. Photo by Myfany Turpin. Used with permission.
Figure 7.1 Map of the Warlpiri region (Morais et al 2024). Warnajarra yawulyu, the subject of this chapter, relates to Pawu (Mount Barkly), in the centre of the map.
Figure 7.2 Women’s Warnajarra body design that represents Majardi (hairstring waistbelt, see Figure 7.4), 26 April 1982. Drawing by Megan Morais.
Figure 7.3 The Warnajarra verse from 1982 (Verse 33, DJ_M02-021714, song items 1–3) that inspired Peggy’s new design, which was drawn after Peggy sang this verse on 25 November 2019 (audio recording 20191125_6).
Figure 7.4 The 2019 yawulyu design created by Peggy Nampijinpa Martin after singing the Warnajarra verse in Figure 7.3 (Verse 33). Penned by Selina Napanangka Williams. Underneath is the Majardi (hairstring belt) penned by Peggy. Both were later redrawn by Megan Morais and are presented here.
Figure 7.5 Warnajarra yawulyu body design from Pawu. Representation on paper by Megan Morais, 1981.
Figure 7.6 A verse of Warnajarra where the dance represents the Two Snakes ancestors looking around (Verse 6).
Figure 7.7 Ambiguity in the words of a Warnajarra verse (Verse 13).
Figure 7.8 A Warnajarra verse with speech equivalents from neighbouring language varieties, here showing Arandic words on which the song text is likely based (Verse 18).
Figure 7.9 A Warnajarra verse with Arandic vocabulary and final consonant “l” transferred to the beginning of the next word and “m” to the beginning of the next line (Verse 30).
Figure 7.10 A Warnajarra verse in the fast meter, with 153 clap beats per minute (Verse 3). It is based on the words kana, ingkatyel and a form of either jurtampi or jutapi.
Figure 7.11 A Warnajarra verse in the slow meter, with 50 clap beats per minute (Verse 2). Note that it is based on the same words as the verse in the fast meter in Figure 7.10 above.
Figure 7.12 An example of lexical reduplication, munga-munga “darkness”, forming an entire line (Line B) in Warnajarra (Verse 22).
Figure 7.13 A lexical reduplication jarna-jarna in the second half of the lines (A and B) in Warnajarra (Verse 1).
Figure 7.15 Grammatical reduplication marking plurality (Lines A and B, Verse 19) in the slow meter (Verse 19).
Figure 7.16 Partial reduplication from the left edge – warnaja – with identical rhythm, base preceding reduplicant. Line B is in three Warnajarra verses: Verse 8 (shown here), 12 and 14.
Figure 7.17 Base that has a vocable as its final (fourth) syllable. Reduplication from left edge of word, base followed by reduplicant. Fast meter (Verse 23).
Figure 7.18 Partial reduplication from the left edge – ninjapa – with identical rhythm, base followed by reduplicant. Line B, fast meter (Verse 15).
Figure 7.19 Base after reduplicant in both lines of the verse. Partial reduplication from the left edge base after reduplicant. Fast meter (Verse 6).
Figure 7.20 Partial reduplication from right edge: Arandic base atywerrk reduplicated and consonant added to beginning (Verse 17).
Figure 7.21 Partial reduplication from the right edge: Line B consists of syllables that repeat in a triplication pattern of 123 23 123 (Verse 3).
Figure 7.22 Triplication with partial reduplication from the right edge. Fast meter (Verse 15, Line A).
Figure 7.23 Triplication with partial reduplication from the right edge. Contrasting rhythm in Line A; identical rhythm in line B. Fast meter, Verse 26.
Figure 7.24 Triplication with partial reduplication from the right edge and additional syllable. Fast meter (Verse 8).
Figure 7.25 Right-edge triplication: 123 23 123. Fast meter (Verse 7, one line only).
Figure 7.26 Partial reduplication lardi-lardila. Slow meter (Verse 27).
Figure 8.1 Ngajakula sites along the Lander River, north of Willowra. Map by Brendy Thornley.
Figure 8.2Kurdungurlu Teddy Jupurrurla Long instructing younger people about jukurrpa places (Willowra, 2018). To the left is Dwayne Ross. Photo by Petronella Vaarzon-Morel.
Figure 8.3 Preparing to record Ngajakula song cycle (Willowra, 2018). Photo by Petronella Vaarzon-Morel.
Figure 9.1 Judy (left) as the older brother, Dolly as the younger brother, both getting ready to perform. Lucy Napaljarri Kennedy as a manager getting ready to join the singers. Photo by Françoise Dussart, 1983.
Figure 9.2 (Top) Judy and Dolly going hunting while their father (represented here by Judy-Peggy Nangala) starts singing the magical fire. (Bottom) Judy and Dolly hunting for kangaroos. Photos by Françoise Dussart, 1983.
Figure 9.3 (Top) While they hunt, the father redoubles his effort to send the magical fire to destroy his sons. (Middle) The brothers are hunting and finding many kangaroos. (Bottom) The father sees his sons in the distance and can see that the fire is closing in on them. Photos by Françoise Dussart, 1983.
Figure 9.4 (Top) The father relentlessly sings the magical fire. (Bottom) The brothers see black smoke coming from the area where they live and worry about their father and try to run back to him. Photos by Françoise Dussart, 1983.
Figure 9.5 (Top) Soon, the fire is enveloping them and forces them to travel a long way south to Kaltukatjara. (Bottom) They try to push the fire away unsuccessfully and they worry for their father under the watchful eye of a manager Emma Nungarrayi, a sister of Dolly’s mother. Photos by Françoise Dussart, 1983.
Figure 9.6 (Top) The fire burns their hair, their ears, their skin off – it burns them inside out. Now they are very worried about their father. (Bottom) They managed to return towards their home camp while the Ancestral fire burns them. Photos by Françoise Dussart, 1983.
Figure 9.7 (Top) They can barely walk, continuously pursued by the magical Ancestral Fire Being. (Middle) The older brother is helping his younger brother. (Bottom) Exhausted and charred, they both enter a men’s secret cave. Photos by Françoise Dussart, 1983.
Figure 10.1 Warlpiri patricouples and the four colour groups for Milpirri.
Figure 10.2Mangulpa by male Red dancers. Photo by Yukihiro Doi.
Figure 10.3Witi by Yellow female dancers. Photo by Yukihiro Doi.
Figure 10.4Karli and wirlki by male Green dancers. Photo by Yukihiro Doi.
Figure 10.5 Junior boys dancing with DJ Bacon Mix. Photo by Yukihiro Doi.
Figure 10.6Karnanganja by Yellow and Green dancers. Photo by Yukihiro Doi.
Figure 10.7 Sky Lantern being flown by kardiya people with “Yungkaju Kurdari”. Photo by Yukihiro Doi.
Figure 10.8 Blanket exchange after Milpirri 2009, community area near basketball court. Photo by Yukihiro Doi.