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A framed painting on canvas depicting one large brown and white dotted circle at centre with two smaller circles in same colours at sides. Small semi-circles on perimeters of main three circles. Wooden frame painted black.
This acrylic painting depicts the waterhole of Kiritjinya, one of many sites visited by the Tingarri Men and their young initiates on their travels in the Dreaming. A sequence of circles represent (from top to bottom) their fire, the initiates' instruction area and the waterhole with the senior lawmen or Elders seated around it. The circle at the bottom of the painting is the body paint worn by those taking part in the ceremony. The painting is by John Tjakamarra and measures 1,665 mm x 488 mm. This resource includes a line diagram illustrating the symbols used in the painting and a map showing sites of significance.
John Tjakamarra (c1937-2002) came to Papunya in 1964 and started painting with the Pintupi group on the veranda of Geoffrey Bardon's flat. He came from the Pintupi language group and was born and raised west of Tjukurla in Western Australia. He travelled widely in his youth before encountering Europeans. In late 1972 he became one of the early shareholders of Papunya Tula Artists. Almost his entire output consists of Tingarri paintings, which reveal the Dreaming journeys and ceremonies of the Pintupi ancestors.
The Papunya artists explain that their paintings come from the Dreaming. Like the natural features that mark out the journeys of ancestral beings and the ceremonies that re-enact these journeys, the paintings are both part of the Dreaming and part of the physical world. Papunya artist Benny (Pinny) Tjapaltjarri says, 'The Dreaming is our explanation of how the landforms appeared. A Dreaming character would come along and stay at a place and then turn into a hill or stone. Sometimes his tracks would become a soak or perhaps a rock hole ... People were also created by the Dreaming. You see, we are all born from our mothers ... but we still come from the Dreaming ... the Dreaming came first'.
By painting the designs and stories that represent their particular Dreaming places, the artists assert their rights and obligations as Central and Western Desert landowners, entrusted with the ritual re-enactment of the events that occurred at these sites. As part of these ceremonies, elaborate ground paintings are constructed using a symbolic language of U shapes, concentric circles, journey lines and bird and animal tracks. This unique visual language is also used in designs painted on the skin, and is the same language made familiar by the Papunya painters.
The Western Desert art movement, which began at Papunya, is considered to be the genesis of contemporary Aboriginal art. Geoffrey Bardon, a young art teacher who worked at Papunya School from 1971 to 1972, is often credited as the founder of Papunya Tula Artists Pty Ltd, which was incorporated in 1972. He encouraged the senior men of the various language groups living at Papunya to develop ways of adapting their traditional art to Western materials.
The Australian Government played a crucial role in supporting the painting movement in the years following Bardon's departure from Papunya. In 1973 the Whitlam government formed the Aboriginal Arts Board, with members who were all Indigenous Australians. It fostered Aboriginal arts, literature, theatre, dance, music, painting and craft, and also provided grants for Aboriginal communities to employ managers and to help preserve and sustain Aboriginal culture, arts and crafts. Many large Papunya works were commissioned by the Aboriginal Arts Board during the 1970s as part of its exhibition program in Australia and overseas. This collection was transferred to the National Museum of Australia in 1990.
W 488mm x H 1665mm
View PDF line diagram illustrating symbols used in the painting
View PDF map showing sites of significance
View Collection highlight
Date of work
From original documentation
Papunya Tula Arts documentation (Vivien Johnson)