 ONt-family: Arial; fONt-size: 12px;"> ONt: 12.0px Arial;"> ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px 'Times New Roman';">translated from Warlpiri with Barbara GibsON Nakamarra (1984, 1995) and edited for the CD-ROM Dream trackers (UNESCO, 2000) by Barbara GlowczewskiONt: 12.0px 'Lucida Grande';"> ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">SONG 1 ONt: 12.0px Arial;">The little kalakala Galls belONg to the Napanangka and Napangardi women and Japanangka and Japangardi men. The big kanta Galls belONg to Nungarrayi, Napaljarri, Jungarrayi, Japaljarri. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">SONG 2 ONt: 12.0px Arial;">We sing and dance the yawulyu together, fifty-fifty. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">STORY 1 ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">Two snakes were walking after having eaten two men cannibals. They were crawling underground. They lied (lay) near the Parlakuna well. They saw Tirpirimpiri. They went, changing into another type of snake, juntangala. The Two Snakes put some red ochre in Lubra Creek. They lied down. They crossed the plain country and they went to the West. They are there for ever, ON the Limbunya side. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">This is how the two Dreaming Snakes took the spirit of the Warakalakala Dreaming. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">The female spirit Kaya Kaya and the male spirits Nyikiriri were travelling with them too. Those spirits who talk for the spirit children born human. We always talk to them when we go hunting ONt: 12.0px Arial;">'Kaya! Kuyulanyanjanpayala!' ONt: 12.0px Arial;">And they answer us, ONt: 12.0px Arial;">'Kaya! Kaya!' ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">Kaya goes from cave to cave and has a rest in the trees. That's why ONe must be very careful when cutting a tree. ONly a kurdungurlu should do it, not us the Kaya Dreaming kirda owners. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">Kaya spirits come ON the women's ring place. We sing ONt: 12.0px Arial;">'Kaya kaya! Nyikiriri!' ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">STORY 2 ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">Kaya and Nyikiriri, they look like people. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">It is my Dreaming the Two Warna Snakes, the Kaya and Nyikiriri Spirits, the Warakalakala and the Panya Panya sugar leaves. These leaves you squeeze in a cloth to eat the sugar. It is my kuruwarri, my father's kuruwarri. It is Jukurrpa, it is serious, not for fun. It is true. Lalkapurra, the insect that lives in the little kala kala galls is very important. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">The green insect lalkapurra came from Boroloola and New Castle going through Elliot and Murunjarri. He crossed the people of the Ngarrka Jukurrpa. And he crossed them again at Mirrirrinyungu. He crossed the Seed and Wallaby Jukurrpa at Jangalpangalpa. And he went alONg the Jiwanyparda waterhole. He saw the marrarnki nut tree. And the lalkapurra insect went back north, leaving the wirrkali eucalyptus tree everywhere ON his way. He finally went underground in Lawurrpa. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">All this I can talk about, but the Parnta and Jilbili Dreaming, it is Kajirri way, it is secret. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial; min-height: 14.0px;">
ONt: 12.0px Arial;"> ONt: 12.0px Arial;">by Maggie WatsON Napangardi, Lajamanu, 1984 ONt: 12.0px 'Times New Roman';">translated from Warlpiri with Barbara GibsON Nakamarra (1984, 1995) and edited for the CD-ROM Dream trackers (UNESCO, 2000) by Barbara GlowczewskiONt: 12.0px 'Lucida Grande';"> ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">The kana Dreaming starts in Mina Mina. The Digging Stick Women travelled to Kimayi where they went underground. Later ON they went to Janyingki where they danced in a big circle. When they sat, the circle became a big hole, a cave. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">From Janyingki they went East, stopping all alONg the way to dance. They were walking in the desert plain. The ground was bare like an aerodrome. After their dance, the trees and bushes grew up the way they are now. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">They passed Yalkutu (Yaruku), the place of an outstatiON belONging to some Japanangka and Japangardi of the Alyawarra and Anmatyerre tribes. They travelled from spring to spring ON this foreign land, stopping everywhere to dance. As they were going, my sisters turned their heads back westwards, to look at their country, my country. They stopped to look back and they sang as we sing today the Kana Jukurrpa. They were lONging for their country. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;"> ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">The Kana Women went underground and have been there since. I tell the truth. The Digging Stick Dreaming is buried there in the foreign country where Kardiya people built a cattle statiON, Ameroo. The Women sleep for ever. But in the Dreaming they kept travelling. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">They travelled underground all the way back to come out in our country near Yuendumu. A lot of women came out from underground. Each of them made a flat antbed, which can still be seen today. These are the spots (where) we dig for the yurrampi hONey ants. It is not a small quantity of sugarbag that the Digging Stick Dreaming left there, but a whole stock that is renewed every seasON! ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">After they came out from the earth, the women went to Jurntu, a place shared by Budgerigar Jukurrpa and Fire Jukurrpa. But their Jukurrpa did not stop there... ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;"> ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">ON their way to the Janyingki cave, the Kana Women stopped in Ngalyipirla. They found there some men who were not initiated. They took from them all the boys and gave them to two Kajirri women. These two put something there in the sand dunes, and since then there is a waterhole. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">The women went hunting for big game. We call them jintikirliwati! Like the men today, they had spears and boomerangs. The men had ONly sticks then until pilja, the seducing Goanna man, came from Jarrardajarrayi. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">Goanna puts his shield ON the ground; he brings it to the men who have nONe. The stranger cuts the men's hair and makes strings with them. He coats the strings with red ochre and makes with them a minyeri headband. He decorates it with some pakuru tails and leaves it ON the ground to dry in the sun. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">When the women come back from hunting, they find the hair-string headband drying in the sun. ONt: 12.0px Arial;">'Oh, look! This is pretty!' ONt: 12.0px Arial;">'It's for me!' ONt: 12.0px Arial;">'No! for me!' ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">The Goanna man also made a lONg rope with the men's hair, makarra, something very dear for us. He might have tricked the women as in exchange for the rope and the headband, they gave to the men their ritual knowledge and the spears for hunting. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">The women were sleeping ONe next to another. But some of them went to the men and started to fight. ONt: 12.0px Arial;">'This ONe's for me!' ONt: 12.0px Arial;">'But we can both share him!' ONt: 12.0px Arial;">'No, he's for me alONe!' ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">Finally, each woman chose ONe man in Ngalyipirla, the place with the ngalyipi Vines the men use to fasten the witi poles for the Ngarrka Kurdiji shield ceremONy. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;"> ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">As the women were dancing alONg the desert plains, from their jumps grew many trees the oaks and the ngayaki tomato bushes. They were born from the dance of the Women who stuck their mangaya in the ground cONnecting them together with hair-string. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">Through their dancing, they changed the boys into men. Then, after a lONg journey they all came to Janyingki, my country where the women's dance made the cave. Women and men disappeared inside there. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">Later ON the women gave birth. They dug (into) the earth and lit a fire inside with leaves ON top to smoke their babies. They also warmed their bellies to stop the bleeding. Lots of holes were thus dug in this country. Men have their own kanunju story for Janyingki, the Kana women's camp. I can ONly tell the kankarlu way. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;"> ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">After giving birth, the Kana women travelled again, far away to the East, to Wangalanjirri. They danced the Kurdiji ceremONy for the sONs they were giving to the men. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">We sing 'At Wangalanjirri, many women were sitting...' ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">Stumping the ground with their feet, they went further East, all alONg the Rain Dreaming, near Pawala et Wakulpu, finally arriving near Yalkutu (Yaruku) in the foreign country. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">They went underground singing, 'In the Mulga country, Kana goes, near Ngarna (Mina Mina) the Dreaming goes back...' ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial;">They stuck their sticks in the ground, and new acacia trees grew up. Then they disappeared underground. We sing, 'mangaya, the power of Kana, Yellow Ochre stopped breathing'. ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial; min-height: 14.0px;"> ONt: 12.0px Arial; color: #000000;"> ONt: 12.0px Arial; color: #000000; min-height: 14.0px;"> ONt: 12.0px Arial; color: #000000;">A totemic and territorial ritual is not performed primarily to represent an ancestral epic. The purpose of the re-enactment is rather to identify men and women with what they are singing, painting and dancing. In other words, a body is given to the words, drawings and gestures, ONt: 12.0px Arial; color: #000000; min-height: 14.0px;"> ONt: 12.0px Arial; color: #000000;">Each man and woman embodies a Dreaming ONt: 12.0px Arial; color: #000000; min-height: 14.0px;"> ONt: 12.0px Arial; color: #000000;">Does this mean that the actiON of painting, singing or dancing transforms subjects into objects? ONt: 12.0px Arial; color: #000000; min-height: 14.0px;"> ONt: 12.0px Arial; color: #000000;">From a linguistic point of view, in both languages the final state is expressed by the additiON of a suffix (respectively -jarri and -(a)rri), which translates as ‘in the process of becoming’ (coming into being). Douglas ( ONt: 12.0px Arial; color: #000000; min-height: 14.0px;"> ONt: 12.0px Arial; color: #000000;">At this point, the notiON of identificatiON raises a problem. When Aboriginal people say in English that they ‘belONg’ to this or that country ('it has them'), to signify that it belONgs to them ('they have it'), it is not that they cONfuse themselves with the land. In Warlpiri, just as in Pintupi ( ONt: 12.0px Arial; color: #000000; min-height: 14.0px;"> ONt: 12.0px Arial; color: #000000;">I prefer to speak of self-reference rather than identificatiON. Through their myths, rituals and their everyday use of language, the Warlpiri people and their neighbours seem to say that the subject is decONstructed in time through actiONs and becomings which look like temporary metamorphoses. To understand these processes of transformatiON, ONe must follow a three-stage argument. Instead of the ‘initial’ and ‘final’ states of a transformatiON, I would say there is a before without a beginning (the desiring subject), a meantime (the subject 'imprinting' with the object of his/her desire), and an after without an ending (the subject becoming another subject). The objectivatiON of the subject in the myth or in the ritual is ONly a temporary final state, a step necessary for the process to be cONstantly repeated that cONstructs Ancestral Beings as well as men and women as evolving subjects, becoming another subject through different rituals. ONt: 12.0px Arial; color: #000000; min-height: 14.0px;"> ONt: 12.0px Arial; color: #000000;">The inversiON of subject into object (and vice versa) in the myth, the ritual, or the everyday statement, is not a mirror effect, but a self-referential movement that involves a third term. The Ancestral Being becomes, not ONly a hill or a waterhole, but the eternal ONt: 12.0px Arial; color: #000000; min-height: 14.0px;"> ONt: 12.0px Arial; color: #000000;">Every Warlpiri persON is an aspect of the coming into being of the many Jukurrpa, an active form of a living memory, Jukurrpa, the ONt: 12.0px Arial; color: #000000; min-height: 14.0px;"> ONt: 12.0px Arial; color: #000000;">Since for the Warlpiri everything that reproduces — humans, other species, atmospheric and cultural phenomena — participates in the same generative principles, women as procreators are the symbols of everything that is actualised. It is in this sense that they are finally identified with kankarlu, while the Ancestral women they identify with are the keepers of an inside knowledge that reproduces both nature and culture. Thus the mythic theme of a transfer of female knowledge to the men, for example in the ONt: 12.0px Arial; color: #000000; min-height: 14.0px;"> ONt: 12.0px Arial; color: #000000;">While the existence of all things can be explained by the reversibility between ONt: 12.0px Arial; color: #000000; min-height: 14.0px;"> ONt: 12.0px Arial; color: #000000;">At a cosmological level, ONt: 10.0px Arial; color: #000000; min-height: 11.0px;">
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