Martu Storytelling

First Nations Australians and Torres Strait Islander people should be aware that this website contains images, voices, and names of deceased persons.

Photos and story by James Roh

Post 3 of 6. The Dutjahn blog series shares the beauty of Australian First Nation Martu culture, traces the sandalwood used in the Pura x Dutjahn collection, and explores Pura’s partnership with K Farmer Dutjahn Foundation (KFDF). 

Clinton Farmer, Martu leader and KFDF Chairman, hosted members of the Pura team to connect with the community on Australian sandalwood lands, host a painting workshop, and discuss a shared vision for KFDF.

Sitting on the ground under the dappled shade of a eucalyptus tree, Clinton’s cousin Jennifer Morgan dips her brush in paint and applies it to the canvas. In the center, a round shape covers most of the painting, a reflection of the shallow, centuries-old lake that dominates her view. Small brown waves lap at the shore just a few feet away.

Of course, this isn’t a coincidence. Her painting is an aerial view of where she and her family are currently sitting—a cherished site and historical lifeline for their ancestors. Known as a claypan, the shallow depression allows precipitation to pool on a foundation of clay soil during the rainy season, creating a reliable source of water that enabled Martu to survive in the challenging and otherwise parched environment.

Painting serves a high purpose within Martu culture. It is a continuation of a proud Martu tradition that was once crucial to survival—storytelling. 

Without the help of GPS, detailed maps, or even especially high vantage points, Martu nomads navigated the land using visual stories depicted in paintings and carved in wood. Not only did these stories help them find their way, but they also enabled them to thrive in the vast, harsh desert ecosystem of Western Australia. This survival tactic was so effective that Martu became one of the oldest living cultures in the world at tens of thousands of years old. Stories were also transmitted orally, often around a campfire, and led to sacred sites, landmarks, and places to camp. 

“When the Old People passed that story on to you, it's in here,” Clinton says, thumping his chest with a fist. “In your heart.” 

Painting is a spiritual process that enables Martu to visually illustrate their sacred relationship with Country as they commune with the land.

“You can paint in town, but it's different when you're on Country because you're getting the feeling and the inspiration coming through,” Clinton says. 

The artists use shapes and patterns to symbolize their rich culture and important features of the landscape, commonly from a birds-eye view. 

Bold strokes of red and orange represent the symbiotic act of burning spinifex grass. Scattered concentric circles signify the various campsites that the nomadic Old People made as they traversed Australia’s Western Desert in search of food. 

And, as Jennifer illustrates, rounded shapes illustrate the sacred, life-giving sources of water.

Using the hood of a truck as an easel, another Martu artist, Cynthia Morgan, applies her paintbrush to tell one of the most important Martu creation stories, known as Minyma Kutjara. Two sisters once traveled this vast landscape and their actions created landmarks, rockholes, and mountain ranges—all important features of the desert. The white, featureless parts of the painting represent the land where the sisters hunted. Told many times through painting, dance, and oral narration, Minyma Kutjara is yet another example of the importance of storytelling in Martu culture. 

Jennifer, Cynthia, and the other adults work diligently throughout the day, only stopping for the occasional snack of barbequed kangaroo meat. Every once in a while, one of the younger children will stop skipping rocks in the claypan and join to paint their own piece or contribute to those of their elders. Painting is often a collaborative effort and is an important component of teaching the next generation about their culture and heritage. 

To facilitate multigenerational knowledge transfer and cultural connection with these remote areas of the Australian Outback, KFDF leads return-to-Country programming, including this art workshop that maintains and strengthens the bond to ancestral land and its sacredness. Here, among the vivid red dirt and immense open sky, the artists can best serve as a conduit for Country while connecting with their family, sharing stories, and honoring their heritage.

Art workshops on Country, like this one funded through Pura’s grant, also empower Martu women by providing an economic opportunity that strengthens their autonomy and improves their ability to care for themselves and their families. 

After two consecutive days of painting, the community gathers in the morning to show off their work. While most of the paintings feature similar land features and painting techniques, they are truly unique to the individual artist. 

The Pura x Dutjahn collection proudly features four art pieces created during this special workshop. Their artwork, paired with the rich scent of Dutjahn Sandalwood sourced from their ancestral land, empowers Martu to proudly present their culture to a wider audience in a meaningful way that fosters cultural appreciation.