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The majority of mythology is based on what Aboriginal people believed were true historical acts done by their ancestors. It provides an explanation of the origin of natural phenomena, objects, species, institutions and customs.

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Mythology

The majority of mythology is based on what Aboriginal people believed were true historical acts done by their ancestors. It provides an explanation of the origin of natural phenomena, objects, species, institutions and customs. It can also reveal things that are happening or are about to happen. Mythology does not cover everything.

Dreamtime stories (or Dreamings) are stories that have been passed down orally or with non-permanent materials that belong to the mythology of the Dreamtime. Generally speaking an aboriginal’s language, skin name and country they belong to are heavily dependant on their father’s particulars. So for the majority, the father’s country is now their country also.

There are several different countries (not to be confused with communities) in the greater Utopia area (or neighbouring area). Some include Ilkawerne, Alhalkere, Atnangkere, Ahalpere, sister countries Arnkawenyerr and Ngkwarlerlanem, sister countries Atnwengerrp and Irrwelty, and Arawerr. Dreamtime stories are said to belong to each country. There are many stories, some major and some minor. Some are connected with other countries where different parts of the story belong to different countries – a beginning or an end perhaps.

Utopia artists paint Dreamtime stories that, for many reasons, we may not know or understand anything more than a brief introduction or its title in some cases.

Mbantua’s field and research team work closely with the Utopia artists year round to gather as much new information relating to Dreamtime stories as they can and how it is represented in the paintings, continuously updating and learning from the Utopia people so that Mbantua Gallery can be their voice in teaching the wider world. Here online you can learn about some of these Dreamtime stories that are more commonly found in Utopia art.

Anwekety (conkerberry or conkleberry)

Anwekety is the Anmatyerre word for conkerberry (or conkleberry), a sweet black berry that is favoured by desert aboriginals. They only grow on the plant (Carissa lanceolata ) for a few weeks of the year, however the aboriginals collect plenty of them and store them dry, soaking them in water again before being consumed.

The plant of the conkerberry is a tangled, spiny shrub that can grow up to 2m high. After rain fragrant white flowers bloom. This plant also bares medicinal properties; the orange inner bark from the roots can be soaked in water and the resultant solution can be used as a medicinal wash. This is particularly favoured for skin and eye conditions. The thorns on the shrub can be used to cure warts.

This fruit looks very similar to a plum, which is why it is often referred to in English by the Anmatyerre people as ‘bush plum’. There is a Dreamtime story for the Anwekety that belongs to the people of Ahalpere country in the Utopia Region. This means that anyone belonging to this country can be taught it and hold ceremonies to ensure its productivity. In the Dreamtime, winds blew from all directions, carrying the anwekety seed over the ancestors’ land, in Ahalpere country. The first anwekety of the Dreamings then grew, bore fruit and dropped more seeds. Many winds blew the seeds all over the Dreaming lands.

Utopia artists who paint this story usually use dot work to represent the conkerberry, designs or patterns in the dot work are often influenced by the flower and leaf, and in some cases linear work is featured to represent tracks to and from the plant (this linear work cannot be confused with Awelye, the women’s ceremonial body paint designs).

Artists include Aileen Mpetyane Club, Ally Kemarre, Angelina Ngale (Pwerle), Betty Mpetyane, Glady Kemarre, Kathleen Ngale, Lena Pwerle, Mary Jones, Polly Ngale, Katie Petyarre, Katrina Greeny, Rita Pwerle and Rosie Pwerle. To view paintings by these artists please search by artists in the Mbantua online gallery >>

Kame (pencil yam seed)

Kame, the seed of the atnwelarr (pencil yam) found in Central Australia, is the subject of many Utopia paintings. Its Dreamtime story belongs predominantly to Alhalkere country.

The atnwelarr is a trailing herb or creeper, sometimes covering large areas, with bright green leaves, yellow flowers and long skinny yams (swollen roots). These are an important food source which can be eaten raw or cooked in hot sand and ashes.

In the Dreamtime there are two parts to the Kame story, one that belongs predominantly to Alhalkere country and the other that belongs to Arnumarra country. Two different seeds were born that created two different species of pencil yam; one called Atnwelarr which belongs to Alhalkere country, and the other called Arlatyeye which belongs to Arnumarra country. The Kame story is a very important Dreamtime story for the people of Alhalkere country and ceremonies are performed to ensure its productivity as a food source and life form of the ancestors.

Utopia artists who paint this story often use dot work to represent the Kame, designs or patterns in the dot work or background are often influenced by the flower and leaf of its plant, linear work often represents the root system and concentric circles represent the significant site of the story—the site where the plant is found or where ceremonies are being held.

Artists include Greeny Purvis Petyarre, Dolly Mills Petyarre, Emily Kame Kngwarreye (note Emily’s bush name is Kame, she later adopted Emily), Anna Price Petyarre, Judy, Jennifer, Jedda and Maureen Purvis Kngwarreye (Greeny’s daughters), Bessie Petyarre, Joy Purvis Petyarre and Elizabeth Kunoth Kngwarreye. To view paintings by these artists please search by artists in the Mbantua online gallery >>

Alpar (Rat-tail plant)

Alpar is the Anmatyerre word for the rat-tail goosefoot or green crumbweed plant (Dysphania kalpari). This small, erect herb is sticky to touch and scented heavily of citrus. Growing especially well in Mulga tree communities, it is found in abundance in the Southern Utopia region. It produces small clustered flowers that form long spikes, resembling that of a rat tail, as well as small black shiny seeds. These seeds are high in protein and low in fibre.

Due to the sticky nature of this plant, the seeds are not shed as soon as they mature, making them available much later in the season than most other plants.

The story of the Alpar seed is often the subject of Utopia paintings by the women of Ilkawerne country. In the olden days, the women of Ilkawerne country would collect these seeds, sometimes soak them in water until swollen or cooked in hot coals, and then grind them into a powder that was used for making damper (bread). This practice is not as habitual now due to ready made bread, however the story is continually taught to the younger ones and ceremonies are carried out to ensure its productivity. The scented leaves of alpar were also collected, soaked in water and used as a medicinal wash. Alternatively they would be ground into a powder and mixed with animal fats for use as an ointment, making this plant a very important food and medicinal source.

Utopia artists who paint this story usually use dot work to represent the dry seeds of alpar, ready to be collected. Linear patterns of dot work often denote the awelye (women’s ceremony and body paint designs) for ceremonies relating to the Alpar story.

Artists include sisters Jessie, Rosie and Karen Bird Ngale, Maggie Bird Mpetyane, Peggy Purvis Mpetyane, Julie Purvis Mpetyane, Sandra Teece Pwerle and Alvira Bird Mpetyane. To view paintings by these artists please search by artists in the Mbantua online gallery >>