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The Wati kutjara feature in innumerable stories, whose details vary from region to region. In one recension, they are credited with castrating the Man in the Moon by throwing a magical boomerang, Kidili, because he tried to rape the first woman. [5] In other versions, the Wati kutjara are the ones attempting to seduce the same group of women. [2]
According to communities of the Western Desert, the sacred inma board called by the ancestors as Wati-kutjara is represented by the dark patches of the Milky Way (pulina-pulina), between the constellations of Centaurus and Cygnus. The inma board was made and flung into the heavens, as sung in the following song verse: [1]
Tjilpa-men, significant mythic figures Aranda, Anmatyerre, Kaytetye, Ngalia, Ilpara and Kukatja stories. Tjilpa is the Arrernte word for quoll. Tjinimin, the ancestor of the Australian people. He is associated with the bat and with Kunmanggur the rainbow serpent - per the Murinbata; Ulanji, snake ancestor of the Binbinga; Wala, solar goddess
In ancestral times a large mother snake travelled down from the west to Juldi'kapi.From there it was followed by two men (the Wati Kutjara) [b] who wished to kill it. They chased the snake south-east to Pedinga water-hole (Pedinga'kapi, thirty-five miles south-east of the Ooldea Soak).
His grandfather's country is Pukara, a sacred men's site south of Irrunytju that is closely associated with the story of the two snake men (Wati Wanampi Kutjara). [4] [13] These are creation stories. [14] [15] Donegan's most famous painting, Papa Tjukurpa munu Pukara, combined both of these stories onto a single canvas.
In traditional society, the Ngaanyatjarra comprised numerous bands, usually constituted by a group of a dozen people. Males only reached marriageable age at around 30, after a thorough training and graduation through a complex initiatory system, that transformed tjilku (male children) into wati (men). [14]
“Men aren't any better than women when it comes to production and DJing. There are just so many more men out there in the field.” Gender, however, isn’t a factor when curating lineups, Rotella said: “We don’t book our festivals based on gender; it’s all about good music, but that music needs to make its way to us.”
In the myth, Ngiṉṯaka travels from his home near the Western Australia border to the camp of another lizard tribe, near Oodnadatta, in search of a better grindstone. [1] He steals the Anangu grindstone and carries it home while being chased by the Anangu people. Along his journey, he digs up tjanmatjas (bush onions), creating large boulders ...