This is Kungkarangkalpa, the Minyma Tjuta (Many Women) Tjukurpa, more widely known as the Seven Sisters. It is a major women’s songline that traverses vast tracts of tradiƟonal Spinifex Land and beyond. This is a Creation narrative with a man at the centre, but it is truly a women’s story, full of spiritual insight and knowledge for the journey into adulthood. It recounts the long and arduous journey that a group of young women make whilst under constant pursuit of a lustful man (Wati Nyiru) who wishes to take the eldest girl (Kampukurta), for his wife. Nyiru has the metamorphic power of transformation and is always trying to trick the women. He is at one site a quandong tree, at another he is a Kuniya (woma python) and tricks the women into digging in the hope of a prized feed. Nyiru has obvious power often hiding close by to the women, where he can spy upon the young girls or in front where he has set a trap for the women to stumble upon. Together the nine women; Ngalpingka and Tracey Simms, Myrtle Pennington, Kanta Donnegan, Ivy Laidlaw, Sophia Brown, Pamela Hogan, Dora Parker and Lorraine Davies have combined their creaƟve talents and birthright to country to produce this collaborative painting. As is the way with family, with land, with marriage, some of the women were born away from Tjuntjuntjara and their traditional country lies beyond the Spinifex Land area, to the north in both the Ngaanyatjarra and Pitjantjatjara Lands of Western Australia. They are all united by the Kungkarangkalpa Tjukurpa, which spans into a larger portion of country. It is this magnitude of the narrative that transcends across regions and languages allowing the women to collaborate effortlessly and with common purpose. Here Ngalpingka Simms has painted Wayiyul, a significant womens’ site south of Patjarr in the Ngaanyatjarra Lands. The story pertains to the creation of the landscape and details the women’s travels as they sing Inma and collect bush foods. This is a rocky site and the women have to build wiltja's (traditional shelters) by piling the rocks on top of one another. The women have attracted the attention of a lusƞul waƟ Nyiru (man called Nyiru). Specific events in this story where the women intersect with Nyiru, form geographic and culturally important sites, many which are for women only. Nyiru is never far from the sisters and their tracks wind across the canvas, the landscape as they flee from his advances. Ngalpingka say’s “He’s a “cheeky” (sinister) man, trying to catch them ladies”. Ngalpingka’s daughter Tracey Simms continues the women’s journey and marks out the sites travelled around Warburton, represenƟng the many rockholes by roundels of Tjawtjawnya and Piyul near Snake Well. "There is a blind Wanampi that lives here." Tracey said “The sisters were digging for a big feed. Digging for the blind snake, but it was really a wanampi and an explosion of water came up out of the rockhole.” Ivy Laidlaw continues the story “Same ladies, hungry man chasing them around. He wants those ladies, one by one!” The women are trying to evade the man, but his pursuit is endless. Ivy has painted WaƟ Nyiru siƫng in a yuul (traditional shelter) made from branches, with his spear, boomerang and spear thrower. Kanta Donnegan is a senior custodian of the Minyma Tjuta (Seven Sisters) story and brings it back into Spinifex Country. The women are strongly present in lake country near Kanta’s place and runs right across to the north west of the area. She has named Pirapi as a site where the women were gathered. Kanta also specifically notes the places Tjawa, Tjintilkara, Tjuntun (where they begin preparing for inma -traditional dancing, by painting their breasts), and Tjutaja all of which she “knows.” Myrtle Pennington’s country is to the east, taking over where Kanta finishes. Her places of Mulpulya and Kanpa hold the Scorpion woman story, but the seven Sisters pass by as they journey into South Australia. Pamela Hogan has also painted country on the border region. Her mother Ngantiri Hogan was born this eastern area where the Seven Sisters are travelling through. The story is complex and contains both private and public elements, of which only the public aspects can be detailed in a painting. Tjintilkara is a major Seven Sister site and it is this place which Pamela centres her painting around. She also paints the rockholes in the surrounding area of are Tjutapiyuru, Tjawar, Wakura, Waruwata, Kulapi, Kulal all places belonging to her mother. Sophia Brown’s country is in the northern border region of Spinifex Country at a site called Kuru Ala. Kuru Ala is a very significant womens’ place. It is here that Wati Nyiru captures one of the women and hurts her badly. Her sisters take her into the cave for healing. Sophia is the grandaughter of Lennard Walker, the senior custodian for Kuru Ala. Dora Parker has depicted the sisters back in the north “They are frightened of that man. He is always chasing them, because he wants the younger sister to take as his wife, but she is running away. They go to the waterhole to drink and he is watching them drink the water. Always watching”.