symbolic maps of the artist's country, the painting is accompanied by annotated diagrams of the images and notes that explain the dreamings that they include. While the painting has been described as showing the story of an ancestral being called Lungkata starting the first bushfire, it portrays elements of nine distinct dreamings, of which Lungkata's tale is the central motif. Lungkata was the Bluetongue Lizard Man, an ancestral figure responsible for creating bushfire. The painting portrays the results of a fire, caused by Lungkata to punish his two sons who did not share with their father the kangaroo they had caught. The sons' skeletons are on the right hand side of the image, shown against a background representing smoke and ashes. Around this central motif are arranged elements of eight other stories, all of them represented at least in part by sets of footprints. Human footprints include a set left by dancing women from a place called Aileron; another shows a family group travelling to a place called Ngama, and a third trail is that of a Tjungurrayi man, which lead to his skeleton, representing his death after committing the crime of trying to steal sacred items. Animal representations include tracks of a cluster of emus from a place called Napperby, on the artist's country, as well as those left by the rock wallaby, or Mala, men journeying north from Port Augusta in South Australia, as well as, on the left hand edge of the picture, those of two groups of dingoes going to a place called Warrabri. A little closer to the centre of the painting are marks representing a dreaming called the Chase of the Goanna Men. Throughout the work, Upambura the Possum Man's footsteps follow the wandering lines that give the painting its overall structure. This work excludes elements of several dreamings associated with country further south, which had been included in the painting created by Clifford Possum and his brother a year earlier. The omission led scholar Vivien Johnson to conclude that Warlugulong (1977) portrays a narrower geographic area than the preceding work. The artist also modified some of the iconography, and limited the explanations of the painting, omitting secret-sacred dimensions of the stories to avoid offending other Indigenous men, and in recognition that most of the audience for the work would be uninitiated non-Indigenous people. Johnson's analysis of the painting emphasises the relationship between the