Milpirri, a biennial whole of community performance event, has engaged youth in the remote Warlpiri community of Lajamanu in new Hip Hop and contemporary iterations of Warlpiri knowledge drawn from ceremony since 2005. The experimental ceremony Milpirri is directed to teaching Warlpiri youth to feel ngurra-kurlu – “at home,” to feel and know Country through the body (Patrick & Biddle 2008). This article outlines the historical development of Milpirri before discussing how specific performances of Wardapi Jukurrpa (goanna Dreaming) teach young Warlpiri ngurra-kurlu demonstrating the vital importance of proprioceptive knowledge imparted through Milpirri, and ecosomatic intersections of Warlpiri and Hip Hop frameworks. Milpirri advances capacities of Hip Hop culture to facilitate deeply embodied, sentient and enmeshed relationality with Country – sites, animals, plant species, and Jukurrpa; a critical move beyond representation of place/identity – a core ethic within Hip Hop culture. These collective political capacities of Hip Hop culture to ‘sample’ Country provide immersive contexts for sensory attunements to place. This paper is based upon Warlpiri and Milpirri conceptual frameworks (Pawu), and long-term ethnographic fieldwork on Hip Hop cultures (Dowsett) and in Lajamanu with women’s ceremony and art (Biddle). We situate Milpirri and the work of Milpirri Hip Hop within a growing number of desert-based, arts-engaged platforms for Indigenous “survivance”, following First Nations scholar Gerard Vizenor (1999) or “remote avant-garde” as Biddle models elsewhere (Biddle 2016); emergent arts of living heritage taking shape within settler colonial contexts of occupation and governance, precarity, and climate crisis.