International audienceContemporary narratives and interpretations surrounding rock art production... more International audienceContemporary narratives and interpretations surrounding rock art production in present-day settings provide important insights into rock art practices in the past and present. These traditions can still be seen today in places such as Africa, South America, Australia and Papua New Guinea (PNG). In PNG’s East Sepik region, rock art stencils are still produced by the Auwim people of the Upper Karawari-Arafundi region. This paper presents a case study from Apuranga rock art site in Auwim village, East Sepik, where Auwim artists created stencils during a period of archaeological research in June 2018. Interviews with the Auwim artists revealed the stencils were made to transform a once-feared rockshelter into a place that the community could use again without fear or trepidation. This paper explores the implications of these events, the mechanisms for the rock art creation, the impact of researcher’s presence, and their broader relevance to studies of rock art in c...
This paper presents a palynological analysis of sediments from Walanjiwurru 1, a rockshelter loca... more This paper presents a palynological analysis of sediments from Walanjiwurru 1, a rockshelter located in the Country of the Marra Aboriginal people at Limmen National Park in the Northern Territory (Australia). Analysis seeks to test rockshelter sediments as a framework for research in an environmentally difficult location, and to explore how the palaeoecological record may capture the diversity of people-nature relationships over time in the Northern Territory. The Walanjiwurru 1 pollen record provides an approximate 500-year insight into the rockshelter's surrounding landscape. Two plant communities demonstrate local presence across this time frame-foremost a drier eucalypt woodland, and a wetter fringing Melaleuca dominated habitat, each with an integrated series of monsoonal forest taxa. With only subtle shifts in vegetation, the Marra's consistent maintenance of relations with their landscape is observable, and this is discussed in relation to the Walanjiwurru 1's archaeology and regional European settler colonialism. Charcoal recovery from Walanjiwurru 1 is derived from in situ campfires, making it difficult to conclude on the response of plant types and vegetation communities to long-term landscape burning. Future palaeoecological research off-site from the rockshelter has therefore been recommended.
Studies of introduced subject matter in rock-art assemblages typically focus on themes of cross-c... more Studies of introduced subject matter in rock-art assemblages typically focus on themes of cross-cultural interaction, change and continuity, power and resistance. However, the economic frameworks guiding or shaping the production of an assemblage have often been overlooked. In this paper we use a case study involving a recently recorded assemblage of introduced subject matter from Marra Country in northern Australia's southwest Gulf of Carpentaria region to explore their production using a hybrid economy framework. This framework attempts to understand the nature of the forces that shape people's engagement with country and subsequently how it is being symbolically marked as adjustments to country occur through colonization. We argue that embedding these motifs into a hybrid economy context anchored in the pastoral industry allows for a more nuanced approach to cross-cultural interaction studies and adds another layer to the story of Aboriginal place-marking in colonial contexts. This paper aims to go beyond simply identifying motifs thought to represent introduced subject matter, and the cross-cultural framework(s) guiding their interpretation, and instead to direct attention to the complex network of relations that potentially underpin the production of such motifs.
Studies into the presence and absence of post-European contact rock art within Indigenous communi... more Studies into the presence and absence of post-European contact rock art within Indigenous communities are particularly relevant to questions of colonial impact and influence. However, it is the presence of post-contact motifs and introduced subject matter that typically takes precedence in these studies. In this paper, we focus on the absence of post-contact paintings of European ships in Torres Strait (northeastern Australia) rock art. This absence is curious, given that Torres Strait peoples first encountered European ships over 400 years ago, yet the only paintings of watercraft are of their own double outrigger canoes. Furthermore, ethnographic information suggests many painted canoes were spirit canoes used by spirits of the dead, and European mariners were considered spirits of the dead who travelled in ‘ghost ships’. Despite apparent epistemological and ontological congruence between Islander and Kaurareg canoes and European ships, we argue the latter were conceptually and me...
Recent survey in the Gulf of Carpentaria region of northern Australia has identified a unique ass... more Recent survey in the Gulf of Carpentaria region of northern Australia has identified a unique assemblage of miniature and small-scale stencilled motifs depicting anthropomorphs, material culture, macropod tracks and linear designs. The unusual sizes and shapes of these motifs raise questions about the types of material used for the stencil templates. Drawing on ethnographic data and experimental archaeology, the authors argue that the motifs were created with a previously undocumented stencilling technique using miniature models sculpted from beeswax. The results suggest that beeswax and other malleable and adhesive resins may have played a more significant role in creating stencilled motifs than previously thought.
Regional-scale assessments have proven to be invaluable frameworks for research, public engagemen... more Regional-scale assessments have proven to be invaluable frameworks for research, public engagement and management of submerged archaeological landscapes. Regional-scale approaches have been implemented internationally through a variety of academic or strategic studies. Such studies represent a much-needed next step towards subregional and site-level prospection to support management, engagement and mitigation of the impacts of offshore development. However, these regional studies are largely absent in Australia. In this article, we build on the recent discovery of submerged archaeological sites in Western Australia and produce a novel regional-scale assessment of submerged archaeological and cultural landscape potential in the coastal and island regions of the Northern Territory. This area is of special significance in the peopling of Australia, containing some of the oldest dated archaeological evidence. We collate and synthesise regional data related to sea-level change, ethnograp...
Based on ten years of surveys and excavations in Nyiyaparli country in the eastern Chichester Ran... more Based on ten years of surveys and excavations in Nyiyaparli country in the eastern Chichester Ranges, north-west Australia, Crafting Country provides a unique synthesis of Holocene archaeology in the Pilbara region. The analysis of about 1000 sites, including surface artefact scatters and 19 excavated rock shelters, as well as thousands of isolated artefacts, takes a broad view of the landscape, examining the distribution of archaeological remains in time and space. Heritage compliance archaeology commonly focuses on individual sites, but this study reconsiders the evidence at different scales – at the level of artefact, site, locality, and region – to show how Aboriginal people interacted with the land and made their mark on it. Crafting Country shows that the Nyiyaparli ‘crafted’ their country, building structures and supplying key sites with grindstones, raw material and flaked stone cores. In so doing, they created a taskscape of interwoven activities linked by paths of movement.
This chapter examines the how and why of rock art recording by focussing on the tools and recordi... more This chapter examines the how and why of rock art recording by focussing on the tools and recording strategies available to researchers as well as their strengths and weaknesses, with particular emphasis on the role of the digital revolution. The discussion overviews factors considered when recording rock art, along with some of the reasons that rock art recording projects are undertaken. The chapter then turns to other factors, challenges, and unforeseen events that can impact rock art recording projects, paying attention to site context and the motifs themselves. It also explores the use of photography, video recording, computer enhancement techniques, and digital modeling in documenting rock art sites; the most common forms of damage that recorders may inflict; where and how records of sites and motifs are stored; and who should be able to access these records and how. The chapter concludes with a future outlook for documenting rock art sites.
Education is about learning. But it is not always about teaching. Nor is it always held in formal... more Education is about learning. But it is not always about teaching. Nor is it always held in formal educational settings. Here we present an example from Mua Island in Torres Strait, where cultural knowledge was recently communicated and passed down to the younger generation through community participation rather than through formal educational institutions. The role that community research and ceremonies play in customary learning is here brought out through recent commemoration of the legendary hero Goba on Mua Island.
The Oxford Handbook of the Archaeology of Indigenous Australia and New Guinea
Identifying style provinces is a popular topic of enquiry in Australian rock art research. At the... more Identifying style provinces is a popular topic of enquiry in Australian rock art research. At the core of these studies is the focus on the style or manner of depiction of motifs as a key indicator for determining patterns of motif similarity and difference, and their corresponding spatial distribution. In identifying spatial continuities and discontinuities based on a formal analysis of rock art motifs fixed in place, researchers sometimes limit their ability to understand the relational dimensions associated with past and present graphic systems more broadly. This chapter reviews and critiques the formal, style-based methods of delineating discontinuities in rock art as boundaries and uses Nancy Williams’s work on Yolngu boundaries as a framework to further build on research into spatial discontinuities in rock art as flexible, intersecting, and fluid. In doing so, the authors also draw attention to the role of relational understandings and decorative portable objects in character...
The Oxford Handbook of the Archaeology of Indigenous Australia and New Guinea
Australia has some of the most complex and extensive examples of modified rock art (e.g., superim... more Australia has some of the most complex and extensive examples of modified rock art (e.g., superimposed, re-painted, re-drawn, re-pecked) in the world. Typically used to document style-based chronological sequences and address questions of meaning and intention, less well known are the relational networks within which these ritual modification practices are embedded. In this article we explore the ritual rock art modification relationship to further highlight the value of a ritual-based approach to access and enhance understanding of modified rock art. Central to this approach is the idea that modified motifs do not exist in isolation—their placement, the actions, rules, and structures linked to the modification process, along with the surrounding landscape, are all part of relational networks that extend across multiple social and cultural realms. By identifying key themes associated with this ritual practice, we explore relational qualities to further understand the ritual rock art...
International audienceContemporary narratives and interpretations surrounding rock art production... more International audienceContemporary narratives and interpretations surrounding rock art production in present-day settings provide important insights into rock art practices in the past and present. These traditions can still be seen today in places such as Africa, South America, Australia and Papua New Guinea (PNG). In PNG’s East Sepik region, rock art stencils are still produced by the Auwim people of the Upper Karawari-Arafundi region. This paper presents a case study from Apuranga rock art site in Auwim village, East Sepik, where Auwim artists created stencils during a period of archaeological research in June 2018. Interviews with the Auwim artists revealed the stencils were made to transform a once-feared rockshelter into a place that the community could use again without fear or trepidation. This paper explores the implications of these events, the mechanisms for the rock art creation, the impact of researcher’s presence, and their broader relevance to studies of rock art in c...
This paper presents a palynological analysis of sediments from Walanjiwurru 1, a rockshelter loca... more This paper presents a palynological analysis of sediments from Walanjiwurru 1, a rockshelter located in the Country of the Marra Aboriginal people at Limmen National Park in the Northern Territory (Australia). Analysis seeks to test rockshelter sediments as a framework for research in an environmentally difficult location, and to explore how the palaeoecological record may capture the diversity of people-nature relationships over time in the Northern Territory. The Walanjiwurru 1 pollen record provides an approximate 500-year insight into the rockshelter's surrounding landscape. Two plant communities demonstrate local presence across this time frame-foremost a drier eucalypt woodland, and a wetter fringing Melaleuca dominated habitat, each with an integrated series of monsoonal forest taxa. With only subtle shifts in vegetation, the Marra's consistent maintenance of relations with their landscape is observable, and this is discussed in relation to the Walanjiwurru 1's archaeology and regional European settler colonialism. Charcoal recovery from Walanjiwurru 1 is derived from in situ campfires, making it difficult to conclude on the response of plant types and vegetation communities to long-term landscape burning. Future palaeoecological research off-site from the rockshelter has therefore been recommended.
Studies of introduced subject matter in rock-art assemblages typically focus on themes of cross-c... more Studies of introduced subject matter in rock-art assemblages typically focus on themes of cross-cultural interaction, change and continuity, power and resistance. However, the economic frameworks guiding or shaping the production of an assemblage have often been overlooked. In this paper we use a case study involving a recently recorded assemblage of introduced subject matter from Marra Country in northern Australia's southwest Gulf of Carpentaria region to explore their production using a hybrid economy framework. This framework attempts to understand the nature of the forces that shape people's engagement with country and subsequently how it is being symbolically marked as adjustments to country occur through colonization. We argue that embedding these motifs into a hybrid economy context anchored in the pastoral industry allows for a more nuanced approach to cross-cultural interaction studies and adds another layer to the story of Aboriginal place-marking in colonial contexts. This paper aims to go beyond simply identifying motifs thought to represent introduced subject matter, and the cross-cultural framework(s) guiding their interpretation, and instead to direct attention to the complex network of relations that potentially underpin the production of such motifs.
Studies into the presence and absence of post-European contact rock art within Indigenous communi... more Studies into the presence and absence of post-European contact rock art within Indigenous communities are particularly relevant to questions of colonial impact and influence. However, it is the presence of post-contact motifs and introduced subject matter that typically takes precedence in these studies. In this paper, we focus on the absence of post-contact paintings of European ships in Torres Strait (northeastern Australia) rock art. This absence is curious, given that Torres Strait peoples first encountered European ships over 400 years ago, yet the only paintings of watercraft are of their own double outrigger canoes. Furthermore, ethnographic information suggests many painted canoes were spirit canoes used by spirits of the dead, and European mariners were considered spirits of the dead who travelled in ‘ghost ships’. Despite apparent epistemological and ontological congruence between Islander and Kaurareg canoes and European ships, we argue the latter were conceptually and me...
Recent survey in the Gulf of Carpentaria region of northern Australia has identified a unique ass... more Recent survey in the Gulf of Carpentaria region of northern Australia has identified a unique assemblage of miniature and small-scale stencilled motifs depicting anthropomorphs, material culture, macropod tracks and linear designs. The unusual sizes and shapes of these motifs raise questions about the types of material used for the stencil templates. Drawing on ethnographic data and experimental archaeology, the authors argue that the motifs were created with a previously undocumented stencilling technique using miniature models sculpted from beeswax. The results suggest that beeswax and other malleable and adhesive resins may have played a more significant role in creating stencilled motifs than previously thought.
Regional-scale assessments have proven to be invaluable frameworks for research, public engagemen... more Regional-scale assessments have proven to be invaluable frameworks for research, public engagement and management of submerged archaeological landscapes. Regional-scale approaches have been implemented internationally through a variety of academic or strategic studies. Such studies represent a much-needed next step towards subregional and site-level prospection to support management, engagement and mitigation of the impacts of offshore development. However, these regional studies are largely absent in Australia. In this article, we build on the recent discovery of submerged archaeological sites in Western Australia and produce a novel regional-scale assessment of submerged archaeological and cultural landscape potential in the coastal and island regions of the Northern Territory. This area is of special significance in the peopling of Australia, containing some of the oldest dated archaeological evidence. We collate and synthesise regional data related to sea-level change, ethnograp...
Based on ten years of surveys and excavations in Nyiyaparli country in the eastern Chichester Ran... more Based on ten years of surveys and excavations in Nyiyaparli country in the eastern Chichester Ranges, north-west Australia, Crafting Country provides a unique synthesis of Holocene archaeology in the Pilbara region. The analysis of about 1000 sites, including surface artefact scatters and 19 excavated rock shelters, as well as thousands of isolated artefacts, takes a broad view of the landscape, examining the distribution of archaeological remains in time and space. Heritage compliance archaeology commonly focuses on individual sites, but this study reconsiders the evidence at different scales – at the level of artefact, site, locality, and region – to show how Aboriginal people interacted with the land and made their mark on it. Crafting Country shows that the Nyiyaparli ‘crafted’ their country, building structures and supplying key sites with grindstones, raw material and flaked stone cores. In so doing, they created a taskscape of interwoven activities linked by paths of movement.
This chapter examines the how and why of rock art recording by focussing on the tools and recordi... more This chapter examines the how and why of rock art recording by focussing on the tools and recording strategies available to researchers as well as their strengths and weaknesses, with particular emphasis on the role of the digital revolution. The discussion overviews factors considered when recording rock art, along with some of the reasons that rock art recording projects are undertaken. The chapter then turns to other factors, challenges, and unforeseen events that can impact rock art recording projects, paying attention to site context and the motifs themselves. It also explores the use of photography, video recording, computer enhancement techniques, and digital modeling in documenting rock art sites; the most common forms of damage that recorders may inflict; where and how records of sites and motifs are stored; and who should be able to access these records and how. The chapter concludes with a future outlook for documenting rock art sites.
Education is about learning. But it is not always about teaching. Nor is it always held in formal... more Education is about learning. But it is not always about teaching. Nor is it always held in formal educational settings. Here we present an example from Mua Island in Torres Strait, where cultural knowledge was recently communicated and passed down to the younger generation through community participation rather than through formal educational institutions. The role that community research and ceremonies play in customary learning is here brought out through recent commemoration of the legendary hero Goba on Mua Island.
The Oxford Handbook of the Archaeology of Indigenous Australia and New Guinea
Identifying style provinces is a popular topic of enquiry in Australian rock art research. At the... more Identifying style provinces is a popular topic of enquiry in Australian rock art research. At the core of these studies is the focus on the style or manner of depiction of motifs as a key indicator for determining patterns of motif similarity and difference, and their corresponding spatial distribution. In identifying spatial continuities and discontinuities based on a formal analysis of rock art motifs fixed in place, researchers sometimes limit their ability to understand the relational dimensions associated with past and present graphic systems more broadly. This chapter reviews and critiques the formal, style-based methods of delineating discontinuities in rock art as boundaries and uses Nancy Williams’s work on Yolngu boundaries as a framework to further build on research into spatial discontinuities in rock art as flexible, intersecting, and fluid. In doing so, the authors also draw attention to the role of relational understandings and decorative portable objects in character...
The Oxford Handbook of the Archaeology of Indigenous Australia and New Guinea
Australia has some of the most complex and extensive examples of modified rock art (e.g., superim... more Australia has some of the most complex and extensive examples of modified rock art (e.g., superimposed, re-painted, re-drawn, re-pecked) in the world. Typically used to document style-based chronological sequences and address questions of meaning and intention, less well known are the relational networks within which these ritual modification practices are embedded. In this article we explore the ritual rock art modification relationship to further highlight the value of a ritual-based approach to access and enhance understanding of modified rock art. Central to this approach is the idea that modified motifs do not exist in isolation—their placement, the actions, rules, and structures linked to the modification process, along with the surrounding landscape, are all part of relational networks that extend across multiple social and cultural realms. By identifying key themes associated with this ritual practice, we explore relational qualities to further understand the ritual rock art...
Society for American Archaeology Annual Meeting Symposium 28, Thursday 30 March, 8–11:30am
Sessi... more Society for American Archaeology Annual Meeting Symposium 28, Thursday 30 March, 8–11:30am
Session: Rock Art, Embodiment, and Identity
Organised by: Jamie Hampson, Liam Brady & Courtney Nimura
Paper title: Ships and feet in Scandinavian prehistoric rock art
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Papers by Liam M Brady
Session: Rock Art, Embodiment, and Identity
Organised by: Jamie Hampson, Liam Brady & Courtney Nimura
Paper title: Ships and feet in Scandinavian prehistoric rock art