Indigenous built structures and anthropogenic impacts on the stratigraphy of Northern Australian rockshelters: insights from Malarrak 1, north western Arnhem Land

Wesley, Daryl; Litster, Mirani; Moffat, Ian; O'Connor, Susan

doi:10.1080/03122417.2018.1436238

Cited by 10 publications

(11 citation statements)

References 40 publications

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“…There is no right or wrong answer here, Kapirigi's responses are clearly embedded in a complex relational sphere, one that is most likely context-and time-dependent. Mitchell 1994;Wesley and Litster 2015;Wesley et al 2018aWesley et al , 2018bWesley et al 2016;Taçon et al 2010). The area's highly visible, diverse, and extensive rock art galleries were also noted by Chaloupka (1993) during his visits to the area in the 1970s.…”

mentioning

confidence: 87%

What painting? Encountering and interpreting the archaeological record in western Arnhem Land, northern Australia

Brady

May

Goldhahn

et al. 2020

Archaeology in Oceania

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Research into contemporary Indigenous relationships with the archaeological record have increasingly drawn upon frameworks emphasising relational, affectual and cultural understandings to learn about the complex ways that meaning and symbolism are negotiated and expressed. In this paper, we use a series of case studies from Arnhem Land to investigate the network of relationships Aboriginal Traditional Owners use in the process of interpreting the archaeological record. At the core of this process is Edward Casey's idea of 'grasping-together', where people draw on their social and cultural knowledge as a means to make sense out of what is being encountered and how it fits into existing frameworks of knowledge and understanding. By approaching rock art through the lens of encounter and interaction, archaeologists are in a privileged position to add another layer to story, symbolism and significance people attach to their cultural heritage today.

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mentioning

confidence: 87%

What painting? Encountering and interpreting the archaeological record in western Arnhem Land, northern Australia

Brady

May

Goldhahn

et al. 2020

Archaeology in Oceania

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“…Through the acts of construction and disturbance which formed each archaeological feature, cultural materials were almost certainly displaced. Artefacts close to the (then) surface were probably pushed into deeper deposits and deeper (older) sediments and artefacts would have been brought up to the ground surface (see similar processes in Alt, 2006; Bradley, 2002: 155; McNiven et al., 2010; Pauketat, 2008: 72–75; Wesley et al., 2018).…”

Section: Cultivation Construction and Visibilitymentioning

confidence: 99%

Excavating and interpreting ancestral action: Stories from the subsurface of Orokolo Bay, Papua New Guinea

Urwin

2019

Journal of Social Archaeology

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The Gulf of Papua, Papua New Guinea, is a rapidly changing geomorphic and cultural landscape in which the ancestral past is constantly being (re)interpreted and negotiated. This paper examines the importance of subsurface archaeological and geomorphological features for the various communities of Orokolo Bay in the Gulf of Papua as they maintain and re-construct cosmological and migration narratives. The everyday practices of digging and clearing for agriculture and house construction at antecedent village locations bring Orokolo Bay locals into regular engagement with buried pottery sherds (deposited during the ancestral hiri trade) and thin strata of ‘black sand’ (iron sand). Local interpretations and imaginings of the subsurface enable spatio-temporal interpretations of the ancestors' actions and the structure of ancestral settlements. These interpretations point to the profound entanglement of orality and material culture and suggest new directions in the comparative study of alternative archaeologies.

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“…These bark huts were normally used during the wet season, from about November to April, in areas that did not offer comfortable rock shelters or caves for protection from rain and storms. She recalls that many of these huts were painted with imagery similar to rock paintings (see also Carrington 1890, p. 73, Worsnop 1897, p. 37, Jelinek 1989, Ryan 1990, p. 1, Taylor 1996, p. 15-17, Taçon and Davies 2004, May 2006, Wesley et al 2018. One of Josie's closest kin throughout her youth was the famous rock art artist Nayombolmi (1895-1967, see Haskovec and Sullivan 1986, May et al 2019, who is also known by the name Barramundi Charlie (see Fig.…”

Section: Growing Upmentioning

confidence: 99%

Children and Rock Art: A Case Study from Western Arnhem Land, Australia

Goldhahn

May

Maralngurra³

et al. 2020

Norwegian Archaeological Review

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In this paper, we explore the social context of rock art creation through the lens of one woman's childhood experiences in, what is now, Kakadu National Park in the Northern Territory of Australia. We reflect upon oral history interviews conducted over the last three years with Warrdjak Senior Traditional Owner Josie Gumbuwa Maralngurra and her childhood spent walking country with family. As a witness to vast numbers of rock paintings being created, and sometimes an active participant in that process, Josie's memories provide rare insights into the social and cultural context of rock art practices during the late 1950s and early 1960s. We argue that Josie's personal experiences provide solid evidence for both the educational role that rock art continued to play across the region during the 20 th century and its role as a tool for helping to ensure intergenerational connection to country.

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Indigenous built structures and anthropogenic impacts on the stratigraphy of Northern Australian rockshelters: insights from Malarrak 1, north western Arnhem Land

Cited by 10 publications

References 40 publications

What painting? Encountering and interpreting the archaeological record in western Arnhem Land, northern Australia

What painting? Encountering and interpreting the archaeological record in western Arnhem Land, northern Australia

Excavating and interpreting ancestral action: Stories from the subsurface of Orokolo Bay, Papua New Guinea

Children and Rock Art: A Case Study from Western Arnhem Land, Australia

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