Rock art researchers throughout the world have explicitly or implicitly invoked ritual as an activity associated with the production of rock art but the articulation between the structure and composition of rock art assemblages and ritual behaviour remains poorly understood. Anthropologist, Roy Rappaport (1999) argued that all ritual, whatever the content or focus, has a universal structure. We review this proposition in the context of ritual studies and propose a method aimed at assessing the potential for identifying ritual structure in rock art assemblages. We discuss an archaeological analysis undertaken on the rock art assemblages in arid Central Australia, which aimed at distinguishing such a ritual structure among engraved assemblages, likely to have a Pleistocene origin, as well as more recent painted, stencilled and drawn assemblages. This analysis, despite its limitations, provides the foundation for developing a model, which will enhance the understanding of the relationship between the production of rock art and ritual.

Distinctive mulberry paintings found in northern Australia, particularly those of the Kimberley region, have been argued to represent some of the oldest surviving rock art on the continent. Significant research efforts continue to focus on resolving the age of these motifs, but comparatively little attention has been given to understanding their physical composition and potential source(s). In a pilot investigation, we conclude that (at least) two mineralogically distinct mulberry pigments occur in Gwion motifs and demonstrate that their major components can be indicatively chemically differentiated, non‐invasively. Characterization of a ‘quarried’ mulberry ochre source demonstrates that these pigments occur locally as natural minerals.

The recent establishment of a minimum age estimate of 39.9 ka for the origin of rock art in Sulawesi has challenged claims that Western Europe was the locus for the production of the world’s earliest art assemblages. Tantalising excavated evidence found across northern Australian suggests that Australia too contains a wealth of ancient art. However, the dating of rock art itself remains the greatest obstacle to be addressed if the significance of Australian assemblages are to be recognised on the world stage. A recent archaeological project in the northwest Kimberley trialled three dating techniques in order to establish chronological markers for the proposed, regional, relative stylistic sequence. Applications using optically-stimulated luminescence (OSL) provided nine minimum age estimates for fossilised mudwasp nests overlying a range of rock art styles, while Accelerator Mass Spectrometry radiocarbon (AMS 14C) results provided an additional four. Results confirm that at least one phase of the northwest Kimberley rock art assemblage is Pleistocene in origin. A complete motif located on the ceiling of a rockshelter returned a minimum age estimate of 16 ± 1 ka. Further, our results demonstrate the inherent problems in relying solely on stylistic classifications to order rock art assemblages into temporal sequences. An earlier than expected minimum age estimate for one style and a maximum age estimate for another together illustrate that the Holocene Kimberley rock art sequence is likely to be far more complex than generally accepted with different styles produced contemporaneously well into the last few millennia. It is evident that reliance on techniques that produce minimum age estimates means that many more dating programs will need to be undertaken before the stylistic sequence can be securely dated.

historic settlement away from the major drainage lines, involving changing relations between core and peripheral parts of the desert and new patterns of resource use, or whether it signals a more general increase in the human population of the region.Also at issue is the articulation (if any) of these socioeconomic shifts with climate-driven or human-driven changes in Central Australian environments. A related question concerns the impact of ENSO-driven climatic variability over this period: Aboriginal settlement in Central Australia appears to be expanding at a time when ENSO activity was at its highest in the current cycle (which began 4000-3000 years ago). This emphasizes the importance for arid zone prehistory of reconstructing palaeo-environmental variability, not simply long-term averages.Abstract: This paper reviews the late Holocene archaeology of Central Australia. The last 1500 years saw significant changes in the archaeological record in this part of the Australian arid zone, with shifts in settlement pattern, site histories, resource use, tool inventories and rock art. Much of the evidence points to regional population growth, beginning 1500-1000 cal. BP and coinciding with expansion of summer-rainfall grassland and more frequent palaeoflood events. Hunter-gatherer groups appear to have increased their use of marginal or outlying areas as these became seasonally accessible. Responses to the demographic changes, especially in the better-watered ranges, include more extended occupation of existing sites, more processing of acacia and grass seeds, and an increase in territoriality reflected in the greater differentiation of rock art complexes after 1500 cal. BP. The archaeological changes are not scaled commensurately with the modest environmental shifts at this time, indicating that human-environment interactions were not linear. A human-environment threshold may have been breached 1500-1000 years ago, with existing socio-economic or historical factors acting to amplify the effects of small environmental changes. However, it remains difficult to fully characterize the nature of these human-environment interactions, despite the fine-grained archaeological record now available. An unresolved problem for this emerging picture of climatic amelioration and population growth is that Aboriginal settlement in Central Australia was expanding at a time when ENSO-driven variability appears to have been at its highest.

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