Scene but Not Heard:

Kelly, Madeleine; David, Bruno; Flood, Josephine

doi:10.2307/j.ctv2tsxj5z.16

Cited by 3 publications

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Resistance and remembering through rock art: Contact‐period rock art in Wardaman country, Northern Australia

Kelly

2021

Archaeology in Oceania

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Although notions of resistance are not new in rock art research concerning cross‐cultural colonial encounters, this study shows how multiple dimensions of Indigenous resistance can be explored through a multidisciplinary analysis of rock art in northern Australia. The study explores the intersections between introduced “Western” and pre‐existing “traditional” motifs in rock art near Yingalarri waterhole in Wardaman Country, Northern Territory, analysing the visual conventions and superimpositions with an eye towards Wardaman epistemological engagements with rock art and experiences of colonial occupation. These intersections reveal further dimensions of Wardaman responses to colonial occupation, including the negotiation of shifting inter‐regional relationships and engagements with Country as well as the continued emphasis on inherited artistic practices. The study also explores the continuing role that rock art, and its interpretation, plays in Indigenous colonial resistance. Wardaman discussions of introduced motifs documented during the 1988–1991 Earthwatch project brought the paintings out of the past, giving them contemporary significance via kinship connections and narratives of survival that challenge colonial efforts to erase Indigenous experiences of early colonial contact and occupation. The paper contributes to archaeological understandings of inter‐regional connections between northern Australian rock art regions and rock art production and discussion as a means for Aboriginal resistance and remembrance after the arrival of Europeans.

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Resistance and remembering through rock art: Contact‐period rock art in Wardaman country, Northern Australia

Kelly

2021

Archaeology in Oceania

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The Coming of the Dingo

Balme¹,

O’Connor²

2021

The Oxford Handbook of the Archaeology of Indigenous Australia and New Guinea

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The dingo, or native dog, arrived in Australia with people traveling on watercraft in the Late Holocene. By the time Europeans colonized the continent, dingoes were incorporated into the lives of Indigenous Australians, integrated into their kin systems and songlines, and used for a variety of purposes, including as companion animals, as guards, and as a biotechnology for hunting. Women, in particular, formed close bonds with dingoes, and they were widely used in women’s hunting. The incorporation of dingoes into Indigenous societies would therefore have had a significant impact on people’s lives. The greater contribution of meat to the diet would have allowed increased sedentism, improved fecundity, and therefore population growth. Such changes are hinted at in the archaeological record and indicate that more analysis of subsistence evidence could identify when and how the dingo–human relationship formed and how it varied in different environments across Australia.

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Rock Art Modification and its Ritualized and Relational Contexts

Brady

Gunn

Goldhahn

2021

The Oxford Handbook of the Archaeology of Indigenous Australia and New Guinea

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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 relationship to broaden archaeological and ethnographic understanding of rock art.

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Scene but Not Heard:

Cited by 3 publications

References 0 publications

Resistance and remembering through rock art: Contact‐period rock art in Wardaman country, Northern Australia

Resistance and remembering through rock art: Contact‐period rock art in Wardaman country, Northern Australia

The Coming of the Dingo

Rock Art Modification and its Ritualized and Relational Contexts

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