Survival, Social Cohesion and Rock Art: The Painted Hands of Western Arnhem Land, Australia

Abstract

This paper explores the complex story of a particular style of rock art in western Arnhem Land known as ‘Painted Hands’. Using new evidence from recent fieldwork, we present a definition for their style, distribution and place in the stylistic chronologies of this region. We argue these motifs played an important cultural role in Aboriginal society during the period of European settlement in the region. We explore the complex messages embedded in the design features of the Painted Hands, arguing that they are more than simply hand stencils or markers of individuality. We suggest that these figures represent stylized and intensely encoded motifs with the power to communicate a high level of personal, clan and ceremonial identity at a time when all aspects of Aboriginal cultural identity were under threat.

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

“…An interesting circumstance to consider in this context is that artworks which reveal highly ceremonial content, at both Anbangbang and Nanguluwurr (see May et al 2019May et al , 2020aMay et al , 2020b, were created during everyday family visits to these sites, as opposed to the restricted ritual and ceremonial contexts these paintings refer to . This is important information to consider as 'ritual content' in artworks is often explicitly assumed to be made in 'ritual contexts' when rock art is studied and interpreted through formal methodologies (e.g., Langley and Litster 2018, also Kaul 1998, Layton 2001, Ross and Davidson 2006, Whitley 2011, Goldhahn and Ling 2013.…”

“…Here it is interesting to note how Josie reacted when she rediscovered her hand depictions at Kurrih and Nanguluwurr. Generally speaking, touching rock art is avoided as the images potentially embody spiritual powers associated with the place and/or the depicted subject matter, and sometimes with the spirit of the artist who made them (Taçon 1989a, 1989b, Chaloupka 1993, May et al 2020b. According to Senior Traditional Owner Jeffrey Lee, this is a cultural protocol that all persons who visit rock art sites should follow and respect.…”

“…Similar engagements and performances for tourists might seem staged and inauthentic. However, as we have argued elsewhere, places such Manlarrh, Mudginberri and the mission at Oenpelli (today's Gunbalanya), can be seen as crucial nodes for the maintenance of cultural and ceremonial practices, nodes where Aboriginal people from different parts of western Arnhem Land could gather and share stories, mythologies, and law (May et al 2019(May et al , 2020b. For example, Josie underlines that all performances organized by her father strictly followed established cultural protocols.…”

“…9). The site also includes a Painted Hand figure (see May et al 2020b), which Djimongurr created by outlining her brother Namandali's hand and arm (Fig. 9).…”

“…Our next painting episode took place at one of the most iconic rock art sites in the world -the Anbangbang Gallery at Burrungkuy (Fig. 10), also known as Nourlangie Rock (e.g., Chaloupka 1982, 1993, Jèlinek 1989, Welch 2015, May et al 2019, 2020a, 2020b. This site attracts more than 150,000 visitors each year.…”