Western Arnhem Land, in the Top End of Australia’s Northern Territory, has a rich archaeological landscape, ethnographic record and body of rock art that displays an astonishing array of imagery on shelter walls and ceilings. While the archaeology goes back to the earliest period of Aboriginal occupation of the continent, the rock art represents some of the richest, most diverse and visually most impressive regional assemblages anywhere in the world. To better understand this multi-dimensional cultural record, The Archaeology of Rock Art in Western Arnhem Land, Australia focuses on the nature and antiquity of the region’s rock art as revealed by archaeological surveys and excavations, and the application of novel analytical methods. This volume also presents new findings by which to rethink how Aboriginal peoples have socially engaged in and with places across western Arnhem Land, from the north to the south, from the plains to the spectacular rocky landscapes of the plateau. The dynamic nature of Arnhem Land rock art is explored and articulated in innovative ways that shed new light on the region’s deep time Aboriginal history.

Western Arnhem Land has a rich archaeological landscape, ethnographic record and body of rock art that displays an astonishing array of imagery on shelter walls and ceilings.

Pictures, painted and carved in caves and on open rock surfaces, are amongst our loveliest relics from prehistory. This pioneering set of sparkling essays goes beyond guesses as to what the pictures mean, instead exploring how we can reliably learn from rock-art as a material record of distant times: in short, rock-art as archaeology. Sometimes contact-period records offer some direct insight about indigenous meaning, so we can learn in that informed way. More often, we have no direct record, and instead have to use formal methods to learn from the evidence of the pictures themselves. The book's eighteen papers range wide in space and time, from the Palaeolithic of Europe to nineteenth-century Australia. Using varied approaches within the consistent framework of informed and proven methods, they make key advances in using the striking and reticent evidence of rock-art to archaeological benefit.

Rock art is one of the most visible and geographically widespread of cultural expressions, and it spans much of the period of our species' existence. Rock art also provides rare and often unique insights into the minds and visually creative capacities of our ancestors and how selected rock outcrops with distinctive images were used to construct symbolic landscapes and shape worldviews. Equally important, rock art is often central to the expression of and engagement with spiritual entities and forces, and in all these dimensions it signals the diversity of cultural practices, across place and through time. Over the past 150 years, archaeologists have studied ancient arts on rock surfaces, both out in the open and within caves and rock shelters, and social anthropologists have revealed how people today use art in their daily lives. The Oxford Handbook of the Archaeology and Anthropology of Rock Art showcases examples of such research from around the world and across a broad range of cultural contexts, giving a sense of the art's regional variability, its antiquity, and how it is meaningful to people in the recent past and today - including how we have ourselves tended to make sense of the art of others, replete with our own preconceptions. It reviews past, present, and emerging theoretical approaches to rock art investigation and presents new, cutting-edge methods of rock art analysis for the student and professional researcher alike.

This book presents inter-disciplinary perspectives on the maritime journeys of the Macassan trepangers who sailed in fleets of wooden sailing vessels known as praus from the port city of Makassar in southern Sulawesi to the northern Australian coastline. These voyages date back to at least the 1700s and there is new evidence to suggest that the Macassan praus were visiting northern Australia even earlier. This book examines the Macassan journeys to and from Australia, their encounters with Indigenous communities in the north, as well as the ongoing social and cultural impact of these connections, both in Indonesia and Australia.

Visions from the Past is a clear and comprehensive examination of Aboriginal rock art. It also provides a practical overview of precisely how and why archaeologist study prehistoric art.

Dating back to at least 50,000 years ago, rock art is one of the oldest forms of human symbolic expression. Geographically, it spans all the continents on Earth. Scenes are common in some rock art, and recent work suggests that there are some hints of expression that looks like some of the conventions of western scenic art. In this unique volume examining the nature of scenes in rock art, researchers examine what defines a scene, what are the necessary elements of a scene, and what can the evolutionary history tell us about storytelling, sequential memory, and cognitive evolution among ancient and living cultures?

Arriving in the remote Arnhem Land Aboriginal settlement of Oenpelli (Gunbalanya) in 1925, Alf and Mary Dyer aimed to bring Christ to a former buffalo shooting camp and an Aboriginal population many whites considered difficult to control. The Bible in Buffalo Country: Oenpelli Mission 1925–1931 represents a snapshot of the tumultuous first six years of the Church Missionary Society’s mission at Oenpelli and the superintendency of Alfred Dyer between 1925 and 1931. Drawing together documentary and photographic sources with local community memory, a story emerges of miscommunication, sickness, constant logistical issues, and an Aboriginal community choosing when and how to engage with the newcomers to their land. This book provides a fascinating and detailed record of the primary sources of the mission, placed alongside the interpretation and insight of local Traditional Owners. Its contents include the historical and archaeological context of the primary source material, the vivid mission reports and correspondence, along with stunning photographs of the mission and relevant maps, and finally the oral history of Esther Manakgu, presenting Aboriginal memory of this complex era. The Bible in Buffalo Country emerged from community desire for access to the source documents of their own history and for their story to be known by the broader Australian public. It is intended for the benefit of communities in western Arnhem Land and is also a rich resource for historians of Aboriginal history (and other scholars in relevant disciplines).

Rock art has long been considered an archaeological artifact reflecting activities from the past, yet it is also a phenomenon with present-day meaning and relevance to both indigenous and non-indigenous communities. Relating to Rock Art in the Contemporary World challenges traditional ways of thinking about this highly recognizable form of visual heritage and provides insight into its contemporary significance. One of the most visually striking forms of material culture embedded in landscapes, rock art is ascribed different meanings by diverse groups of people including indigenous peoples, governments, tourism offices, and the general public, all of whom relate to images and sites in unique ways. In this volume, leading scholars from around the globe shift the discourse from a primarily archaeological basis to one that examines the myriad ways that symbolism, meaning, and significance in rock art are being renegotiated in various geographical and cultural settings, from Australia to the British Isles. They also consider how people manage the complex meanings, emotions, and cultural and political practices tied to rock art sites and how these factors impact processes relating to identity construction and reaffirmation today. Richly illustrated and geographically diverse, Relating to Rock Art in the Contemporary World connects archaeology, anthropology, and heritage studies. The book will appeal to students and scholars of archaeology, anthropology, heritage, heritage management, identity studies, art history, indigenous studies, and visual theory, as well as professionals and amateurs who have vested or avocational interests in rock art. Contributors: Agustín Acevedo, Manuel Bea, Jutinach Bowonsachoti, Gemma Boyle, John J. Bradley, Noelene Cole, Inés Domingo, Kurt E. Dongoske, Davida Eisenberg-Degen, Dánae Fiore, Ursula K. Frederick, Kelley Hays-Gilpin, Catherine Namono, George H. Nash, John Norder, Marianna Ocampo, Joshua Schmidt, Duangpond Singhaseni, Benjamin W. Smith, Atthasit Sukkham, Noel Hidalgo Tan, Watinee Tanompolkrang, Luke Taylor, Dagmara Zawadzka

This book addresses for the first time four major rock art areas of West Papua: the Berau Gulf, Bitsyari Bay, Triton Bay and the Baliem Valley. Together, they form one of the richest regions of rock art and include many newly discovered sites. These sites, located along the South Coast and in the Baliem Highlands, contain thousands of paintings. This book presents, for the first time, hundreds of original photographs including hand stencils, matutuo, faces, and abstract motifs found in West Papua. It also compiles existing hypotheses on the antiquity and origins of rock art in the region and tries to offer a stimulus for further research