“...ngabaya painted all this, you know when we were kids we would come here and look and sometimes the paintings would change, they were always changing.” Annie a-Karrakayny Fully illustrated, Jakarda Wuka (Too Many Stories) draws on a combined 70+ years of collaborative research involving Yanyuwa Elders, anthropologists, and an archaeologist to tell a unique story about the rock art from Yanyuwa Country in northern Australia’s southwest Gulf of Carpentaria. Australia’s rock art is recognised globally for its antiquity, abundance, distinctive motifs and the deep and abiding knowledge Indigenous people continue to hold for these powerful symbols. However, books about Australian rock art jointly written by Indigenous communities, anthropologists, and archaeologists are extremely rare. Combining Yanyuwa and western knowledge, the authors embark on a journey to reveal the true meaning of Yanyuwa rock art. At the heart of this book is the understanding that a painting is not just a painting, nor is it an isolated phenomenon or a static representation. What underpins Yanyuwa perceptions of their rock art is kinship, because people are kin to everything and everywhere on Country. Jakarda Wuka highlights the multidimensional nature of Yanyuwa rock art: it is an active social agent in the landscape, capable of changing according to different circumstances and events, connected to the epic travels and songs of Ancestral Beings (Dreamings), and related to various aspects of Yanyuwa life such as ceremony, health and wellbeing, identity, and narratives concerning past and present-day events. In a time where Indigenous communities, archaeologists, and anthropologists are seeking new ways to work together and better engage with Indigenous knowledges to interpret the “archaeological record”, Jakarda Wuka delivers a masterful and profound narrative of Yanyuwa Country and its rock art. This project was supported by the Australian Research Council and the McArthur River Mine Community Benefits Trust.

Photogrammetry is the process of obtaining digital three-dimensional models of objects, features, or landscapes from a series of overlapping, focused, and well-exposed two-dimensional photographs. Photogrammetry is becoming standard practice for archaeological analysis, especially since a digital camera now features consistently in an archaeologist’s tool kit. An archaeological career, however, does not traditionally involve becoming an expert in photography. Photogrammetry for Archaeological Objects: A Manual explains in simple, easy-to-follow steps all the essential elements of photography, how to design a controlled photography setup, how to shoot in an uncontrolled environment, and how to edit your images so you can develop your proficiency in photography and by extension, photogrammetry. This guide will provide you with a comprehensive introduction to the process of setting up your camera for photogrammetry shooting, the necessary camera positions required to completely capture your artefacts, and how to use these images captured to process and edit your photogrammetry models. With the aid of 11 different case studies of a variety of archaeological objects, you can develop your understanding of how to approach different archaeological material for modelling purposes; what camera gear and shooting environment is the most suitable, and what camera angles are suitable to correctly capture your object. Photogrammetry for Archaeological Objects is your go-to guide for building successful and usable 3D photogrammetry models of archaeological material that can be used for analysis, conservation, and educational purposes.

Set in Western Australia in the first decades of the nineteenth century, That Deadman Dance is a vast, gorgeous novel about the first contact between the Aboriginal Noongar people and the new European settlers. Bobby Wabalanginy is a young Noongar man, smart, resourceful, and eager to please. He befriends the European arrivals, joining them as they hunt whales, till the land, and establish their new colony. He is welcomed into a prosperous white family, and eventually finds himself falling in love with the daughter, Christine. But slowly-by design and by hazard-things begin to change. Not everyone is happy with how the colony is progressing. Livestock mysteriously start to disappear, crops are destroyed, there are "accidents" and injuries on both sides. As the Europeans impose ever-stricter rules and regulations in order to keep the peace, Bobby's Elders decide they must respond in kind, and Bobby is forced to take sides, inexorably drawn into a series of events that will forever change the future of his country. That Deadman Dance is inevitably tragic, as most stories of European and native contact are. But through Bobby's life, Kim Scott exuberantly explores a moment in time when things could have been different, when black and white lived together in amazement rather than fear of the other, and when the world seemed suddenly twice as large and twice as promising. At once celebratory and heartbreaking, this novel is a unique and important contribution to the literature of native experience.

Reprint of the original, first published in 1845.

Museums, Societies and the Creation of Value focuses on the ways in which museums and the use of their collections have contributed to, and continue to be engaged with, value creation processes. Including chapters from many of the leading figures in museum anthropology, as well as from outstanding early-career researchers, this volume presents a diverse range of international case studies that bridge the gap between theory and practice. It demonstrates that ethnographic collections and the museums that hold and curate them have played a central role in the value creation processes that have changed attitudes to cultural difference. The essays engage richly with many of the important issues of contemporary museum discourse and practice. They show how collections exist at the ever-changing point of articulation between the source communities and the people and cultures of the museum and challenge presentist critiques of museums that position them as locked into the time that they emerged. Museums, Societies and the Creation of Value provides examples of the productive outcomes of collaborative work and relationships, showing how they can be mutually beneficial. The book will be of great interest to researchers and students engaged in the study of museums and heritage, anthropology, culture, Indigenous peoples, postcolonialism, history and sociology. It will also be of interest to museum professionals.

Most Australians are familiar with the concept of land ownership and understand the meaning of native title, which recognises Indigenous peoples' rights to land to which they are spiritually or culturally connected. The ownership of areas of sea and its resources is often overlooked however, despite Aboriginal and Torres Strait Islander connections with the sea being just as important as those with the land. The papers in this volume demonstrate how the concept of customary marine tenure has developed in various communities and look at some of its implications. Originating in a session of papers at a conference in 1996, the papers in this volume were originally published as Oceania Monograph 48 in 1998.