Beruflich Dokumente
Kultur Dokumente
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/
info/about/policies/terms.jsp
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content
in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
For more information about JSTOR, please contact support@jstor.org.
Australian Archaeological Association is collaborating with JSTOR to digitize, preserve and extend access to Australian
Archaeology.
http://www.jstor.org
This content downloaded from 200.16.5.202 on Fri, 18 Dec 2015 00:13:00 UTC
All use subject to JSTOR Terms and Conditions
PAINTING
HISTORY:
of the 'Other' in
and Depictions
Indigenous Observations
Northwestern Arnhem Land, Australia
Sally K. May1, Paul S.C. Ta9on2, Daryl Wesley3 and Meg Travers1
AustralianRockArt:A New Synthesis
which provided a briefand
Abstract_
In this
on
focus
contact
in northwestern
sites
three
we
paper
rock
Arnhem
from
paintings
In
Australia.
Land,
only
encounters
the
inform
Indigenous
across
last 500
us
between
accounts
years.
northern
Importantly,
about
the
different
Australia
have
they
ongoing
lack of
to
is outlined.
presented,
in art of
this
and
region,
'traditional'
first
after
matter
subject
the oldest
date
Indigenous
and
tremendous
and
explorers
Christian
missionaries.
on the nature
crews
trepanging
There
of early contact
contact
Australian
traders, Macassan
in Australia;
Research
literature
rarely have
however,
studied
and
comprehensively.
Council-funded
project
Australian
Paterson,
June Ross
initiated
Arnhem
and western/northwestern
Land),
this
and
only
this national
reports
on
of these
the significance
to
findings
focus on secular
interpretations
by previous
interpreted
include
Background_
While individual contact rock paintings and petroglyphs
were
noted
ethnographers,
by
a number
of early Australian
explorers
anthropologists,
archaeologists,
and
artists
(e.g.
summaries
and
overviews
of
contact
rock
art
of contact
it has
conclude
They
that
sources to
of sketchy historical
such as contact rock art, we have
evidence
of a post-contact
the existence
researchers.
counter-reading
archaeological
regulated
by ceremonial
designed
to combat
Indigenous
and
strategies
landscape
systems of place
colonisation'
European
(McNiven
Outside
images, with
recent
important
(e.g. Ouzman
2003;
Ouzman
debates
the nature
interest
in contact
in southern
particularly
Africa
2000; Ouzman
and Loubser
and
of art, culture
progress
in the recognition
scientific
community
and
of cave
of the existence
occurring
early
art by the
in the twentieth
century
their own
entered
forms of discourse
about
European
initiative.
and historical
anthropological
been
revealed
underwent
worldwide
for
scope
generous
provides
marking
societies
rock art
inAustralian
theme
largely unexplored
of archaeological,
'By extending
yet
(Kings
on depictions
of
Clarke,
designs'.
that was
Introduction_
remain
research
for contact
for
(1997,
a convergence
art inAustralia.
for contact
recorded
Canyon)
large-scale
Frederick
on Watarrka
concentrating
studies
long
period
art research,
contact
findings
continuing
contact
for particular
evidence
dominating
art
rock
rock
National
existed
of a
evidence
including
to
relating
new
Important
contact
on
that
research
the development
and
through
the potential
relationships
The
parties.
of cross-cultural
of contact
overview
selected
depictions
inMicmac
villages,
churches,
notes
(1989:212)
altar-pieces,
sailing
settlements,
and
ships,
were
in the
changing world.
in
Indigenous
through
period
our
understanding
of ourselves.
He
argues
in relation
Bushmen.
The
Bushman
society, but
of informing
about non
SUStralian
This content downloaded from 200.16.5.202 on Fri, 18 Dec 2015 00:13:00 UTC
All use subject to JSTOR Terms and Conditions
ARCHAEOLOGY
57
History:
Painting
Observations
Indigenous
much
in Northwestern
of the 'Other'
and Depictions
as monsoon
it tells
vine
and freshwater
Australia
The
of the whole
2003:253).
the implications
as well
as the ways
own
to expand
aims
research
these
upon
international
art within
regions')
historical
its wider
context.
and ethnographic
artistic,
perhaps
more
remain
people
or historical
of the cultural
elements
connected
and
in
embedded
information
covers
and
an area of hundreds
have
range
consultants.
of square
as no
taken place.
or
kilometres.
surveys
systematic
Some
such
researchers,
as
employment
archaeological
in particular,
(1993),
Chaloupka
sites
included
Arnhem
rock art.
Land
are 'owned'
by different
Ronald
as
Lamilami
to
belongs
senior
father, Reverend
cultural
Indigenous
Lamilami's
springs.
with
archaeological,
In Australia,
swamps
range
and paperbark
grass
sedge,
histories.
Our
forests,
Land
art researchers
Arnhem
Maung-speakers
owner.
traditional
Lazarus
The
groups.
Ronald
was
Lamilami,
a famous
this heritage.
Never
before
has
there
contact
Indigenous
rock
been
art
comprehensive
of North
As mentioned
from Australia.
suggests,
inAustralian
shortcoming
of European
impact
rock
and
to describe
in order
subjects,
standard motifs
schemas,
what
the creation
significant
and will
detail
many
places,
industrial
contemporary
development
The Study
Area_
2008-2010,
During
Land
Arnhem
document
King River
this
and natural
erosion.
fieldwork was
or, more
about
threat
cultural
remains.
owners
no more
At
Indigenous
the request
The west
and
culture
contemporary
in northwestern
Range,
to
to the north,
Sea
to the northwest,
and
locations
northwest
Arnhem
region
associated
is dominated
zones
including
coastal
and
estuarine
areas,
since
the Pleistocene
sea-level
rise
and
subsequent
is dominated
by
the Kombolgie
sandstone
subgroups
58
and
location
aUStralian
of specific micro-environments
ARCHAEOLOGY
on the
territory
and so I am reallyManganowal
(Lamilami
Methodology_
like
1974:7).
such
research we
Change
an extensive
undertook
done
in collaboration
which
investigates
with
of northwestern
the mythological
This
part
Daryl
Arnhem
of Arnhem
Land
in relation
Land
to contact
and Europeans.
is well-known
for
(including
excavation)
research
research
in Indigenous
occurred
the Macassans,
Baijini,
and extensive
PhD
Wesley's
that have
changes
with
heritage
of the Aboriginal
traditional
are revealed
in this
site
specific
important
in theWellington
and I am Maung,
call
occupation
undertaken
specifically,
in
is rich
these
from
region
paper.
stories
are under
of which
means
Malalgoidj
we
the people
of
Australians
people
are
and
Island,Waruwi,
Island, Waira,
art,
is not depicted,
is and
of South Goulburn
Goulburn
Malalgorgoidj
means
(1992:94)
on
colonisation
The people
of
study
its Macassan
that was
site recording
rapid
techniques.
form
(which
Rapid
recorded
site recording
a rapid
incorporates
standard
using
involves
archaeological
were
then
rockshelters
in turn housing
each
an
extraordinary
but
important
in western
we
and northwestern
time periods.
These
Change
of contact
This content downloaded from 200.16.5.202 on Fri, 18 Dec 2015 00:13:00 UTC
All use subject to JSTOR Terms and Conditions
because
between
Arnhem
a great
diversity of
site complexes were
contain
for Picturing
depictions
and groups
chose
they also
Indigenous
Sally
Malarrak,
during
that
time
rocky outcrops)
2010a,
Rock
2010b)
a
and
faces,
(rock
of 55
dozens
in close
more
rockshelter
single large
these shelters a full detailed
(including
at Djulirri
descriptions,
of only
proximity
and
and
was made
unsealed
four
was
three
so
large
associated
(see Tacon
inventory
scaled
includes
the complex
ceilings,
'snake'
in detail
recorded
Malarrak
the recording
permitted
out
were
Rock
seasons.
while
rockshelters
adjoining
Bald
field
rockshelters
separate
large
and
Djulirri
the 2008-2010
a beeswax
et al.
at Bald
each
of
of the artworks
photographs
and
K. May,
Paul
S.C.
Tacon,
and Meg
Daryl Wesley
Travers
for
evidence
was
of these
shelters
were
then put
Rock
samples were
and
paintings
were chosen
each
recorded
figure).
Associated
and excavations
and Bald
(Malarrak
into a database
Rock).
for analysis.
submitted
to provide
were
The
in two
At Djulirri
art covering
for radiocarbon
minimum
archaeological
undertaken
dating.
and Bald
contact
The
and/or maximum
rock
samples
ages
for
some of the
key contact rock paintings at the site. This fieldwork
was undertaken
in collaboration
with Ronald
Lamilami
and his
family. They
accompanied
ailStralian
This content downloaded from 200.16.5.202 on Fri, 18 Dec 2015 00:13:00 UTC
All use subject to JSTOR Terms and Conditions
ARCHAEOLOGY
us
59
History:
Painting
Figure 4 One
Sally K. May).
Indigenous
of the painted
and Depictions
Observations
sailing vessels
of the 'Other'
at Djulirri (Photograph:
in Northwestern
Arnhem
Land
site recording
rapid
55m
of rockshelter
and
the associated
While
the exact
techniques
surface
plus
rocks were
is not
number
the most
For our
in 2009).
the ceiling
recent
case
study,
of the rockshelters
in detail
recorded
1).
(Figure
there are at least
yet known,
20
documented
'scenes'
level of information
research
if needed.
document
Just as archaeologists
an excavation we felt it
appropriate
our
despite
to note
important
and
paintings
were recorded
at this point
beeswax
figures
in detail.
Djulirri,
extraordinary
to document
necessary
to record
information
ethnographic
individual
possible,
tape or gloves,
Djulirri
At Djulirri,
to the region,
relating
individual
the
motifs.
which
us to
analyse
allowed
1). It is
(e.g. Table
that thousands
of other
the
surrounding
as a complex
rock
rockshelters
an
of sites, has
is
begins
before AD
1664
we obtained
is the oldest
2010b).
'snake'
This
prau
that we were
(Figures
able
a radiocarbon
date, hence,
hundreds
of paintings
age. Many
art inAustralia
2-3)
is painted
to sample
and
for
us with
providing
were
produced
at
Djulirri
is the Indigenous
The
name
shelters
Range.
Wellington
a
a
valley and
long network
side of this valley
aUStralian
et al.
a beeswax
a minimum
60
of painted
introduced
This
ANU-6813).
(see Tacon
Results
other
art. This
beneath
Djulirri
recovered during
to record all rock art at a site
number
contact
focus being
art within
contact
all artefacts
each
of other marked
(these
shelters were
ARCHAEOLOGY
other
in the
and overlook
rockshelters
on the
documented
using
this research
the contact
- art was
being
produced
in abundance
throughout
This content downloaded from 200.16.5.202 on Fri, 18 Dec 2015 00:13:00 UTC
All use subject to JSTOR Terms and Conditions
K. May,
Sally
identified
through
(i.e. paintings
of x-ray
deceased
Other
watercraft
(e.g.
at Djulirri
rock paintings
2-4),
Figures
Alphabet,
Ngalyod
emus
in x-ray
depicted
form
Serpent),
2).
with
painting
solid background
brushwork
similarities
and kangaroos
It has been
is the most
and
as Wamud
known
Travers
Namok
The
8 stencils, and
rockshelters
contains
of paintings, drawings,
Malarrak
Rock
(WR142)
(WRO11,
Artefact
WR012,
WR014)
WR013,
0.27
0.52
10
Composite Being
Fish
232 paintings,
1 Overview of subject matter depicted at Bald Rock and Malarrak. Ithighlights the percentage
(writing) that depict introduced subject matter. Beeswax motifs have been excluded.
Bird
Four
red single-line
infill,
to the work of a recently
and
Bald
documented.
2008
determined
Matter
accessible
rockshelters within
Table
Subject
now
artist
Indigenous
and Meg
Daryl Wesley
Malarrak
Malarrak isa sitecomplexapproximately10kmfromDjulirri and
horse
Tacon,
include 20 introduced
a four-wheeled
bicycle,
(Table
S.C.
Paul
1.73
10
2.67
0.53
27
4.67
Other Marine
52
13.90
0.80
0.69
Geometric
Human
Land Mammal
64
11.07
75
20.05
233
40.31
119
31.82
28
18
4.84
4.81
0.53
Plant
18
181
Reptile
Unknown
24
33
8.82
35
9.36
374
100.00
10
IntroducedSubject Matter
Total
1.73
578
100.00
3.11
31.31
Subject
Matter
Bald
Rock
6.42
Malarrak
(WR142)
(WR01
1, WR012,
WR013,
WR014)
increase
in the
Djulirri
(WR057)
Aeroplane
Bicycle
Building
Can
CoffeeMug
Gun
Four-Wheeled
Horse-Drawn
Buggy
Horned Animal
Knife
Human (incontact pose with moustache and/orwith
introduced
15
accessories)
Vessel
European
18
20
35
54
Smoking Pipe
Tobacco
Pouch
Tobacco
Tin
Unidentified
Writing (English lettersor numbers)
Total
10
Number
71, December
2010
australian
This content downloaded from 200.16.5.202 on Fri, 18 Dec 2015 00:13:00 UTC
All use subject to JSTOR Terms and Conditions
archaeology
61
History:
Painting
Figure 7 Aerial
Daryl Wesley).
photograph
appear
complex
of the 'Other'
in Northwestern
Arnhem
Land
(Photograph:
to be a series of human
female figures
painted
of the Malarrak
shelter at Malarrak
surviving paintings
and Depictions
Observations
Indigenous
and fork-tail
catfish(Ariusleptaspis)
with finely-paintedinfill.
The most recent
are a series of
large red, white, yellow and red barramundi
paintings
also home
a metal
knife with
The
three remaining
recorded
and a prau
shelters
(Table 2).
at Malarrak
contain
feral animals
has
shelters. Contact
deterioration
caused
significant damage
rock art is found at each shelter and includes sailing
vessels, a house-like
structure, introduced
animals
(goats)
and guns.
Bald Rock
The
last of our
10). The
name
(Figure
with Djulirri
Indigenous
and Malarrak,
largest rockshelters
the contact
period.
This
season
is c.8.5km
Rock
were
and
contains
site was
recorded
from Malarrak.
542 paintings,
76 beeswax
aUStralian
figures
our 2009
ARCHAEOLOGY
field
shelter at Bald
(some
31 stencils, 3 drawings,
1 engraving.
62
during
This main
of which
1 print and
This content downloaded from 200.16.5.202 on Fri, 18 Dec 2015 00:13:00 UTC
All use subject to JSTOR Terms and Conditions
K. May,
Sally
Paul
S.C.
Figure 11 An aeroplane
Tacon,
and Meg
Daryl Wesley
Travers
is in cursive
surface
name, Noreman.
and
Three
other
The
handwriting.
of the shelter
is scratched
into the
we
is a person's
suspect
same
as a
the
size
stencils,
typical
spells what
circular
in Australia
tin used widely
throughout
are found at this shelter
along with two stencils
There
is one painted
boat
(an ocean
cruiser),
tobacco
the early
1900s,
of large knives.
one aeroplane
Discussion
from
that emerge
contact
from
subject matter. We
Arnhem
such as fish,macropods
Land
subjects
styles. It is as though
contact'
then simply
can
with
role
of the most
protocols
depicted
and
societies
artists were
artistic
aspects
rudders.
vessels
choosing
with
full
the more
than
anchors
only
a small
number
of
during
contained
the movement
period.
British
movement
traditional
contact
as itmay
the
through
with Macassan
and
explorers
of people
12 for a
is important
of people
Did
(i.e.
period
(see Figure
of
later, with
and,
settlers
impact
the landscape?
If contact
rock art featuring
introduced
is an
subject matter
accurate
indicator of this movement
then our research suggests
upon
through
site complexes
discussed
will
that much
example,
in this paper
and
the painting
contact
before
complexes
and
of rock
of the Wellington
is that our
research
art is 'undetectable'
unless
Range.
or dated
subject matter
period.
during
at
of occupation
this argument
to introduced
in relation
be needed
particular
with
problem
has demonstrated
the contact
field seasons,
landscape
traders
subject matter)
in the contact
overview
something
it is shown
is important evidence
for the continuation
across time and
subject matter.
This
conventions
reveal
to be
known
introduced
preliminary
artistic
2008-2010
imagery
traditional
For example,
Sometimes,
are
of the contact
the vessels,
From
activities.
our
and
cultures
to play a cultural
subjects.
sailing
deployed
are illustrated. Artists
of the water.
in 'pre
noting
of the visiting
usual
classic
that depicted
However,
interesting
sites is how
repeatedly
design
this
groups.
non-Indigenous
painted
in these
depict
and emus
confidently
at these
aspects
to their more
returning
educational
One
the local
the introduced
upon
commenting
and
replace
know
of a chronology
most
recent paintings
and
not
to detailed
thanks
We
the data
it does
encounters,
traditional
contact
more
facts
intriguing
here. The
presented
that were
paintings
are many
There
sites documented
Figure 12 General distribution of all archaeological
in 2008-2010
Ithighlights the major and minor contact
field seasons.
rock art sites within the study area. Locations have been deliberately
to protect the location of the sites.
generalised
about
to
analyses
the importance
Malarrak
and Bald
of
Rock
is known.
To expand
wider
2009,
upon
archaeological
273
context
Indigenous
shell middens,
includes
and
shell
new dates
considering
archaeological
artefact
art, rockshelters,
This
scatters,
scarred
scatters) were
for the earliest
2008
of rock
(consisting
trees, stone quarries,
recorded
evidence
in the region.
for Indigenous
and evidence
the
and
BP
of occupation
aUStralian
ARCHAEOLOGY
This content downloaded from 200.16.5.202 on Fri, 18 Dec 2015 00:13:00 UTC
All use subject to JSTOR Terms and Conditions
63
History:
Painting
and Depictions
Observations
Indigenous
of the
rockshelters
advantage
in a way
land-use
new
also created
and
economy
restructured
that strengthened
social
capital.
traditional
Indigenous
but
practices
in the
on other
concentrated
wider
context
archaeological
major
sites to occupation
of
occurs
reasons
for several
Arnhem
Land
and Macassan
mission,
trepang
sites are
processing
For example,
Esther Manakgu
recalls
that as a child
there himself
journeyed
on. He
going
later
movement
'see forthemselves'(May 2008). This issueof shifting
in the contact period is an excitingarea of ongoing research
that links rock artwith archaeological excavation and local
histories.
Indigenous
undertakings.
reveals
always
of many
departure
traditional
in Northwestern
'Other'
including:
Conclusions_
One of thekey aims forPicturingChange is to explore thenature
of contact throughrockart.
What thendo theMalarrak, Djulirri
and Bald Rock art complexes tellus about the contact period
in northwestern
Arnhem
Land?
to date
Research
emphasises
This
to
in itself attests
To
access
control
carefully
to Macassans
and
corridors
of
movement.
traditional
To control
To
new
from
of occupation
periods
in turn,
which,
and
as
(such
to extract more
the ability
environments
local
and materials
technologies
to improve
etc)
economy.
glass,
sustain
longer
at these nodes.
larger groups
and
a period
new
and
opportunities
this a modified
social
situations
and
to
take
with
reorganised
account
the
into
to them. Out
presented
economic
industry.
have begun
communities
Indigenous
their worldview
and
trepang
contact would
as
of instability
themselves
in the
participation
resulting
Indigenous
order would
have
of
been
in the Macassan
participation
traditional
strengthening
lifeways
them. Indigenous
diminishing
trepang
and
control
industry,
thus
rather
than
practices
of access
and negotiation
recent Australian
history.
and customs
were
and practices.
In more
recent
from Macassans
customs
traditional
times a similar
approach
can be
communities
example,
have
embraced
and
modes
of
ranger programmes,
Indigenous
to maintain
strengthen
traditional
participation,
as a way of
being
customs
for
able
and practices.
locations
across
the
landscape.
64
missionaries
aUStralian
Yet much
and
others.
ARCHAEOLOGY
Paddy
CahilPs
of the contact
in the Wellington
is painted
Range
station
at
documented
in 'pre-contact'
styles and
subject matter.
traditional
these sites we
Finally, by documenting
resources
of contact
large concentration
depicts
introduce
metal
there is a particularly
Australia)
result
information
have
that contact
just
scratched
the surface
of
the
these periods
Acknowledgements
We thankRonald Lamilami and his familyfor their support,
guidance and enthusiasm throughout fieldworkin 2008, 2009
and 2010. Picturing Change is funded by ARC Discovery
Grant DP0877463 and we acknowledge JuneRoss and Alistair
Paterson as fellowChief Investigatorson thisproject.Much of
our fieldwork in theWellington Range has been undertaken
Contact'. Many
during
conversations
many
volunteers
in 2008,
2009
who
and
the camp
fire and we
developed
thank
the
us in
recording rock art complexes
we cannot name
2010. While
everyone we
assisted
Sanz,
Janet and
Phil
Davill,
Wayne
Brennan,
Stewart
of beeswax
Fallon
has been
samples
undertaking
from these
This content downloaded from 200.16.5.202 on Fri, 18 Dec 2015 00:13:00 UTC
All use subject to JSTOR Terms and Conditions
the radiocarbon
sites and we
thank him
Sally
K. May,
Paul
S.C.
Tagon,
Daryl Wesley
and Meg
Travers
References
21:69-75.
May, S.K. 2008 EstherManakgu Oral History [Video].Kunwinjku Language Project.
McNiven, IJ. and L. Russell 2002 Ritual response: Place marking and the colonial
frontierinAustralia. In B. David and M. Wilson (eds), Inscribed Landscapes:
UniversityPress.
Ouzman, S. 2003 Indigenous images of a colonial exotic: Imaginings from
Publishing.
David, B. and M. Wilson 2002 Spaces of resistance:Graffitiand indigenous place
markings in the early European contact period of northernAustralia. In B.
David and M. Wilson (eds), Inscribed landscapes:Marking andMaking Place,
pp.42-60. Honolulu: UniversityofHawai'i Press.
Frederick,U. 1999 At the centre of itall: Constructing contact through the rock
art ofWatarrka National Park, central Australia. Archaeology in Oceania
34(3):132-144.
Keyser, J.D.andM. Klassen 2003 Every detail counts:More additions to thePlains
biographic rockart lexicon.Plains Anthropologist48( 184):7-20.
Klassen, M.
University,Canberra.
Antiquity 84:416-427.
Tacon, P.S.C., S.K.May, SJ. Fallon,M. Travers,D.Wesley and R. Lamilami 2010b A
of theNorthern Territory.
aUStralian
This content downloaded from 200.16.5.202 on Fri, 18 Dec 2015 00:13:00 UTC
All use subject to JSTOR Terms and Conditions
ARCHAEOLOGY
65