PAINTING HISTORY: Indigenous Observations and Depictions of the 'Other' in Northwestern

Arnhem Land, Australia

Author(s): Sally K. May, Paul S. C. Taon, Daryl Wesley and Meg Travers
Source: Australian Archaeology, No. 71 (December 2010), pp. 57-65
Published by: Australian Archaeological Association
Stable URL: http://www.jstor.org/stable/20839301
Accessed: 18-12-2015 00:13 UTC
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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,

doing so we highlight that such sites provide some of the

contemporary

only

encounters
the

inform

Indigenous
across

that took place

last 500
us

between

accounts

years.

northern

Importantly,

about

the

different

Australia

have

they

ongoing

lack of

to

is outlined.

rock art are

protocols
contact,

presented,

in art of

this

and

region,

'traditional'
first

after

matter

subject

the oldest

date

Indigenous

and

tremendous

rapid change following contactwith other societies such as

British

and

explorers

Christian

missionaries.

on the nature

crews

trepanging

is now a vast and growing

There

of early contact

contact

Australian

traders, Macassan

in Australia;

rock art images been

In 2008 a large-scale Australian

Research

literature
rarely have

however,

studied

and

comprehensively.

Council-funded

project

titledPicturing Change: 21st Century Perspectiveson Recent

Rock Art was

Australian
Paterson,

June Ross

initiated

and Sally K. May

by Paul S.C. Tacon, Alistair

to address this issue. While

PicturingChange includes fourkey regions (WollemiNational

Park inNew SouthWales; the Pilbara ofWestern Australia;
Central Australia;

Arnhem

and western/northwestern

Land),

this

paper focuseson preliminaryresultsfromfieldworkinArnhem

Land

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.

Mountford 1956:162, 175), itwas not until the 1990s that

detailed

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

rock art when

researchers.

counter-reading

archaeological

regulated

by ceremonial

designed

to combat

Indigenous
and

strategies

landscape

systems of place

colonisation'

European

(McNiven

and Russell 2002:37; see also David andWilson 2002:57-58).

Australia

Outside
images, with

recent

there has been

studies

important

(e.g. Ouzman

2003;

Ouzman

debates

the nature

interest

in contact

in southern

particularly

Africa

2000; Ouzman

and Loubser

and

Smith 2004) and inNorth America (e.g. Keyser and Klassen

2003; Klassen 1998; Klassen et al 2000; Molyneaux 1989).
Significantly,the art of prehistoric Europeans, Indigenous
Australians and otherpeoples of theworld has always informed
about

of art, culture

progress

in the recognition

scientific

community

society, with much

and

of cave

of the existence

occurring

early

art by the

in the twentieth

century

(Bahn and Vertut 1997:22). At the same time, Indigenous

peoples

their own

entered

forms of discourse

about

European

encountersand thenature of theworld as well, some ofwhich

in rock art. As Molyneaux

have been preserved

for changing

initiative.

and historical

anthropological

been

revealed

underwent

worldwide

for

scope

generous

provides

McNiven and Russell (2002: 32-33) note a clear

Interestingly,

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,

shipson Groote Eylandt (seeClarke 1994;Clarke and Frederick

2006; Roberts 2004). As Frederick (1999:132-133) notes, contact

a convergence

art inAustralia.

for contact

recorded

Canyon)

research, yet 'the rock art of contact

large-scale

Frederick

on Watarrka

concentrating

Park, and with Annie

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

project (ofwhich this fieldwork is part) aimed at addressing

this problem

rock art. Ursula

that

research

the development

and

through

the potential

relationships

The

parties.

rock art is emphasised

of cross-cultural

of contact

overview

selected

1999) isone of the few inAustraliawho has undertakenfocused

depictions

inMicmac

As shown by themany other petroglyphs of colonial

wigwam

villages,

churches,

notes

(1989:212)

rock art of eastern Canada:

altar-pieces,

sailing

settlements,
and

ships,

other aspects of 18th- and 19th-century life, theMicmac

were

observers and, from their side of the issue, participants

in the

changing world.

in

Australia began to appear.This includedRobert Layton's (1992)

1
of
School
Research
of Archaeology
and Anthropology,
School
National
and the Arts, The Australian
Humanities
University,
Australia
ACT
0200,
Canberra,
sally.may@anu.edu.au,
u4129920@anu.edu.au
2
School of Humanities, Gold Coast Campus, Griffith University, QLD
4222, Australia p.tacon@griffith.edu.au
3
and Natural History, School of Culture, History and
Archaeology
Language, College of Asia and the Pacific, The Australian National
University, Canberra, ACT 0200, Australia daryl.wesley@anu.edu.au

Ouzman (2003:253) continuesthisargument,suggestingthatthe

'reverse gaze'

Indigenous

through

rock art of the contact

period

has thepotential to informus about a diversityof issues including

expanding

our

understanding

of ourselves.

He

argues

in relation

toBushmen beliefsabout the rockartof southernAfrica:

These beliefs ... are one of themost powerful means
ourselves

not only about

Bushmen.

The

Number 71, December 2010

Bushman

society, but

of informing
about non

irony is that the information flow is still very

SUStralian

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ARCHAEOLOGY

57

History:

Painting

Observations

Indigenous

from 'them' to 'us' but the type of information so gained is

much

qualitatively different to the usual rock-art research because

us asmuch about who we are and, perhaps more

in Northwestern

of the 'Other'

and Depictions

as monsoon

it tells

vine

and freshwater

Australia

gaze imagery is also unfettered and uncensored by themental and

The

iconographic constructions of the colonists (Ouzman

of the whole

2003:253).

Both theCanadian and SouthAfrican examples are applicable

to IndigenousAustralia in that theychallengeAustralian rock
to consider

the implications

as well

for this continent,

contact

of the 'reverse gaze'

it affects our reading of

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

to their rock art heritage

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

recorded in theWellington Range inhis stylisticchronologyof

western

Arnhem

rock art.

Land

TheWellington Range covers a large area and parts of the

area

are 'owned'

by different

Ronald

as

Lamilami

to

belongs

senior

father, Reverend

cultural

Indigenous

of interest for this fieldwork

Lamilami's

thananywhereelse in theworld, this isall possible as Indigenous

often

springs.

sites as part of their research

with

archaeological,

In Australia,

swamps

as George Chaloupka and Daryl Wesley, have documented

range

approaches through the consideration of Arnhem Land (and

other

and paperbark

grass

sedge,

extent of the rock art is unknown

histories.

Our

forests,

Land

TheWellington Range isone of thenorthern-mostranges in

to the point, who

we are not, as itdoes about the rock-artists. The indigenous reverse

art researchers

Arnhem

Maung-speakers
owner.

traditional

Lazarus

The

groups.

Ronald

was

Lamilami,

a famous

Arnhem Land figureand described many of his experiences,

includinghis relationship to rock art sites in theWellington
Range, inhis book Lamilami Speaks (1974):

this heritage.
Never

before

has

there

contact

Indigenous

rock

been

art

comprehensive

of North

As mentioned

from Australia.

previously,PicturingChange was established to address this

'The

suggests,

rock art research. As Layton

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

by theArnhem Land Plateau with much of the surrounding

environmental context influencedby thismajor geological
and geomorphological feature.The region has a diversityof
environmental

zones

including

coastal

and

estuarine

areas,

alluvial floodplains, major river systems, dissected sandy

plains, steep foothills and ridges, and the plateau area itself.
The landscape has been affectedby significantenvironmental
change

since

the Pleistocene

sea-level

rise

and

subsequent

evolution of themajor tidal river systems.Geologically the

area

is dominated

by

the Kombolgie

sandstone

subgroups

of which theMammadewerre Sandstone of theWellington

Range isone. The geology of the region in turngives rise to the
development

58

and

location

aUStralian

of specific micro-environments

ARCHAEOLOGY

on the

territory

and so I am reallyManganowal

(Lamilami

Methodology_

For our Picturing

like

1974:7).

such

research we

Change

an extensive

undertook

surveyof an isolated part of theWellington Range. This was

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,

I come from themainland

Island. Iwas born inNgudigin

that is part ofManganiowal,

my father's people

call

island, and Malalgorgoidj

of the island. They are Maung

west side of Goulburn

occupation

undertaken

specifically,

in

is rich

these

from

rock art. Bordered

by the Arafura
to the east and the
Coburg Peninsula

region

paper.

stories

are under

of which

means

Malalgoidj

we

the people

of

in the twenty-first century

Australians

people

are

and

thepossibilityof symbolicmeaning.With thisprojectwe also

aim to illustratetheways inwhich contactperiod rockart is still
for Indigenous

and the people

Island,Waruwi,

Island, Waira,

but I come from themainland.

art,

is not depicted,

is and

of South Goulburn
Goulburn

Malalgorgoidj
means

(1992:94)

on

colonisation

and all aspects of indigenous culture,extends farbeyond the

mere depiction of introduced subjects'.This researchproject
thus goes beyond previous approaches thatoftenwere limited
to introduced

The people

of

study

its Macassan
that was

originallyundertaken by Campbell Macknight (1969, 1986);

rock art was
During

not a focus of his research.

our survey over

site recording

rapid

150 rock art sites were

techniques.

locating rock art sites via standard

site recording

form

(which

Rapid

recorded

site recording

a rapid

foot surveys, completing

incorporates

standard

using

involves

archaeological

siterecordingdetails suchasGPS coordinatesand sitedescription

aswell asmore detailed sectionsforart listingstyles,techniques
and other information),
and photographingthe siteand key rock
art images within

rock art complexes

the site. Three

were

then

selectedas case studiesforPicturingChange.These sitecomplexes

areMalarrak, Djulirri and Bald Rock. Each complex consistsof
multiple

rockshelters

in turn housing

each

an

extraordinary

number of rockpaintings.Rockshelterswith hundreds of rock

paintings
Land

but

are not unusual

the complexes

rock painting styles and

selected as case studies
included
Australians

important

in western
we

and northwestern

time periods.

These
Change

of contact

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because

between

from outside Australia.

Number 71, December 2010

Arnhem

a great
diversity of
site complexes were

contain

for Picturing

depictions

and groups

chose

they also
Indigenous

Sally

Figure 2 Panel featuring a painted prau underneath

at Djulirri (Photograph: Sally K. May).

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

sites nearby. Finally,

was documented.
At

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

of Figure 2 highlighting the painted prau

Figure 3 Digital manipulation
underneath the beeswax
'snake' thatwas dated (see text) (Photograph:
Sally K. May).
measurements

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.

taken from beeswax

submitted
to provide

were

The

in two

rock art data

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

Number 71, December 2010

us to each of the sites and allowed

ailStralian

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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

Figure 6 X-ray emu painted at Djulirri and possibly

painting at the site (Photograph: Sally K. May).

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

in sections of the rockshelter

surface. We
layers of painting
over 1100 individual
over 700
images, including
1 engraving
48 beeswax
and 5
paintings,
figures, 68 stencils,

documented

printsduring the2008 field season in thearea defined inFigure

1. Importantly,
for this study we documented
rock painting
as individual motifs.
For example,
three human
figures
a ship were
as one motif
onboard
recorded
for this
standing

'scenes'

This is contrary to some standard European

practices
was necessary
art
in order to complete
of rock
recording but
to our recording
the fieldwork
in a reasonable
time frame. Due
to
future
will
researchers
still be able
draw out this
methods,
research.

from our database

level of information

for their own

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

sites, and where

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

shelters and further research

is

these sites in detail.

subject matter

begins

before AD

1664

we obtained

is the oldest
2010b).
'snake'

date yet for contact

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 afterthisdate. This in itselfis an importantfindingof

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

with thedepiction of a yellow paintedMacassan prau (SSAMS

beneath

Djulirri

recovered during
to record all rock art at a site

its full rock art context

number

Figure 5 Human figure depicted with boxing

(Photograph: Sally K. May).

contact

focus being

art within

contact

all artefacts

for a series of rockshelters

adjoin

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

50 years ago. While

finishing approximately
matter
to
contact
introduced
is
easy
subject
interpret at Djulirri,
more
can
matter
traditional
paintings depicting
subject
only be
period,

Number 71, December 2010

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All use subject to JSTOR Terms and Conditions

K. May,

Sally

identified

their rock art context

through

(i.e. paintings

of x-ray

deceased

kangaroos over the topof a painted European sailing ship).

contact

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

largest of the Malarrak

8 stencils, and

rockshelters

contains

of paintings, drawings,

stencils and engravings

Malarrak

Rock

(WR142)

(WRO11,

Artefact

WR012,

WR014)

WR013,

0.27

0.52

10

Composite Being
Fish

232 paintings,

17 identified layers of rock art (Figures 7-8). The oldest

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

formany of the sitesatDjulirri) butwere allwithin a 1kmradius.

red single-line
infill,
to the work of a recently
and

Bald

documented.

this complex were recorded in detail during our

and 2010 field seasons. These were not adjoining
shelters (as

2008

determined

Matter

of any of the sites we

accessible

rockshelters within

Table

Subject

now

artist

Indigenous

and Meg

Daryl Wesley

Malarrak
Malarrak isa sitecomplexapproximately10kmfromDjulirri and

horse

that themost recentpainting atDjulirri isprobably a depiction

of an emu with white

Tacon,

include 20 introduced
a four-wheeled

bicycle,

(Table

S.C.

(Figure6) (see also Brody 1984;West 1995).

drawn buggy (withoutany horses), fightersapparentlywearing

boxing gloves or tape (Figure 5), letters from the English
(the Rainbow

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

Table 2 Summary of introduced subject matter depicted at Bald Rock, Malarrak

takes place.
future as further technical analysis of photographs
Introduced

3.11
31.31

Subject

Matter

Bald

and Djulirri. Note that the numbers

Rock

6.42

for Djulirri may

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)

Row Boat with Harpoon

Sailing

Vessel

European

Sailing Vessel Prau

18

20

35

54

Smoking Pipe
Tobacco

Pouch

Tobacco

Tin

Unidentified
Writing (English lettersor numbers)
Total

10

Number

71, December

2010

australian

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All use subject to JSTOR Terms and Conditions

archaeology

61

History:

Painting

Figure 7 Aerial
Daryl Wesley).

photograph

Figure 8 The main

appear

complex

of the 'Other'

in Northwestern

Arnhem

Land

(Photograph:

(Photograph: Paul S.C. Tacon).

to be a series of human

female figures

(Figure 9) as well as a goanna

in red and white

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

[hates calcarifer). The largest shelter within theMalarrak

complex is
to paintings of introduced subject matter. These include

also home
a metal

sheath, a coffee mug,

knife with

The

three remaining

recorded

and a prau

shelters

(Table 2).

at Malarrak

contain

(a) 33 paintings,(b) 62 paintingsand 2 beeswax figuresand, (c)

33 paintings

and 6 stencils. Natural

feral animals

has

shelters. Contact

deterioration

and damage from

to two of these four

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

three case studies

10). The

name

(Figure

with Djulirri

Indigenous

and Malarrak,

is generally known as 'Bald Rock'

for the larger area isMaliwawa.
As
Bald Rock is a complex of rockshelters

largest rockshelters

rock paintings. We decided to record one of the

in the area, and also the one with evidence from

the contact

period.

This

season

is c.8.5km

each with abundant

Rock
were

and

contains

site was

recorded

from Malarrak.

542 paintings,

single pellets of beeswax),

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

Figure 9 One of a series of human female figures painted in red and

white and thought to be the oldest paintings at Malarrak (Photograph:
Sally K. May).

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K. May,

Sally

Paul

S.C.

Figure 11 An aeroplane

Tacon,

and Meg

Daryl Wesley

Travers

painted at Bald Rock (Photograph: Sally K. May).

Figure 10 The main shelter at Bald Rock (Photograph: Sally K. May).

5 stencils, 3 paintings,
1 engraving
Bald Rock contains
and
1 drawing
matter.
introduced
This
includes
featuring
subject
- one
two
of these words
is drawn with charcoal
English words
and

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

(Figure 11) and a possible bi-plane (as also depicted atDjulirri)

(Table 2).

Discussion

from

that emerge

contact

from

subject matter. We

at all of the sites recorded

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

crew, cargo and other objects

to highlight

the key features of

they paint
we
though
sail at the
the surface

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 the sites). This

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

at this time. For

is occurring
that a change
the contact period,
there is an intensification
the three major

site complexes

discussed

trend of limiting occupation

general
art throughout
the rest of this part
one

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

In other parts of the range detailed

period.

during
at

of occupation

this argument

to introduced

in relation

be needed

particular

with

problem

has demonstrated

the contact

150 rock art sites documented

field seasons,

landscape
traders

from the contact

subject matter)

in the contact

the artists have

sails,

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

just as they highlight the key features when

with internal organs visible (x-ray), even
macropod
never
see ships at anchor and in full
would
actually
same time, or be able to see the rudder and keel below

2008-2010

imagery

traditional

For example,

Sometimes,
are

of the contact

the vessels,

From

activities.

long after first contact

our

and

cultures

to play a cultural

the artists used

subjects.

sailing

deployed
are illustrated. Artists

of the water.

in 'pre

noting

of the visiting
usual

classic

that depicted

However,

interesting

sites is how

for these new

repeatedly

design

this

groups.

non-Indigenous

painted

in these

depict

and emus

say that rock art continued

confidently

at these

aspects

to their more

returning

educational

One

the local

the introduced

upon

commenting

and

replace

know

recording of the sites and the establishment

In fact, the
based on superimposition
of motifs.

of a chronology
most
recent paintings

and

not

to detailed

thanks

We

the data

rock art appears

it does

encounters,

rock art styles and

traditional

contact

first is that, while

the very earliest

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

the full picture

such as Djulirri,

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

of this study. During

sites

archaeological

artefact

art, rockshelters,

This

this idea further it isworth

scatters,

scarred

scatters) were
for the earliest

2008

of rock
(consisting
trees, stone quarries,

recorded
evidence

in the region.
for Indigenous

occupation of theWellington Range at 31,620?350

(R32137/3)

and evidence

Number 71, December 2010

the
and

BP

of occupation

until at least the 1960s.

aUStralian

ARCHAEOLOGY

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All use subject to JSTOR Terms and Conditions

63

History:

Painting

and Depictions

Observations

Indigenous

of the

Our wider researchin the

WellingtonRange and theassociated
coastal region also shows a significantreorganisationof local
residential
mobility strategiesover the last250 yearswhich can
be compared against a backdrop of 31,000 years of occupation.

This residentialmobility is reflected in the occupation of

as well as the distribution

rockshelters

of pre- and post-contact

We would argue thata significantshiftoccurred to take

rockart.
of the new

advantage

in a way

land-use

new

also created

and

economy

restructured

that strengthened

social

capital.

traditional

Indigenous
but

practices

in the

For instance, participation

trepang industryrequired a major shiftof time commitments

and labourdistributionby Indigenous communitiesthatwould
have normally
The

on other

concentrated

wider

context

archaeological

major

sites to occupation

of

Wellington Range.Within a short

just a fewstrategicsites in the
period of time,probablyduring the lateAD 1600s (as evidenced
by the placement of a beeswax figuredating beforeAD 1664
over a painting of a prau at Djulirri), Indigenous groups had
significantlychanged their residentialmobility patterns.We
argue that the contraction of residentialmobility probably

occurs

reasons

for several

Arnhem

Land

Oenpelli (latertheCMS AnglicanMission), theGoulburn Island

Methodist

and Macassan

mission,

trepang

sites are

processing

just some of theplaces thatwere of concern to local people

sites towhich theyoften journeyed forvisits, to trade or just
to observe.

For example,

Esther Manakgu

recalls

that as a child

(in the 1920s) her fatherheard about a settlementat Oenpelli

and

to 'see what was

there himself

journeyed

on. He

going

later

returnedto collecthis familyand take them to the settlementto

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

from the occupation

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

threekey points. The firstis that traditionalprotocols for rock

art continued

long after first contact.

This

to

in itself attests

the strengthof these cultural traditions.The second point

is thatwhen compared to the other areas of interestfor our
study (WollemiNational Park, thePilbara region,and Central

To

access

control

carefully

to Macassans

and

corridors

of

movement.

To be situatedat locationsbest suitedformeetingwith other

Aboriginal groups to facilitatetradeand exchangeand other
commitments.

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

The changes probably took place very rapidly in response to

contact

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

life after Macassan

Indigenous

order would

have

of

been

developed incorporatingthenew social capitalbeing generated

from

in the Macassan

participation

traditional

strengthening

lifeways

them. Indigenous

diminishing

trepang
and

control

industry,

thus

rather

than

practices

of access

and negotiation

was probably a unique circumstance in

in the trepang industry

recent Australian

history.

The archaeological evidence suggeststhat the technologies

that were

and customs
were

sought after and acquired

those that would

and practices.

benefit and strengthen

In more

recent

from Macassans
customs

traditional

times a similar

approach

can be

seen in thedevelopmentof hybrideconomieswhere Indigenous

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.

The complexesof rockart recordedforthisresearchhighlight

key

locations

for this new movement

across

the

landscape.

This includesplaces located between the sitesof contactwith

Macassans,

64

missionaries

aUStralian

Yet much

and

others.

ARCHAEOLOGY

Paddy

CahilPs

art at the three complexes

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

rockpaintingsdepicting introducedsubjectmatter in thisregion.

depicts

the flow of items into the traditional

introduce

metal

there is a particularly

Australia)

can start to understand

movements of people through the landscape as a

the shifting
of contact. We

result

information

have

that contact

just

scratched

the surface

rock art can tell us about

of

the

these periods

of time. In 2008 senior traditional owner Ronald Lamilami

explained to us that these rock art siteswere likehis people's

historybooks. His generosity in sharing these books with us

will help wider Australia understand this shared history and
give greatervoice to Indigenous perceptions of this important
time period.

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

in conjunctionwith Sue O'Connor and Daryl Wesley's ARC

fundedproject (LP0882985) 'Baijini,Macassans, Balanda, and
Bininj: Defining the IndigenousPast ofArnhem Land through
Culture

Contact'. Many

during

conversations

many

volunteers

in 2008,

2009

who
and

of the ideas for this paper were

around

the camp

fire and we

developed
thank

the

us in
recording rock art complexes
we cannot name
2010. While
everyone we
assisted

would like to highlight the contributionsofMelissa Johnson,

Ines Domingo

Sanz,

Janet and

Phil

Davill,

Wayne

Brennan,

Kirsten Brett and Michelle Langleywho spentweeks at these

siteshelping to produce a detailed recordingof each and every
painting.
dating

Stewart

of beeswax

Fallon

has been

samples

undertaking

from these

Number 71, December 2010

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the radiocarbon

sites and we

thank him

Sally

forhis collaboration.Finallywe would like to acknowledgeour

own institutions,
theAustralianNational Universityand Griffith
University,

for their support

of our rock art research.

K. May,

Paul

S.C.

Tagon,

Daryl Wesley

and Meg

Travers

Lamilami, L. 1974Lamilami Speaks. Sydney:Ure Smith.

Layton, R. 1992 Australian Rock Art: A New Synthesis.Cambridge: Cambridge
UniversityPress.
Macknight, C.C. 1969 TheMacassans: A Studyof theEarly Trepang Industryalong

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ARCHAEOLOGY

65