Ancient Bird Stencils Discovered in Arnhem Land, Northern Territory, Australia

Ancient bird stencils discovered in Arnhem Land, Northern Territory, Australia

Author Tacon, Paul SC, Langley, Michelle, May, Sally K, Lamilami, Ronald, Brennan, Wayne, Guse, Daryl

Published 2010

Journal Title Antiquity

Copyright Statement © 2010 Antiquity Publications. The attached file is reproduced here in accordance with the copyright policy of the publisher. Please refer to the journal's website for access to the definitive, published version.

Downloaded from http://hdl.handle.net/10072/36700

Link to published version http://www.antiquity.ac.uk/

Griffith Research Online https://research-repository.griffith.edu.au Ancient bird stencils discovered in Arnhem Land, Northern Territory, Australia Paul S.C. Tac¸on1, Michelle Langley2, Sally K. May3, Ronald Lamilami4, Wayne Brennan5 &DarylGuse6

The discovery of rare bird stencils from a unique Australian rock art complex is reported, the species they most closely resemble is discussed and their signiﬁcance in terms of world rock art and climate change is highlighted.

Keywords: Arnhem Land, Djulirri, rock art, stencils, bird images

Introduction In July 2009 ﬁve stencils of the complete body of a bird were found on the wall and ceiling of a small rockshelter that is part of an extraordinary rock art complex known to the local Maung speaking Aboriginal people as Djulirri. Located in Arnhem Land’s Wellington Range (Figure 1), the site has over 3100 paintings, prints, stencils and beeswax ﬁgures, making it

1 School of Humanities, Gold Coast Campus, Grifﬁth University, Queensland 4222, Australia (Email: p.tacon@grifﬁth.edu.au) 2 School of Social Science, The University of Queensland, St. Lucia Campus, Queensland 4072, Australia 3 Research School of Humanities, The Australian National University, Canberra, ACT 0200, Australia 4 Kakadu Health Services, PO Box 721, Jabiru, Northern Territory 0886, Australia 5 Burramoko Archaeological Services, PO Box 217, Katoomba, New South Wales 2780, Australia 6 Department of Archaeology and Natural History, The Australian National University, Canberra, ACT 0200, Australia

Received: 24 September 2009; Accepted: 23 November 2009; Revised: 11 December 2009 ANTIQUITY 84 (2010): 416–427 http://antiquity.ac.uk/ant/84/ant840416.htm 416 iue1 oaino jlrii utai’ otenTerritory. Northern Australia’s in Djulirri of Location 1. Figure alSC Tac S.C. Paul 417 ¸on tal. et

Research Ancient bird stencils discovered in Arnhem Land, Northern Territory, Australia the largest pictograph (pigment) rock art site in Australia. Djulirri’s main gallery has been visited and photographed by a handful of non-Aboriginal people since the 1950s but an intense recording and analysis of the site complex commenced in 2008. While recording 55 panels of imagery in detail the bird stencils were located in one of the more difﬁcult to access areas. No other stencils of whole birds have been published from anywhere in the world, although a solitary example of a small bird stencil from elsewhere in Arnhem Land has been reported (Lewis 1988: 205). We describe and illustrate this unique rock art discovery, discuss the probable species of bird stencilled and present evidence that suggests considerable antiquity for the stencils.

The Djulirri rock art complex Djulirri is located in the Wellington Range of Australia’s Northern Territory, south of Goulbourn Island in Arnhem Land. Wellington Range is the northernmost outlier of the Kombolgie Sandstone that forms the famous Arnhem Land Plateau. Western Arnhem Land and the adjacent Kakadu National Park have long been famous for exquisite and extraordinary rock art with many thousands of sites documented and new discoveries made each year (Lewis 1988; Taçon 1989; Chaloupka 1993). The region boasts an impressive chronology with numerous styles, forms and subjects argued to have been produced from at least 15 000 years ago to well after Aboriginal contact with people from Asia and Europe (Chippindale & Taçon 1998). Djulirri is the largest art site within the Maung language group’s traditional territory and today is at the western side of senior traditional owner Ronald Lamilami’s clan estate. Lamilami’s father, Lazurus, is believed to have taken the first non-Aboriginal person to the site, photographer Axel Poignant, in 1952 (Lamilami 1974; Poignant 1995). In the 1970s, George Chaloupka (1993) photographed and described parts of Djulirri’s main gallery but further research did not take place until 2008 when an intensive recording program of the entire site commenced. This recording program includes a number of other key sites in the region as well as a general survey of the Lamilami estate. A rock art chronology similar to that of Kakadu and other parts of Arnhem Land has been constructed and unique rock art subject matter, forms and styles associated with various periods of production, such as bird stencils, noted. In recent/ethnographic times rock paintings took place in key focal points within the Lamilami estate rather than occurring right across it, as in previous periods. The Lamilami family argue that there were various motivations for producing the art, including recording the arrival of newcomers such as Macassans and Europeans. They argue that in many ways their sites are like ‘journals’, ‘history books’ and ‘libraries’ that reflect changing times, relationships to land and other creatures, the power of Ancestral Beings that created and/or shaped the world and individual experience. However, with older forms of art the exact motivations are uncertain, as is the relevance of contemporary ontologies/cosmologies. Across a 51m length of dissected sandstone, Djulirri’s main gallery has more than 1100 paintings, stencils, prints and figures made from the resinous wax of native bees in three adjacent wall/ceiling areas. There are another 52 panels within this complex with at least a further 2000 examples of rock art, making it the largest known pigment site yet documented in Australia. The complex is considered one extremely large site because each panel is less

418 utai a n ftewrdslretcnetain frc r iha es 0 000 100 least at with art rock of concentrations Tac ix; largest 1997: world’s (Flood the sites known of one has Australia stencils body human and Animal bird same the Each that stencils. suggesting body wide, 4). 8cm bird (Figure by five times stencil long five 21cm the hand stencilled size, stencils and a was and creature shape (2MF) fingers, yellow-red same splayed together few the with closed exactly a is hands, fingers stencil open but the of of red figures consist two two dark the stencils with when of dark recently, more The shades made been added. varying adjacent have were to 1.55m are appear by and 3.4m stencils ones a darker and the superimpose area ceiling of 2.6m Most by 4.6m wall. a across scattered fish, the outline of red has areas area other with the 1985). keeping Jones that in see years, suggest (e.g. of region sites thousands Land Range of Arnhem excavation. tens Wellington future for other and for occupied considered potential at intensively being excavation been is Guse have that by deposit shelters deep excavations nearby location. a some this Ongoing has in shelter but apparent the deposit below is a plain collapse have the block not major on does no crust but silicified floor some floor thin The are shelter a There the stencils. of overlapping on patches slightly boulders with sometimes small surfaces, surface ceiling rock and narrow stable wall up a the relatively and of by deep a parts 7m reached has by outlier It long 10.5m high. sandstone measures 2.8m eroded 3) (Figure to an shelter of This walls. part high sheltered with passageway a in wing, northern library styles. the Land art Arnhem rock one other virtual in and a styles local be Land of to mix Arnhem of the Djulirri all End to consider Top display owing the Owners that Traditional across sites that Maung other in The a no unique with location. are is wing, complex there northern Territory site the Northern The in back. the concentrated the Representative is towards horseshoe. styles sites the and mixed of forms few wing previous southern all the of of matter rest subject the and gallery concentrated are main matter, Djulirri’s subject in period contact introduced including art, rock recent region’s other shape of horseshoe-like nearby. cluster a found A in be northwest–southeast. roughly can arranged oriented sites complex 120m, entire by the 180m about with neighbour, measuring its from 25m than ot fteWligo ag,dcmne yLws(98 0) erprso stencils on reports He the 205). to (1988: far Lewis site one by at documented clustered Range, Wellington are Land the Arnhem of from south recorded stencils they animal whole Where rare. other 115). extremely 1998: animals (Bahn whole and Africa common southern parts most and many are Asia from hands unknown of occur are do much the kind hand-and-arms, to including any different of hands, world, very stencils the of instance, is of For This stencils countries. regions. other with many of in continent, art common rock or feet sometimes country and other culture material any than art stencil hr r 2pcorps ossigo 0secl,aylo-e tc gr n yellow- a and figure stick yellow-red a stencils, 30 of consisting pictographs, 32 are There of panels access to difficult more the of one in located are 2) (Figure stencils bird The the of typical are that white and yellows reds, of combinations with made Paintings n20 eas on tni fawoefiha h ot-atedo jlri h only The Djulirri. of end north-east the at fish whole a of stencil a found also we 2009 In o 01 3) tas a uhmr rqetadvaried and frequent more much has also It 534). 2001: ¸on alSC Tac S.C. Paul 419 ¸on tal. et

Research Ancient bird stencils discovered in Arnhem Land, Northern Territory, Australia

Figure 2. Michelle Langley observing newly discovered bird stencils on 21 July 2009.

420 lns(unl 99 n hls(etn&Wlh17) ae hl ( of shell pieces Baler as 1977). well Walsh as & 1983), macropod (Beaton Walsh shells feet, 1979; and emu (Quinnell 1979) found of (Quinell been stencils plants have Gorge, snakes Carnarvon and (Mulvaney at Nearby, stencils feet leg dog 31). macropod feet, pl. has & Queensland complete also 195 Station, site virtually 1965: This Moffat Joyce 30). Mt A & pl. site, & 1987). Tombs 195 PT, The 1965: Joyce at by & recorded (recorded (Mulvaney been National Queensland has Kakadu stencil northern in body site, site human York a Cape at stencilled a were at forearms, human hands, The adult (PT). (Tac an us of Park of one head by and paw Territory Northern neck documented dingo the been shoulders, possible of also region have two River stencils and foot Keep emu the feet Eight in emu 233). 1993: five Chaloupka also paintings, (see X-ray stencils recent with associated stencils hle nWleiNtoa ak ot-eto yny h lontsta evsada and leaves that from notes tails also kangaroo She Sydney. and of River north-west Hawsksbury Park, National the Wollemi and in Creek shelter Cowan a of confluence the near 2009: (Wade feet bird Queensland paws, north-west dingo Station, Park and Middle 1971) (Trezise on Laura 41). stencilled at were stencilled snake were a hoof and horse while 1996), a Hatte and & (Watchman lizard Queensland a north site, Walkunders The at stencilled also illustrated. not what is and stencil leg bird animal possible an the mammal, Unfortunately, rat-like bird’. small a a mammal, be small to a ‘appears possum, gliding possible a of shelter. stencil the of View 3. Figure o e ot ae,MDnl 20:6)ilsrtssecle s al rmasite a from tails fish stencilled illustrates 63) (2008: McDonald Wales, South New For Tac Park, National Kakadu For o 92 1,fi.8 n h hl pe os faohrautwsstencilled was adult another of torso upper whole the and 8) fig. 214, 1992: ¸on o 18)ntssvnisacso nmlbd part body animal of instances seven notes (1989) ¸on alSC Tac S.C. Paul 421 ¸on tal. et eosp. Melo bet were objects )

Research Ancient bird stencils discovered in Arnhem Land, Northern Territory, Australia

Figure 4. One of the best preserved bird stencils, on part of the ceiling that does not receive direct sunlight.

422 ag ihls id aebe eotdfo au e una(aswr,Grci& Gorecki (cassowary, Guinea New ( America Papua South from in Patagonia reported and 1988) been Jones have birds flightless large rhmLn,rcn eid faiiyicuetetria litcn n h i olate to mid the and Pleistocene terminal Bourke the For (see include common. Holocene aridity more of presumably periods Honeyeaters recent Singing Land, and Arnhem drier much was climate the when south the Today to rainfall. 76). environments high pl. drier of preferring 329, areas Land, 1985: avoiding Arnhem Pizzey the and in (see rare than candidate is smaller Honeyeater likely ( Singing a or the Honeyeater seems species larger shape, Singing similar either many and the are with 18-22cm Most but Australia bird alone. across bird the the Land suggests common stencilled compressed Arnhem head are have from the and Honeyeaters of reported would shape honeyeater. held/gripped currently This and being a size neck. from probably The the stretched somewhat. is around neck been Another the thumb have elongating difficult. may and may feathers, feathers identification forefinger neck body precise the with bird and the making and throat the carried given stencilling, However, some that shape constructed. to that is beak be appears prior possibility and can it plucked species head lines, been probable distinctive body of have smooth its list and bird, short neck stencilled a skinny tail, the its of of size nature the of stencils Because the of age and species Probable (Podest cut-out Argentina a in documented or been doll have a with Bol Jacques made by Caledonia, probably high, 12cm object figure unusual more human 319-20). the small 1977: of (Moore a One composites. of stencil is actually stencils are Carnarvon elsewhere at and designs many sites that Gorge argues (1983) Walsh 165-6). 2002: snakes (Morwood four boomerangs and 8). skin fig. mammal 264, a especially Near bandicoot, see 1976). a 1962; (McCarthy while Macintosh lizards, reported Sydney & of been (McCarthy western stencils has of five Cobar Area are from Campbelltown there stencil Mootwingee the foot in recorded animal feet 33) unspecified emu (1984: an two at Officer stencil River. and feet fish Shoahaven feet a nearby back macropod the documented wallaby at two (1976) foot two Bindon animal Sydney. and unspecified of feet an south and front Plateau, Woronora wallaby the five on (1993: stencils, sites Sefton ‘mouse’ 34). two 1992: (McDonald recorded rockshelter Mackerel 63-4) Great the at stencilled were twig on nayohrpr fAsrlao nweees globally. else anywhere been or not Australia have of stencils part bird other Land, any Arnhem in in found sighting reported most one the besides also and, everywhere are these 1992). and (Layton Borneo) Australia of within island stencils forearms the of with on forms hands common and and Argentina hands human Europe, of in are (especially Australia outside stencils most However, 15). hsbhvo n niomna rfrnecudsgettesecl eeproduced were stencils the suggest could preference environmental and behavior This New Tiga, of island the on found recently was fish whole a of stencil a Australia Outside especially stencilled, were culture material of items many Australia of much Throughout shsbe eosrtd tniso hl nml n ua oisaevr rare very are bodies human and animals whole of stencils demonstrated, been has As tal et n hitpeSn upbihd,wiegaaoho stencils hoof guanaco while (unpublished), Sand Christophe and e ´ 07adTac and 2007 . alSC Tac S.C. Paul o rcwl 95frrveso rhmLand Arnhem of reviews for 1995 Brockwell & ¸on 423 a ´ nand ˜ tal et ¸on ihnsou virescens Lichenostomus tal. et rre,Podest rhea, or u 05 9 1 l 4.Fo tnisof stencils Foot 14). pl. 81, 29, 2005: . ´ a ´ tal et ,wt eghof length a with ), 05 9 3 pl. 83, 29, 2005: .

Research Ancient bird stencils discovered in Arnhem Land, Northern Territory, Australia climate change in relation to archaeological data including rock art). The early Holocene was a wetter period while the mid to late Holocene was not only more arid but also a period of climatic variability due to the onset of ENSO conditions and wet-dry oscillations (e.g. see McGlone et al. 1992). The period of aridity during the terminal Pleistocene was less variable with climatic conditions similar to that of interior Australia today, the current range of the Singing Honeyeater. This accords well with an association between the bird stencils and a hand stencil with two middle fingers (2MF) closed, as these and others with three middle fingers closed (3MF) are invariably associated with the oldest styles of rock art across Arnhem Land and other parts of northern Australia (Lewis 1988; Chaloupka 1993; Chippindale & Taçon 1998). The 3MF stencil is widespread and almost like a ‘logo’ for early pre-estuarine art (Flood 1997: 267) while the 2MF, although also associated with only the earliest art styles, is particular to the Wellington Range. In terms of his chronological sequence, Lewis (1988: 205) places the whole body animal stencils at a site far to the south of Djulirri in his ‘Boomerang Period’, arguing they are over 9000 years of age. Some of the Djulirri bird stencils have fossilised mud-wasp nests over them, again suggesting considerable antiquity for the stencils and providing potential for securing a minimum age (Roberts et al. 1997). Samples taken for AMS dating are in progress but all of the above suggests the bird stencils were made at least 9000 years ago, with the possibility of them being much older. Arnhem Land stencils of animals, including the Djulirri birds, are the oldest surviving animal-related stencils from anywhere. Those from elsewhere are known to be less than a few thousand or even a few hundred years of age given associated paintings and drawings, the nature of rock surfaces and regional dating programs (e.g. McDonald 2008).

Implications and inspirations Nearby these remarkable stencils another panel was documented which provided evidence for an interesting relationship between the Djulirri sites. Remarkably, amongst over 200 paintings in another Djulirri shelter, three paintings of small birds clustered together were found on a low ceiling (Figure 5). They are of a similar size and shape to the much older stencilled birds and, we would argue, depict the same species. No other paintings of small species of birds were found at the site or at any of the hundreds of sites documented across the Wellington Range. These images, in solid yellow, appear to have been painted very recently, perhaps between 50-100 years ago, given their extremely fresh appearance and their style associated with recent European contact subject matter in Djulirri’s main gallery. Is it possible that the older bird stencils documented in this paper inspired an artist in recent times to replicate accurately, from memory, the birds he saw in the stencil shelter as paintings? Stencils, especially hands and feet, have been argued to be personal and individual markers (Moore 1977; Forge 1991; Tac¸on 1992; Chaloupka 1993; Rosenfeld 1993; Bahn 1998: 115). Lewis (1988: 205) suggests animal body stencils made at the site he recorded could have been made by children because they are within 1.5m above ground. The ﬁve bird stencils at Djulirri, however, are about 2m above ground on the ceiling and near the top of the wall. They were well executed and the bird held in place in such a way that

424 iue5 w ftrercnl ane id nylo nteciigo hle bu 0 rmtebr stencils. bird the from 80m about shelter a of ceiling the on yellow in birds painted recently three of Two 5. Figure alSC Tac S.C. Paul 425 ¸on tal. et

Research Ancient bird stencils discovered in Arnhem Land, Northern Territory, Australia whatever held them was not stencilled. This suggests the artist had the skills and physical abilities of an adult. We will never know why the bird was stencilled so many times in the one place. It may have been a rare treat for dinner, someone’s totem species, a personal marker, a bird raised as a pet, the result of ritual, the product of an idle moment, a record of some signiﬁcant event or an artistic innovation that never caught on. However, it reminds us of the long history of human interaction with and depiction of creatures both great and small. It also speaks to us about climate change and the threat to small, vulnerable species so often forgotten when human concerns dominate debate about environment and heritage.

Acknowledgements This research was supported by Australian Research Council (ARC) Discovery Grant DP0877463 and is part of the Picturing Change research program. It is also supported by the Baijini, Macassans, Balanda, and Bininj research project and ARC Linkage Grant LP0882985. The Waminari Aboriginal community is thanked for logistical support and hospitality. The Northern Land Council is thanked for permits and advice. Jean Clottes, Sven Ouzman and Robert Bednarik are thanked for advice on the worldwide incidence of stencils. Christophe Sand, Jacques Bole´ and Ian Lilley are thanked for permission to report their ﬁsh stencil discovery. Fellow Chief Investigators Sue O’Connor, Alistair Paterson and June Ross are thanked for support and collaboration on the research projects listed above. Grifﬁth University and The Australian National University gave various forms of logistical support. Twoanonymous referees are thanked for comments which improved this paper. Photographs are by P.S.C. Tacon.

References FORGE, A. 1991. Handstencils: rock art or not art, in P. Bahn & A. Rosenfeld (ed.) Rock art and prehistory: BAHN, P. 1998. The Cambridge illustrated history of papers presented to symposium G of the AURA prehistoric art. Cambridge: Cambridge University Congress, Darwin 1988 (Oxbow Monograph 10): Press. 39-44. Oxford: Oxbow. EATON ALSH B ,J.&G.W . 1977. Che-ka-ra. Mankind GORECKI,P.&R.JONES. 1988. A new rock art province 11(1): 46-7. in New Guinea. Canberra: Department of BINDON, P. 1976. The devil’s hands: a survey of the Prehistory, The Australian National University. painted shelters of the Shoalhaven River basin. JONES, R. (ed.) 1985. Archaeological research in Kakadu Unpublished BA dissertation, The Australian National Park. Canberra: Australian National Parks National University. and Wildlife Service. OURKE ROCKWELL AULKNER B ,P.,S.B ,P.F &B. LAMILAMI, L. 1974. Lamilami speaks. Sydney: Ure MEEHAN. 2007. Climate variability in the mid to Smith. late Holocene Arnhem Land region, north Australia: archaeological archives of environmental LAYTON, R. 1992. Australian Aboriginal art: a new and cultural change. Archaeology in Oceania 42(3): synthesis. Cambridge: Cambridge University Press. 91-101. LEWIS, D. 1988. The rock paintings of Arnhem Land, Australia: social, ecological and material culture CHALOUPKA, G. 1993. Journeyintime. Sydney: Reed Books. change in the post-glacial period (British Archaeological Reports International Series 415). CHIPPINDALE,C.&P.S.C.TAC¸ON. 1998. The many Oxford: British Archaeological Reports. ways of dating Arnhem Land rock-art, in C. Chippindale & P.S.C. Tac¸on (ed.) The archaeology MCCARTHY, F.D. 1976. Rock art of the Cobar Pedeplain. of rock-art: 90-111. Cambridge: Cambridge Canberra: Australian Institute of Aboriginal Studies. University Press. MCCARTHY,F.D.&N.W.G.MACINTOSH. 1962. The archaeology of Mootwingee, western New South FLOOD, J. 1997. Rock art of the Dreamtime.Sydney: Angus & Robertson. Wales. Records of the Australian Museum 25(13): 249-98.

426 M 2008. – McD M P P O R M Q M P IZZEY OIGNANT ODEST OBERTS UINNELL FFICER ULVANEY ORWOOD OORE C G 7.Cner:AUE-Press. ANU Canberra: 27). exchange information prehistoric and le Unwin. & Allen art Aboriginal Australian of archaeology yny Collins. Sydney: ainlUniversity. National Australian The style. dissertation, art BA regional Unpublished a within function and Variation rhsoi Society Prehistoric Australia. Queensland, Moffat Station, Mt. on investigations geomorphological and abra utainIsiueo brgnlStudies. Aboriginal of Institute Australian P.J.Canberra: in Queensland, central (ed.) south Ucko of art rock the in utainArchaeology record? Australian archaeological the in women excavation: abra utainIsiueo brgnlStudies. Aboriginal of Institute Australian Canberra: (ed.) Ucko oenet vial t http//www.ntl.nt.gov.au/ at: Available TerritoryGovernment. Northern Darwin: 49). Paper (Occasional 1995 Lecture Johnston Eric Tenth archives. et nnrhr Australia. northern mud-wasp in and nests art rock of dating Luminescence d,acse uut2009. August 3 accessed pdf, J M iz(ed.) H.F. Diaz & Markgraf V. in records, American paleoenvironmental South and Australasian in variability Ni El 1992. lat ueted retn ind Argentina de rupestre arte El abig:CmrdeUiest Press. University Cambridge Cambridge: Oscillation Southern the of aspects unsArs rp bet Communicaciones. Abierto Grupo Aires: Buenos data/assets/pdf ONES ONALD LONE AC .1985. G. , .17.Tehn tni ssmo,i P.J. in symbol, as stencil hand The 1977. D. , A ´ ratm uehgwy ynybsnrc art rock basin Sydney superhighway: Dreamtime .18.Fo ugrht Dharawal. to Tuggerah From 1984. K. , ,R.,G.W P .,RS P R.S. M.M, , ,M.M HAIL ..17.Shmtsto n naturalism and Schematisation 1979. M.C. , .1995. R. , ..&EB J E.B. & D.J. , .. ..K A.P. M.S., , .2002. M. , .19.TeGetMcee rockshelter Mackerel Great The 1992. J. , lNi El ,D.B omi nieosart indigenous in Form omi nieosart indigenous in Form oSuhr silto climatic Oscillation no/Southern ˜ ORWOOD edgiet h id fAustralia of birds the to guide field A ALSH o itrcladpaleoclimatic and historical no: ˜ file/0015/5262/occpaper49 OWDERY otcnestos recovered conversations, Lost 1 147-212. 31: iin rmteps.The past. the from Visions AUNERO ,A.M ERSHAW OYCE ,C.T 5 32-50. 35: &I.N URRAY 95 Archaeological 1965. . &D.S.R Nature UNIZ &V.M ´ gn Patagonia ıgena rceig fthe of Proceedings 435-62. : ,J.O AUMANN ,E.L 415-17. : 318-24. : 8:696-9. 387: TraAustralis (Terra ARKGRAF OLANDI rw Nest: Crows . LLEY AWSON 1997. . alSC Tac S.C. Paul ,R. 2005. . ej10. . ,M. . . 427 ¸on W W R W S T T T (ed.) Whitley D. in Australia, 2001. – ethnographic an rainbow: the over Somewhere 1992. – EFTON AC AC OSENFELD REZISE ATCHMAN ALSH ADE ¸ ¸ tal. et israin lnesUniversity. Flinders dissertation, BA Station, Unpublished Park Queensland. middle northwest on rock-art the of analysis specialized? abra utainIsiueo brgnlStudies. Aboriginal of Institute Australian Canberra: unaadIln Melanesia Island New and Australia, Guinea in archaeology (ed.) Pleistocene Fankhauser review: B. in & Spriggs M. Smith, M. ainlUniversity. National Australian The RSPacS, Prehistory, of Department 9 676-95. paint. 69: and stone landscape, in prehistory petroglyphs. and drawings artefacts charcoal and stencils, sites including of analysis and description a r research art Association. Research Art Rock Australian Melbourne: 202-15. 6): Publication 1988 in Congress Darwin AURA in First held the of Australia’ Northern rock of ‘The art D symposium in and Oceania’ studies and art Australia ‘Rock C Melanesia: symposium and of Australia proceedings in studies art rock regional (ed.) Haskovec I.P. J. & in McDonald Australia, Land, Arnhem paintings western rock of recent of analysis archaeological and University. National Australian The dissertation, Unpublished PhD Australia. tradition Land, painting Arnhem rock western recent of the of nature the fish: h td frc r:‘h aknes,Chillagoe, Walkunders’, Queensland. ‘The north art: rock of study the ON ON .20.Sye pc n oilitrcin an interaction: social and space Style, 2009. V. , .18.Cmoieseclat lmna or elemental art: stencil Composite 1983. G. , ...18.Fo ano nkst ‘X-ray’ to Snakes Rainbow From 1989. P.S.C. , ...&S B S. & P.S.C. , .19.Seclato h ooaaPlateau: Woronara the on art Stencil 1993. C. , .1971. P. , .19.TePnrmte rdto,in tradition, Panaramittee The 1993. A. , ,A.&E.H 3-5 antCek(A:Altamira. (CA): Creek Walnut 530-75. : utainAoiia Studies Aboriginal Australian okAtResearch Art Rock okato ot-atCp York Cape south-east of art Rock ROCKWELL okAtResearch Art Rock ATTE Ocsoa AURA (Occasional 96 aoapoc to approach nano A 1996. . 18.Canberra: 71-80. : 95 rhmLand Arnhem 1995. . 01:61-4. 10(1): Stateoftheart: adoko rock of Handbook 32:85-92. 13(2): :34-44. 2: Antiquity . Sahul

Research