"Challenging the limits and assumptions of traditional ways of understanding the past, this volume explores Indigenous perspectives on rock art. By bringing together history, archaeology, and Indigenous artistic practice, the book offers new insights into the medium of rock art and demonstrates the limits of academic methods and approaches"--
The rock art of Australia is among the oldest, most complex, and fascinating manifestations of human creativity and imagination in the world. Aboriginal people used art to record their experiences, ceremonies, and knowledge by embedding their understanding of the world in the landscape over many generations. Indeed, rock art serves as the archives and libraries of Australia's Indigenous people. It is, in effect, its repository of memory. This volume explores Indigenous perspectives on rock art. It challenges the limits and assumptions of traditional, academic ways of understanding and knowing the past by showing how history has literally been painted 'on the rocks'. Each chapter features a biography of an artist or family of artists, together with an artwork created by contemporary artist Gabriel Maralngurra. By bringing together history, archaeology, and Indigenous artistic practice, the book offers new insights into the medium of rock art and demonstrates the limits of academic methods and approaches.
Challenging the limits and assumptions of traditional ways of understanding the past, this volume explores Indigenous perspectives on rock art. By bringing together history, archaeology, and Indigenous artistic practice, the book offers new insights into the medium of rock art and demonstrates the limits of academic methods and approaches.
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Offers new insights into the medium of rock art by bringing together history, archaeology, and Indigenous artistic practices.
List of figures; Foreword; Acknowledgements; Note on the text; List of
abbreviations;
1. Rock beats paper: 'prehistory', rock art and archives;
2.
Change and tradition in West Arnhem land rock art;
3. The counter-archive of
First Nations biography;
4. Reading the writing on the wall: rock art and the
written word;
5. Touchstones for memory, bedrocks for history;
6.
Timelessness and permanence: rock art and time; Conclusions; Afterword;
Glossary; Bibliography; Index.
Laura Rademaker is Australian Research Council DECRA Research Fellow at the Australian National University. A historian of Indigenous Australia, she is a winner of the Australian Historical Association's Hancock Prize and the Academy of Social Sciences in Australia's Paul Bourke Award for her interdisciplinary and community-based historical methods. Sally K. May is Associate Professor and ARC Future Fellow in the School of Humanities, University of Adelaide. Her research, which is based on more than twenty years of fieldwork in northern Australia, focuses on relationships between people, landscapes, material culture, and imagery. Gabriel Maralngurra is a renowned Australian Indigenous artist. He also works as a translator, artistic mentor, tour guide, and co-researcher in Aboriginal and colonial history and art from western Arnhem Land. He is one of the founding members of Injalak Arts and is currently its co-manager. Joakim Goldhahn, author of Birds in the Bronze Age, is an internationally acclaimed rock art researcher who also works in the fields of Indigenous Archaeology and the European Bronze Age.
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