Joakim Goldhahn

In recent decades, Contact Rock Art has emerged as a critical area of study within global rock art research, offering unique insights into cross-cultural encounters. These artworks serve as a lens through which we can examine the historical dynamics of encounters between Aboriginal people and newcomers to their shores. Traditionally, research in this field has emphasized cultural-historical perspectives and formal analyses of these artworks. While we share this interest, we propose an alternative approach that transcends conventional interpretations by adopting a biographical perspective. This article investigates the lives and artistic expressions of known rock art artists from western Arnhem Land, aiming to highlight how their lives inform and enrich our understanding of Contact Rock Art. By addressing questions about the identities of these artists, the themes they explored in their paintings, the relation to where these paintings are emplaced, and the contexts—temporal and spatial—in which they created their work, we seek to deepen the dialogue surrounding Aboriginal cultural responses to colonialism.

From 1912, British anthropologist W. Baldwin Spencer and buffalo-shooter Paddy Cahill collected 163 bark paintings made by artists who also painted in rock shelters in western Arnhem Land, Northern Territory. Spencer made detailed notes about the bark paintings, secret/sacred objects, and other material culture he collected and some rock art, as well as genealogies and other details of the Aboriginal people he encountered but did not record the names of the artists. In general, the names and life stories of the individuals who made most Aboriginal archaeological artefacts or ethnographic objects and paintings now in museums across the world are not known. We have recently begun to address this for western Arnhem Land contact period art and in this paper focus on an elder, Majumbu (‘Old Harry’), who made numerous rock paintings as well as at least eight of the Spencer-Cahill bark paintings. We use his work to begin a new interpretation of the importance of the Spencer-Cahill Collection in relation to land-based religion and show that knowing the names of the artists behind the collection, as well as related rock paintings, puts their work and the entire collection in new meaningful contexts.

Depictions of mythical beings appear in many different forms of art world-wide, including rock art of various ages. In this paper we explore a particular type of imagery, back-to-back figures, consisting of two human-like figures or animals of the same species next to each other and facing in opposite directions. Some human-like doubles were joined at the back rather than side-by-side, but also face opposite directions. In this paper, we report on new research on rock art, bark paintings and recent paintings on paper and chart a 9000-year history of making aesthetically, symbolically and spiritually powerful back-to-back figures in Arnhem Land, Northern Territory, Australia.

Article Editorial: Open Archaeology in Challenging Times was published on January 1, 2022 in the journal Open Archaeology (volume 8, issue 1).

Inspired by an intriguing photograph of a painted Bean car with Aboriginal designs, this paper explores the cross-cultural encounter between the renowned adventurer Francis Birtles (1881–1941) and Aboriginal artist Nayombolmi (c. 1895–1967). Meeting by chance during one of Birtles’ overland explorations by motorcar and one of Nayombolmi’s annual walking route journeys, the two men came together in an area that would become synonymous with the Imarlkba gold mine in present day Kakadu National Park. Their acquaintance, based on mutual needs and curiosity, provides a rare insight into cross-cultural colonial relationships in this frontier region. Beginning in 1929 their interactions continued intermittently as the Birtles-initiated Imarlkba gold mine developed and Badmardi people (and others) joined the workforce. By revisiting the well-known photograph of Birtles’ painted Bean car, this paper uses a variety of sources, most notably old and new oral history recordings, to investigate Aboriginal histories and colonial cross-cultural engagements in remote northern Australia, and how newly introduced technologies and material culture could be charged with new meanings.

This article takes an interdisciplinary approach to understanding Aboriginal rock art artists, drawing together insights from the disciplines of archaeology and biography, as well as from Indigenous knowledge-holders, in order to explore the life and work of a relatively unknown rock painter from western Arnhem Land in Australia: Narlim (born c. 1909). His rock art at Warlkarr (Hawk Dreaming) in Kakadu National Park stands as subtle but powerful testament to his life, his family and unbroken connections to Country. Narlim’s art reveals the ways he creatively engaged with new knowledges and skills introduced by the newcomers to his Country, even as he asserted the enduring traditions and ongoing sovereignty of his people. By reading rock art as a historical source alongside other biographical material, in partnership with Traditional Owners of today, we offer a fresh and holistic approach to better understanding rock art.

During recent detailed recording of Nanguluwurr, a rock art site that is part of the Burrungkuy (Nourlangie) complex of cultural sites in Kakadu National Park, Australia, the data showed discrete clusters of specific motif types distributed throughout the length of the gallery. This paper focuses on the spatial distribution of the main motif clusters depicting spirit figures, material culture, fish, and painted hand and forearm motifs in order to understand the significance of these clusters within the site and the significance of Nanguluwurr as part of a wider complex of cultural sites. We consider the concept of these motif groupings as “meaning clusters,” as well as their chronological sequence, and discuss the possibility that they are the result of bursts of painting activity that occurred during the long history of the site manifest through depictions of ancient Dynamic Figures to the recent painting of X-ray fish.