T05/S01 Rock Art Research and Practice at a Slow and Safe Pace
Format: Open Discussion
Organisers: Dawn Green , University of Cape Town, South Africa, dgreen@eci.co.za
Sven Ouzman, University of Western Australia, Perth, Australia, sven.ouzman@uwa.edu.au
Rock art workers are often leaders in theoretically informed and creative endeavours, while facing multiplex internal and external challenges. Very few platforms exist for them to share their inspiration and problems in a safe and supportive space. Influenced by calls for a ‘slow science’, this session aims to begin a process whereby rock art workers can meet and share their learning, workshop solutions, model best practice and establish relationships leading to future collaborations. Some of the problems we face include racism, sexism, ageism, disparate ontologies, funding, audit cultures, war, mining and human exceptionalism, while potentials include establishing collectives which animate and synergise rock art’s agency and unique social impacts. Recognising the relationality between humans, animals and multiple landscapes will profoundly affect future work. We encourage students, researchers, Indigenous people, government officials and anyone interested in establishing safe and sustainable rock art research and conservation to come together in a community of supportive practice.
Participants are invited to submit a brief (100-word) description of the topic they wish to discuss to the session organisers. Participants will have two to three minutes to present their topic during the session. The aim of this session is to recognise that rock art research is more than an academic exercise. Establishing an international network of support for the multiple issues and successes we experience can improve our practice and collaboration.
T05/S02 Rock Art and Storytelling
Format: Paper presentations with discussion
Organisers: April Nowell, University of Victoria, Canada, anowell@uvic.ca
Meenakshi Dubey-Pathak, Independent Scholar, India, meenakshividushi@gmail.com
Storytelling, whether around a campfire, in a café or a sold out theatre, is ubiquitous in human culture and the universality of storytelling suggests that this behaviour has deep roots. In foraging societies, oral stories are often a vehicle for sharing vital ecological, social and spiritual knowledge across the generations. To bring stories to life, storytellers vary the timbre of their voices, pause for effect, use onomatopoeia, and mimic animal sounds and atmospheric noises. Sometimes they also create images as a visual component to these oral stories through drawing in snow or sand or by painting on their bodies or bark, and in caves or rock shelters. Drawing on archaeological and ethnological case studies from around the globe, this session brings together researchers exploring the complex and nuanced relationships between storytelling, rock art, memory, emotion and place.
T05/S03 Rock Art: Antiquity and Continuity
Format: Paper presentations with discussion
Organisers: Dr Kantikumar Pawar, Coordinator, Bihar Heritage Development Society, Dept of Art, Culture and Youth, Government of Bihar, Patna, India, kantipawar@gmail.com
Dr Ruman Banerjee, Assistant Professor, Dept of History, Pondicherry University, Puducherry, India, deccanruman@gmail.com
Mr Rutwij Apte, Research associate, IIT Madras, Pravartak Technology Foundation, Chennai; visiting faculty; Centre for Extra Mural Studies, Mumbai University, India, rutwijapte@gmail.com
Despite shifts in society, technology, and environment, rock art has continued as an expressive medium in many regions, illustrating a remarkable continuity of cultural traditions. Modern Indigenous groups in India, Australia, Africa, and North America maintain traditions of rock painting and engraving, connecting contemporary practices with ancient heritage. This continuity offers insights into cultural transmission and adaptation, where symbols, motifs, and narratives evolve but retain their links to early origins. The continuity of these themes over millennia suggests deeply rooted beliefs and practices. Rock art serves as a cultural bridge, linking ancient and contemporary societies. This session brings together scholars, researchers, students, Indigenous peoples, and others interested in rock art research, focusing on its antiquity, continuity, and cognitive and behavioural approaches.
T05/S04 Rock Art in the 21st Century: Ongoing Research, Trends and Issues in Global Scenarios [This session is now closed]
Format: Paper presentations with discussion
Organisers: Prof. Manoj Kumar Singh, University of Delhi, India, mksinghanthro@rediffmail.com
Prof. Luiz Oosterbeek, Polytechnic Institute of Tomar, Portugal, loost@ipt.pt
Ms Sudeshna Biswas, University of Delhi, India, sbiswas@anthro.du.ac.in
Rock art is a significant embodiment of human cognition regarding the natural world and the perceived realities of human existence. It is fundamental in comprehending our ancestors’ cultural practices, lifestyles, and cognitive frameworks. Consequently, this aspect assumes significance in studying and researching humanity’s historical cultural practices. It addresses the quotidian aspects of life and provides extensive commentary on the natural landscapes that existed in the past. Moreover, it highlights the myriad discoveries and inventions that have emerged at various stages of human development, collectively reflecting the indomitable spirit of human adaptation, innovation and transformation.
This panel invites emerging scholars and established experts in rock art research to present their studies, predominantly derived from their original fieldwork experiences. We encourage contributions that encompass a diverse array of paradigms related to rock art from various global contexts. This would give the audience a broader perspective on the current developments in this field. We anticipate engaging in a thorough discussion of the contemporary scenarios and methodologies in rock art research, particularly the utilisation of digital technologies and AI aimed at enhancing this field of study. Furthermore, we seek to address the challenges of the sustainability of preserving rock art sites. We welcome dialogue on strategies to overcome these contemporary issues.
T05/S05 Digital Approaches to Rock Art Research: Innovations and Applications
Format: Paper presentations with discussion
Organisers:
Jarrad Kowlessar, Archaeology, Flinders University, Australia, jarrad.kowlessar@flinders.edu.au
Andrea Jalandoni, Griffith University, Australia, a.jalandoni@griffith.edu.au
Mark Willis, Sacred Sites Research, Inc., USA, willis.arch@gmail.com
Rock art research has been significantly transformed by the integration of digital archaeology, fostering groundbreaking advancements in how we record, analyse, and interpret ancient markings. Across the globe, new technologies and methodologies in data science and remote sensing are expanding the boundaries of rock art research, offering insights previously unattainable through traditional approaches.
This session will explore the diverse array of digital techniques employed in the study of rock art, including advanced visualisation tools, virtual and augmented reality applications, machine learning, geospatial analyses, and cutting-edge 3D recording methods. These approaches have not only enhanced the precision and scope of rock art documentation but have also initiated innovative pathways for interpretation, preservation, and public engagement.
We invite papers that showcase comprehensive analyses achieved through digital methods, as well as presentations that introduce concise and novel approaches to the recording, displaying, and analysing of rock art. Submissions may highlight case studies, comparative methodologies, or the adaptation of emerging technologies to address specific challenges in rock art research. This session also aims to facilitate discussions on the theoretical and practical implications of digital methods, their role in cross-disciplinary collaborations, and the ethical considerations surrounding the use of these technologies in archaeological practice.
By bringing together researchers and heritage professionals who apply a diverse range of digital tools and techniques, this session aims to foster a dynamic exchange of ideas, share best practices, and drive innovation in rock art studies. We hope to deepen our understanding of rock art’s cultural importance while also advancing the capabilities, accessibility, and ethical frameworks of digital archaeology.
We welcome contributions from archaeologists and heritage professionals who are integrating digital methods into rock art research, whether through experimental approaches or proven methodologies. This session invites papers as well as presentations focused on specific methods or techniques which advance rock art research and recording. We also invite presenters to a short group discussion at the end of the session.
T05/S06 Rock Art and Biographical Perspectives
Format: Paper presentations with discussion
Organisers:
Assoc. Prof. Sally K. May, University of Adelaide, Australia, sally.may@adelaide.edu.au
Joakim Goldhahn, University of Adelaide, Australia, joakim.goldhahn@adelaide.edu.au
Biographical perspectives on rock art can be found interwoven within rock art studies globally. By offering an alternative approach to interpreting rock art, a biographical perspective invites us to analyse the details of an individual’s life and background to understand how these experiences may have shaped their artistic expression and vice versa – how creating rock art may have impacted their life. In rare and remarkable instances, we know the names of individual rock art artists and can piece together historical accounts to explore their legacies. In other cases, we can identify individuals as creators of rock art across varying time depths, though their names remain unknown to us. Similarly, some burial monuments adorned with rock art have been argued to reflect the deceased’s life. In this session, we challenge presenters to reflect on how rock art can also be biographical – offering insights into the lives of specific artists and others, and/or offering a biographical perspective on rock art places and motifs.
T05/S07 Ownership and Self-determination of First Peoples in Rock Art Research, Conservation and Management
Format: Paper presentations with discussion
Organisers:
Nathalia Guimaraes, Eastern Maar Aboriginal Corporation, nathalia.guimaraes@easternmaar.com.au
Mel Marshall, University of Notre Dame Australia, melissa.marshall@nd.edu.au
Troy Lovett, Gunditj Mirring Traditional Owner Aboriginal Corporation, troy@gunditjmirring.com
Janine Coombs, Barengi Gadjin Land Council Aboriginal Corporation
Chrystle Carr, Barengi Gadjin Land Council Aboriginal Corporation
Michael Douglas, Barengi Gadjin Land Council Aboriginal Corporation
Kylie Boundy, Barengi Gadjin Land Council Aboriginal Corporation
John Clarke Eastern Maar Aboriginal Corporation
Reginald Clarke Eastern Maar Aboriginal Corporation
Billy Briggs Eastern Maar Aboriginal Corporation
Emily Corris, Eastern Maar Aboriginal Corporation
Bill Bell, Gunditj Mirring Traditional Owner Aboriginal Corporation
Leroy Malseed, Gunditj Mirring Traditional Owner Aboriginal Corporation
Jake Goodes, Parks Victoria
Wendy Luke, Parks Victoria
Dave Lucas, Parks Victoria
Lloyd Pigram, University of Notre Dame Australia
Cissy Gore-Birch, University of Notre Dame Australia, Kimberley Cultural Connections
“Rock art is one of the most valuable links to our Old People that we have today. A direct link. This is not art as we know art to be. These are libraries full of our communal resources. They inform us of our place on Country. They inform us of our obligations, roles and rights. They give us our law and legitimacy. They instil into us our identity: Who we are. If our sovereignty was ‘written’, it was written here, by our Ancestors. By our law holders and still it is here, embedded into the solid rock that is our home.”
(John Clarke [EMAC]).
In 2023, on the lands of the Djab Wurrung, Jadawadajali (Wotjobaluk Nations) and Gunditjmara peoples in Gariwerd (Grampians, Victoria), more than 150 Indigenous rangers and Elders from across Australia shared knowledge, experiences and challenges of caring for rock art and cultural heritage places at the Gariwerd Rock Art Management Forum. This transformative event has resulted in a collaborative partnership formed by the session organisers, and we collectively work together to amplify the agency, authority, rights and responsibilities of First Peoples of Australia to drive, design and care for rock art across this diverse nation. Through emphasising the importance of including different narratives and worldviews into heritage management, by providing avenues to consider cultural approaches as fundamental to this, embracing holistic perspectives where archaeology serves as part of the science to tell the story comprehensively. The proposed sessions and panel present an opportunity for First Peoples community-driven collaborations to showcase and celebrate collective approaches to managing rock art as part of biocultural landscapes. Here, narratives and ways of knowing, being and doing are visibly observed and magnified, integrating diverse perspectives to ensure a comprehensive understanding of rock art research, conservation and management.
T05/S08 Exploring Global Questions and Challenges of Material Culture Depicted in Rock Art
Format: Paper presentations with discussion
Organisers: Emily Miller, Charles Darwin University, Australia, Emily.m.j.miller@gmail.com
Roxanne Tsang, University of Oxford; University of Papua New Guinea, roxanne.tsang@arch.ox.ac.uk
Rock art is a complex, socially embedded window into the past, and often still connects to contemporary beliefs for Indigenous peoples. Detailed studies of the material culture in rock art have supported the development and re-evaluation of chronologies, provided insights into ritual aspects of the past on an international scale, as well as clarifying our understanding of how some types of objects intersect through all parts of life. However, to do these studies, a clear understanding of what the objects themselves are and how they connect to the rock art is needed. We invite papers that take a holistic approach to examining material culture in rock art for a nuanced understanding. In particular, those that explore broader questions and challenges in studying material culture in rock art, including working with Indigenous communities.
T05/S09 Climate Calendars in World Rock Art: Archaeological and Ethnographic Experiences
Format: Paper presentations with discussion
Organisers:
Francisco Pugliese, Department of Anthropology, Laboratory of Indigenism and Indigenous Ethnology, Center for Indigenous Archaeology, University of Brasilia, Brazil, arqueologia.indigena@unb.br
Catherine Namono, Curator, RARI Academic Collections, School of Geography, Archaeology & Environmental Studies, University of the Witwatersrand, Johannesburg, South Africa, Catherine.Namono@wits.ac.za
Calendars are a source of inspiration for rock art research all over the world. This session proposes to bring together presentations on the subject, with the objective of disseminating the findings on the representation of climatic elements in archaeological and ethnographic contexts. The aim is to facilitate the exchange of recent research experiences, with a particular focus on those that relate ancestral knowledge with interpretative perspectives on the semantics and significance of these places. Considering the growing unpredictability of the climate in recent years, the study of rock art calendars can assist contemporary communities in addressing the challenges posed by climate change. These calendars offer insights into ancient strategies for anticipating continuities and shifts in the elements associated with human territoriality, particularly in relation to celestial and terrestrial events and non-human realms. Finally, we will endeavour to underscore the value of these locations as World Heritage and the paramount importance of safeguarding this legacy for the well-being of future generations.
T05/S10 Global Challenges, Local Solutions: Exploring the Needs of the Field of Rock Art Conservation and Management
Format: Paper presentations with discussion
Organisers: Tom McClintock, Getty Conservation Institute, USA, tmcclintock@getty.edu
Gerard O’Regan, Ngāi Tahu tribe, Tūhura Otago Museum, Aotearoa New Zealand, Gerard.O’Regan@otagomuseum.nz
Paul S.C. Taçon, Griffith University, Australia, p.tacon@griffith.edu.au
Rock art is one of the most vulnerable sectors of cultural heritage globally. The reasons for this are numerous and interrelated. Remote sites are often on the vulnerable edges of a changing climate, resources dedicated to the care of rock art places are scant, and in most parts of the world there is a dearth of trained, qualified professionals to undertake informed conservation and management work. Additionally, rock art is still a widely underappreciated and undervalued treasure, which places it at particular risk of vandalism and other mistreatment.
What can be done to remedy this? Obviously, resources are a big piece of the puzzle, as are enforcement of protective legislation and public education on the importance and values of rock art. What efforts can the current field of rock art professionals undertake to address the pressures faced by rock art places? How can we work more closely with adjacent fields of heritage research and preservation? How can institutions rooted in Western scientific modalities work with First Nations to better promote cultural and values-based preservation?
Presenters will share examples of challenges faced by rock art and those caring for it in different places. They will explore current and emerging issues impacting the preservation of rock art places and management solutions to those. A subsequent round table discussion will focus on assessing the needs of the field of rock art conservation and management.
T05/S11 Caring For, Conserving and Managing Rock Art
Format: Paper presentations with discussion
Organisers: Mel Marshall, University of Notre Dame Australia, melissa.marshall@nd.edu.au
Emily Miller, Charles Darwin University, Australia, emily.miller@cdu.edu.au
Ethan Williams, Kakadu National Park, Australia, Ethan.Williams@dcceew.gov.au
Jake Goodes, Parks Victoria, Australia
Martin Porr, Archaeology/Centre for Rock Art Research + Management, School of Social Sciences, University of Western Australia, Australia
Assoc. Prof. Sally K. May, University of Adelaide, Australia
Unarguably, rock art invokes awe and the imagination, giving unprecedented insights into past lifeworlds and ways of thinking. Seen as a reflection of human creativity and innovation, rock art is found globally as representations of the cultural nuances and complexity between peoples and nations. With Western academic-driven scientific conservation and management practices emerging in the late 1800s, advancements have been seen in techniques and interventions applied over this time. Increasingly as we move into the 21st century, this is informed and underpinned by Indigenous knowledges and traditional ways of caring for these places as part of living heritage.
This session will be hosted by the National Scientific Committee of Rock Art in Australia (NSCRAA) as part of Australia ICOMOS, to provide a platform to showcase advancements and application of techniques and practices to conserve and manage rock art, caring for humanity’s priceless heritages. With knowledge and experiences to be shared of varied approaches to looking after the past, we invite presentations which include innovative methods and methodologies as part of collaborative approaches that consider both the tangible (physical) fabric and intangible (intrinsic) heritage of place. We invite contributions that explore the many intersections between rock art and the varied impacts that affect the long-term preservation and protection of these valuable places.