{"id":6849,"date":"2025-04-24T04:53:35","date_gmt":"2025-04-24T04:53:35","guid":{"rendered":"https:\/\/worldarchaeologicalcongress.com\/wac10\/?page_id=6849"},"modified":"2025-04-24T11:45:53","modified_gmt":"2025-04-24T11:45:53","slug":"t05-s07-papers","status":"publish","type":"page","link":"https:\/\/worldarchaeologicalcongress.com\/wac10\/t05-s07-papers\/","title":{"rendered":"T05\/S07: Ownership and Self-determination of First Peoples in Rock Art Research, Conservation and Management"},"content":{"rendered":"\n

Format: Paper presentations with discussion<\/strong><\/p>\n\n\n\n

Convenors: <\/strong><\/p>\n\n\n\n

Nathalia Guimaraes, Eastern Maar Aboriginal Corporation, nathalia.guimaraes@easternmaar.com.au<\/a>
Mel Marshall, University of Notre Dame Australia, melissa.marshall@nd.edu.au<\/a>
Troy Lovett, Gunditj Mirring Traditional Owner Aboriginal Corporation, troy@gunditjmirring.com<\/a>
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<\/p>\n\n\n\n

\u201cRock 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 \u2018written\u2019, 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.\u201d<\/p>\n\n\n\n

(John Clarke [EMAC]).<\/p>\n\n\n\n

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.<\/p>\n\n\n\n

Papers: <\/h2>\n\n\n\n

Reimaging and Self-determination in Rock Art Conservation and Management in Australia<\/strong><\/p>\n\n\n\n

Nathalia Guimaraes, Eastern Maar Aboriginal Corporation, Australia<\/em><\/a>
Mel Marshall, University of Notre Dame Australia <\/em>
Troy Lovett, Gunditj Mirring Traditional Owner Aboriginal Corporation, Australia<\/em>
Janine Coombs, Chrystle Carr, Michael Douglas<\/em> and<\/em> Kylie Boundy, Barengi Gadjin Land Council Aboriginal Corporation, Australia<\/em>
John Clarke, Reginald Clarke<\/em>, Billy Briggs and<\/em> Emily Corris, Eastern Maar Aboriginal Corporation, Australia<\/em>
Bill Bell<\/em> and<\/em> Leroy Malseed, Gunditj Mirring Traditional Owner Aboriginal Corporation, Australia<\/em>
Jake Goodes, Wendy Luke<\/em> and<\/em> Dave Lucas, Parks Victoria, Australia<\/em>
Lloyd Pigram, University of Notre Dame Australia, Australia<\/em>
Cissy Gore-Birch, University of Notre Dame Australia; Kimberley Cultural Connections, Australia<\/em><\/p>\n\n\n\n

\n
<\/div>\n<\/div>\n\n\n\n

\u2018You know there is a voice in this room. How do we use this voice to our advantage, to be able to make a change moving forward?\u2019 (Cissy Gore-Birch at GRAMF)<\/em><\/p>\n\n\n\n

The Gariwerd Rock Art Management Forum was an event of significant magnitude held in 2023, on the lands of the Djab Wurrung, Jadawadajali (Wotjobaluk Nations) and Gunditjmara peoples in Gariwerd (Grampians, Victoria). With more than 150 Indigenous rangers and Elders from across Australia participating for the week-long opportunity to share knowledge, experiences and challenges of caring for rock art and cultural heritage place. For all involved, the transformative nature of this initiative continues to be explored and embraced. Through the formation of a collaborative partnership, the presenters continue to work together to respond to the Call to Action that was made, continuing to 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. Fundamental to this has been the emphasis of self-determination and ownership of processes to manage and conserve rock imagery. Through emphasizing the importance of the intangible as fundamental; by providing avenues to consider cultural approaches inclusive of worldview and narrative; to embrace holistic perspectives where archaeology serves as part of the science to tell the story comprehensively; we will explore these elements in the context of the Call to Action and challenges that continue to intrude on looking after rock art as evidenced in the Greater Gariwerd Cultural Landscape.<\/p>\n\n\n\n

On Country, After Fire: Eastern Maar perspective on Gariwerd ‘s Cultural Heritage Protection<\/strong><\/p>\n\n\n\n

John Clarke, Nathalia Guimaraes and Emily Corris, Eastern Maar Aboriginal Corporation, Australia<\/em><\/p>\n\n\n\n

The Eastern Maar Aboriginal Corporation (EMAC) is the Registered Aboriginal Party (RAP) for Eastern Maar Country and the representative body managing the native title rights of the Eastern Maar Peoples. In partnership with Barengi Gadjin Land Council (BGLC) and Gunditj Mirring Traditional Owners Aboriginal Corporation (GMTOAC), EMAC also shares responsibilities for the protection and management of Gariwerd. As a RAP, EMAC is committed to preserving both tangible and intangible cultural heritage across its jurisdiction, with Gariwerd being a key cultural and spiritual landscape. The recent fires in Gariwerd have highlighted the vital and enduring role Traditional Owners play in caring for Country. In the aftermath, several previously unrecorded sites were identified, reflecting both the vulnerability and resilience of cultural heritage in fire-affected landscapes. While programs such as On Country Guardians\u2014offering employment and training for Eastern Maar citizens in heritage and natural resource management\u2014represent important progress, challenges persist. These include barriers to access and the complexities of post-burn management of cultural heritage places, particularly rock art sites. This paper discusses recent developments and ongoing challenges, while emphasising the transformative potential of Traditional Owner-led approaches to caring for Country in the Gariwerd landscape.<\/p>\n\n\n\n

Caring for Kakadu: Cultural Knowledge and Conservation Science Capacity in Graffiti Removal at Kakadu National Park<\/strong><\/p>\n\n\n\n

Connie Nayinggul, Joe Markham, Natasha Nadji, Alfred Nayinggul, Bernadette Calma, Jeffrey Lee, Britt Garnarradj, Jennifer Hunter, Melissa Marshall, Ethan Williams<\/em><\/p>\n\n\n\n

Protecting Kakadu National Park\u2019s bim (rock art) and cultural heritage places from graffiti is an ongoing challenge. Recent training workshops have brought together Bininj, Mungguy, Kakadu National Park Rangers and staff together with professional conservators to develop practical skills in graffiti removal while ensuring cultural decision-making remains at the forefront of any process. By combining conservation best practices with Traditional Owner knowledge, these workshops have strengthened local capacity to care for culture and Country.<\/p>\n\n\n\n

The focus of this work is on long term professional development and community-led site management. Future training will build on past workshops, refining graffiti removal techniques, improving monitoring of treated sites, and embedding conservation knowledge within cultural frameworks. Ensuring Traditional Owners and rangers have the skills and confidence to manage and carry out this work is a key priority.<\/p>\n\n\n\n

A major aspect is in the collaboration between cultural custodians and conservation specialists, setting a strong foundation and standard for the future of rock art conservation in Kakadu. The goal is to create a model that supports ongoing skills development, cultural leadership, and the protection of these significant places for future generations.<\/p>\n\n\n\n

Returning Garden Range to the Rightful Taungurung Custodians (Victoria, Australia)<\/strong><\/p>\n\n\n\n

Daniel Young, Ashley Wilkinson, Chris Antonopoulos, Clay Law, Jonah Honeysett, Alex Watson and Katherine Thomas, Taungurung Land and Waters Council RAP, Australia<\/em><\/em><\/strong><\/p>\n\n\n\n

In 2019, Garden Range 2 was formally and legally returned to the rightful custodians, Taungurung Land and Waters Council (TLaWC). TLaWC purchased a small area (23ha) of Garden Range through \u2018Our Country Our Future\u2019 grants (Australian Commonwealth government\u2019s Indigenous Land and Sea Corporation (ILSC)). However, this was only the first step on the pathway to Indigenous custodianship of place. Research excavations at the site have indicated that the Ancestors would have had access to a wide range of bioculturally important plants and animals – fresh water molluscs, emu, murnong \u2013 and ochre to depict colourful motifs on the granite walls. Traditional cultural practices, for collection and use of these currently absent resources, need a revival through Taungurung custodianship. It is understood that rock art needs \u2018protecting\u2019 \u2013 but what does protection even really mean for us or our future selves? This paper discusses what Indigenous stewardship of Garden Range could represent \u2013 this examination will be presented through exploring the archaeological record of past stewardship, exploring the acquisition of Garden Range as a custodial site, and examining the impacts and responsibility of this multifaceted role as the rightful custodians of place.<\/strong><\/p>\n\n\n\n

Cultural Practitioners: Caring for the Connected Rock Art of the Kimberley Region<\/strong><\/p>\n\n\n\n

Gordon Smith Jnr, Sherika Nulgit, Kristen Andrews, Robin Dann, Lloyd Pigram, Wilinggin Aboriginal Corporation <\/em>
Melissa Marshall, University of Notre Dame Australia<\/em><\/p>\n\n\n\n

\u201cYou look at it from a cultural framing, if you take the kids out on Country for a day, you can see all that play out in its theatrical power and glory\u2026 whatever the day\u2019s activity is, the greatest importance is in teaching them the tools for generating the cultural context \u2013 teaching them the seasonal calendar, the animals, the plants, where they grow, the importance of respect and the system of values. This is where law and order comes from, this is where it is embedded, this is the criteria given a space on Country where you have your own family values on your ancestral estate, this is your identity that ties you to the foundation of teachings laid down by forefathers and mothers, your Dreaming\u201d (Gordon Smith Jnr 2025). <\/p>\n\n\n\n

Wandjina, Gwion Gwion figures and the rock art of the Kimberley region of Western Australia have long evoked powerful responses from visitors, as shared particularly by non-Indigenous people since first arriving in the region post the colonisation of Australia 200+ years ago. For Aboriginal people, these rock images are a visual representation of 65,000+ years of our living continuous culture \u2013 they are powerful beings imbuing universal narrative that interconnect our Country and speak to wunan<\/em> (law) and liyan<\/em> (spirit). This will be shared by a group of Wanjina Wungurr custodians and cultural practitioners from the Kimberley including a cultural dancer\/singer (KA), cultural caretaker of place (RD), cultural guardian\/translator\/educator\/marja (GS), cultural guide\/knowledge interpreter (SN), cultural innovator (LP), culturally-grounded archaeologist\/heritage practitioner (MM). Together we explore the cultural contexts of teachings and learnings on Country through wunan<\/em> and liyan<\/em>, and how this can inform, transform and shape archaeology and rock art in particular as considered by visitors in the future.<\/p>\n\n\n\n

Representations of the Marrga: Religion in the Rock Art on Yindjibarndi Ngurra<\/strong><\/p>\n\n\n\n

Kevin Guiness, Middleton Cheedy and Cat Morgan, Yindjibarndi Aboriginal Corporation, Australia<\/em><\/p>\n\n\n\n

The Ngaarda-ngarli (Yindjibarndi people) look after their country according to Birdarra Law, which was handed down to them by the Marrga, the creation beings, during the creation of the world. The Marrga are depicted in the rock art as tall beings, with long arms, legs and an elongated head, often using different techniques, and they were made (or left in the rock) by the Marrga themselves during the creation times when Birdarra law was codified.<\/p>\n\n\n\n

Here the Yindjibarndi people will present on the depiction of the Marrga at two significant cultural places \u2013 Garliwinyjinha and Jimarndan. The Marrga at Garliwinyjinha consists of painted motifs with extensive superimposition indicative of the ongoing practice of Birdarra Law. Jimarndan is a cultural complex consisting of engravings along a small creekline with various depictions of the Marrga.<\/p>\n\n\n\n

The research, management and protection of places across Yindjibarndi Ngurra can only be done if it is driven by the Ngaarda-ngarli as the full context of these beings are known only to the Yindjibarndi. The depiction of the Marrga at these two sites serve to reinforce and remind the Ngaarda-narli of their roles and responsibilities within Yindjibarndi religion indicating their ongoing reciprocal bond with Country.<\/p>\n\n\n\n

Reconnecting Western Yalanji with the Palmerville Limestone Through Rock Art<\/strong><\/p>\n\n\n\n

Alice Buhrich, Adjunct Senior Research Fellow, James Cook University, Australia<\/em>
David Boyle, Ranger Coordinator, Western Yalanji Aboriginal Corporation, Australia<\/em>
Brad Grogan, Chief Executive Officer, Western Yalanji Aboriginal Corporation, Australia<\/em><\/p>\n\n\n\n

Archaeological research on the limestone bluffs of Palmerville Station in Cape York Peninsula conducted 30 years ago had identified deeply weathered engravings, painted art and a record of 30,000 years of occupation. Our 2023-24 project, led by Western Yalanji Rangers in collaboration with an archaeologist, aimed to update site records and deepen understanding of the cultural landscape using a combination of archaeological and cultural perspectives. Our fieldwork focused on reconnecting Western Yalanji people with Country, re-finding recorded sites and understanding cultural protocols for the area. Our approach aimed for a two-way exchange of knowledge\u2014blending rock art theories and methodologies with the Western Yalanji cultural landscape and worldview. Although rock art was central to our study, the benefits extended beyond recording and re-finding sites. Key discussions emerged around cultural protocols, inter-generational knowledge transfer, and the limestone bluffs\u2019 potential for research, tourism and as a teaching landscape. Additionally, the project facilitated conversations between the pastoral lessee and Western Yalanji for the return of the limestone bluffs from cattle station to Western Yalanji management and control.<\/p>\n\n\n\n

Whose Hands Preserve the Paintings? Ethical Dilemmas of Rock Art Conservation in Uruguay\u2019s Cerro Pan de Az\u00facar<\/strong><\/p>\n\n\n\n

Victoria Bonilla-B\u00e1ez, The University of Sydney, Sydney Indigenous Research Network (Usyd); Sydney Environment Institute (Usyd); Association of Iberian and Latin American Studies of Australasia, Australian Anthropological Society, Australia<\/em><\/p>\n\n\n\n

In January 2025, I was invited to join a small group of inchala (siblings) and archaeologists on a sacred visit to what is believed to be the only known Indigenous rock painting site in Uruguay, located in Cerro Pan de Az\u00facar. As an Indigenous Uruguayan, I had never heard of these paintings. Though claimed as a UNESCO World Heritage site, they are poorly protected\u2014surrounded by a fragile fence, open to vandalism and degradation. Nearby caves on private land also contain faded hand stencils, yet remain inaccessible to community members.<\/p>\n\n\n\n

This encounter sparked a collective question: now that we know this exists, what do we do? I proposed\u2014knowing its controversiality\u2014reviving ancestral painting practices with guidance from neighbouring Indigenous communities and archaeological support, to restore the works as a form of (re)connection. The responses were mixed: some viewed the idea as disrespectful, others remained silent, and one person expressed interest in exploring the ethics further.<\/p>\n\n\n\n

This paper reflects on the ethical tensions surrounding preservation, access, and authority. It asks: who decides what counts as care? And how can protection of sacred rock art be grounded in Indigenous sovereignty, within a national context that has long denied our existence?<\/p>\n","protected":false},"excerpt":{"rendered":"

Format: Paper presentations with discussion Convenors:  Nathalia Guimaraes, Eastern Maar Aboriginal Corporation, nathalia.guimaraes@easternmaar.com.auMel Marshall, University of Notre Dame Australia, melissa.marshall@nd.edu.auTroy Lovett, Gunditj Mirring Traditional Owner Aboriginal Corporation, troy@gunditjmirring.comJanine Coombs, Barengi Gadjin Land Council Aboriginal CorporationChrystle Carr, Barengi Gadjin Land Council Aboriginal CorporationMichael Douglas, Barengi Gadjin Land Council Aboriginal CorporationKylie Boundy, Barengi Gadjin Land Council Aboriginal CorporationJohn Clarke Eastern […]<\/p>\n","protected":false},"author":1157,"featured_media":276,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"pmpro_default_level":"","ngg_post_thumbnail":0,"footnotes":""},"class_list":{"0":"post-6849","1":"page","2":"type-page","3":"status-publish","4":"has-post-thumbnail","6":"pmpro-has-access","7":"czr-hentry"},"_links":{"self":[{"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/pages\/6849","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/users\/1157"}],"replies":[{"embeddable":true,"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/comments?post=6849"}],"version-history":[{"count":4,"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/pages\/6849\/revisions"}],"predecessor-version":[{"id":7226,"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/pages\/6849\/revisions\/7226"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/media\/276"}],"wp:attachment":[{"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/media?parent=6849"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}