Fragile First Impressions

attempt the
toattempt
convey
brilliance
and of
reflectivity
of a glass
attempt to convey
brilliance
and
reflectivity
a glass
object.
Flakes
tothe
convey
the brilliance
and reflectivity
ofobject.
a glassFlakes
object. Flakes
of
glass
are
common
finds
at
occupation
sites
on
the
platau.
of glass are common
occupation
the platau. sites on the platau.
of finds
glassatare
common sites
finds on
at occupation
fragile
first
impressions
fragile
first
impressions
fragile
first
impressions
party
as they
passed.
The
rolled
up
fish net
isfish
obvious
the painted
party as they
passed.
The
fish
net
is obvious
thenet
painted
party
asrolled
they up
passed.
The
rolled
upin
is in
obvious
in the painted
record,
as
are
two
saddle
packs
(rather
than
packsaddles,
as Lindsay
record, as are two saddle
than packsaddles,
Lindsay
record,packs
as are(rather
two saddle
packs (ratheras
than
packsaddles,
as Lindsay
described
them).
Men
smoking
pipes are
pictured
hunting.
areThere are
described them).
Men
smoking
pipes
are pictured
hunting.
There
are There
described
them).
Men
smoking
pipes
are
pictured
hunting.
50
depictions
of guns kinds
ofofvarious
in the
gallery
a faded
around 50 around
depictions
of guns
various
in the
gallery
and
a in
faded
around
50ofdepictions
guns
ofkinds
various
kinds
theand
gallery
and a faded
and
partly
overpainted
image
of
a
horse
and
rider.
A
number
of
images
and partly overpainted
a horse and
rider.ofAanumber
of images
andimage
partly of
overpainted
image
horse and
rider. A number of images
Lindsay’s
party areparty
overpainted
with kangaroos
as lifetoreturned
to
of Lindsay’sofparty
are
overpainted
withare
kangaroos
as life
of Lindsay’s
overpainted
withreturned
kangaroos
as life returned
to
Photographs
by David
Hancock
normal.
The
gallery,
hidden
amongst
rocks
and
trees
became
lost,
Photographs
by David
Hancock
Photographs
by
David
Hancock
normal. The gallery,normal.
hidden The
amongst
rocks
and amongst
trees became
gallery,
hidden
rockslost,
and trees became lost,
even
to
its
traditional
owners.
The
venerable
Lofty
Nadjamerrek,
a
even to its traditionaleven
owners.
venerable
LoftyThe
Nadjamerrek,
a Nadjamerrek, a
to itsThe
traditional
owners.
venerable Lofty
Curated
by Warddeken
Land Land
Management
Curated
by Curated
Warddeken
Management
by Land
Warddeken
Management
expert
rock the
art
plateau,
surprised
when Ianwhen Ian
great expertgreat
on rock
arton
across
plateau,
was
surprised
when
Ian surprised
great
expert
onacross
rock artthe
across
the was
plateau,
was
from
Bawinanga
AboriginalAboriginal
Corporation
came
site inthe site in
Munro fromMunro
Bawinanga
Aboriginal
Corporation
came across
the across
sitecame
in the
Munro
from Bawinanga
Corporation
across
why
the
people
the
Arnhem
Plateau
painted
rock in rock
Asked whyAsked
the people
of the
Arnhem
Plateau
painted
in rock
Asked
why
theofpeople
of the
Arnhem
Plateauinpainted
2005.
Since
then
the
site
has
been
recorded
extensively
by
indigenous
2005. Since then the2005.
site has
been
by indigenous
Since
thenrecorded
the site extensively
has been recorded
extensively by indigenous
shelters,
the
venerable
artist
and
indigenous
leader
Lofty
Bardayal
shelters,
the
venerable
artist
and
indigenous
leader
Lofty
Bardayal
shelters, the venerable artist and indigenous leader
Lofty Bardayal
rangers
from the from
landowning
family
and
archaeologist
Daryl Wesley.
rangers from
the landowning
family
archaeologist
Daryl
Wesley.
rangers
theand
landowning
family
and archaeologist
Daryl Wesley.
Nadjamerrek
AO
explained:
“Barribimnani
wanjh
barridjangonhmi
bim,
Nadjamerrek AO explained:
“Barribimnani
wanjh“Barribimnani
barridjangonhmi
bim,
Nadjamerrek
AO explained:
wanjh
barridjangonhmi
bim,
barridjangonhmi
bedberre
wurdurd.
Barriyimeng
“Kanmarnebimbun!”
barridjangonhmi bedberre
wurdurd. Barriyimeng
“Kanmarnebimbun!”
barridjangonhmi
bedberre wurdurd.
Barriyimeng “Kanmarnebimbun!”
mulewanibedberre.”
wurdurd wurdurd
bedberre.”
BarridjareniBarridjareni
mulewani
wurdurd
Barridjareni
mulewani
bedberre.”
is easyIttoisthe
recognize
the
booted
It is easy toItrecognize
clothed
andclothed
booted
easy
to recognize
theand
clothed
and booted
as figure
a wearing
European
wearing
a
hat
and
figure as a figure
European
a
hat
and
smoking
as a European wearing asmoking
hat and smoking
pipe.isBut
what
is The
he
doing?
enigmatic
a pipe. Butawhat
he
doing?
enigmatic
a pipe.
But
what
is heThe
doing?
The enigmatic
shape
towards
which
he
bends,
or
besideor beside
shape towards
which
he
bends,
or
beside
shape towards which he bends,
which
hewhich
lies,
defies
interpretation.
which he lies,
defies
interpretation.
Without
theWithout the
he lies,
defies
interpretation.
Without the
commentary
which
no
doubt
accompanied
the
commentary
which no
doubt
accompanied
the
commentary which no doubt accompanied
the
paintingthe
originally,
theismeaning
is lost. is lost.
painting originally,
meaning
lost.the meaning
painting
originally,
th
century
common
product product
Until
mid 20
Until the mid
20ththe
century
a common
Until
the
mid 20thaproduct
century
a common
found
in
domestic
laundries
was
a
small
found in domestic laundries
a small
muslin wasmuslin
found in was
domestic
laundries
a small muslin
bag
containing
a
hard
mass
—
a laundry
bag containing a hard
— a laundry
bagmass
containing
a hard mass
— a laundry
product
most
commonly
known inas
Australia
as
product most
commonly
known
Australia
product
mostincommonly
known
in Australia
as
Reckitt’s
Blue.
Made
of
ultramarine
and
baking
soda,
the
lumps,
their in their
Reckitt’s Blue. MadeReckitt’s
of ultramarine
and baking
soda, the
lumps,
in soda,
their
Blue. Made
of ultramarine
and
baking
theinlumps,
muslin
bags,
were
swirled
in
rinse
water
until
the
water
took
on
a
blue
muslin bags, were swirled
rinsewere
water
until the
waterwater
took until
on a the
bluewater took on a blue
muslin in
bags,
swirled
in rinse
Linguist
Murray
Garde
translated
his reply:
“...they
would
bewould
askedbe
byasked by
A crystal
creek
runs
strongly
broken
Linguist Murray
Garde
translated
his
reply:translated
“...they
would
be asked
by
ystal clear
creekAclear
runs
strongly
through
thethrough
brokenthe
sandstone
Linguist
Murray
Garde
his
reply:
“...they
crystal
clear
creek
runs
strongly
through
thesandstone
broken sandstone
tint.tint
The
blue
tint
was
the
original
“blue
brightener”
producingproducing
“whiter “whiter
tint.
The
blue
was
the
original
“blue
brightener”
producing
“whiter
tint.
The
blue
tint
was
the
original
“blue
brightener”
landscape
at
Bulurr
Berdno
during
the
wet
season
and
a
number
of
their
children
to
paint
illustrations
of
stories
or
animals.
The
children
scape at Bulurrlandscape
Berdno during
the wet
season
andthe
a number
of and a number of
their children to paint
illustrations
of paint
stories
or animals.ofThe
children
at Bulurr
Berdno
during
wet season
their
children to
illustrations
stories
or animals. The children
whites” inwhites”
washing.
PaintingsPaintings
which which
whites” in washing.
Paintings
which
in washing.
deep rock
pools
last
late
the
season.
Walking
amongst
the largethe large
woulditsay
‘paint
it
for
me!’.
Parents
wanted
to
explain
to things
their to their
p rock pools
lastdeep
late
into
the
dryinto
season.
Walking
amongst
large amongst
rock
pools
last
latedry
into
the dry
season.the
Walking
would
say
‘paint
for
me!’.
Parents
wanted
to
explain
things
to
would say ‘paint it for me!’. Parents wanted their
tothings
explain
useBlue
Reckitt’s
Blue as aBlue
pigment
use Reckitt’s
as
a pigment
use
Reckitt’s
as a pigment
slabs
is like
walking
through
athrough
mazestreets.
ofa narrow
children”.
dstone sandstone
slabs is like
walking
through
a maze
of narrow
sandstone
slabs
is like
walking
maze ofstreets.
narrow streets.
children”.
children”.
foundare
in Kakadu
Western
are found inare
Kakadu
and
Western
found
in and
Kakadu
and Western
Although
still
slightly
influenced
anatomically
Arnhem
Land
as
well
as
elsewhere
ough still
slightlyAlthough
influenced
anatomically
still slightly influenced anatomically
The vast
majority
tens
of images
The Asian
water
introduced
into Northinto
Australia
from 1824
Arnhem Land as well
as elsewhere
Arnhem
Land as well as elsewhere
The vast majority
ofThe
the vast
tens of
of the
thousands
oftens
images
across
theofacross
The Asian water
buffalo
wasbuffalo
introduced
intowas
North
Australia
from
1824Australia
majority
of of
thethousands
of thousands
imagesthe
across the
The
Asian
waterwas
buffalo
introduced
North
from 1824
by nativethis
animals,
this
picture
clearlyisofclearly
a
Australia.
The best
known
ative animals,
pictureanimals,
is clearly
ofisapicture
by
native
this
of a
quickly
spread
along
coastal
plains.
However,
we
have
it
on
the
Warddeken
Indigenous
Area
are
not
sacred
paintings
in
the
sense
of sense of
in Australia.inThe
best
areThe
in known
Australia.
bestare
known are and quicklyand
spread
along
coastal
plains.
However,
we
have
it
on
the
Warddeken
Indigenous
Area
are
not
sacred
paintings
in
the
sense
of
and quickly spread along coastal plains. However, we have it on the
Warddeken Indigenous Area are not sacred paintings in the
domestic
cat
— most
seen
at the
tin at the tin
the blueofpaintings
of Nourlangie
estic cat
— most
likely
seen
at the
tinlikely
domestic
cat likely
—
most
seen
of
the
venerable
Lofty
Nadjamerrek
that
buffalo
did
not
move
the blue paintings
Nourlangie
the
blue paintings
of Nourlangie authority ofauthority
being
set
apart
from
everyday
life.
the venerable
Lofty
Nadjamerrek
that
buffalo
did
not
move
authority of the venerable Lofty Nadjamerrek that buffalo did not move
being set apart frombeing
everyday
life. from everyday life.
set apart
mines of mines
Maranboy
intothe
to mid
Kakadu.
This
a
es of Maranboy
in
the early
midearly
20th
of Maranboy
in the
early20th
to mid 20th
into the
sandstone
plateau
is
now
the
Warddeken
Indigenous
in Kakadu.inThis
painting
of painting
a This of
in Kakadu.
painting
of a up into the up
sandstone
plateau
that
is nowthat
the
Warddeken
Indigenous
up
into
the
sandstone
plateau
that
is
now
the
Warddeken
Indigenous
Above:
horse
and
rider
from
the
party
of
Lindsay,
Above: A horse
andArider
from
party
surveyor
Lindsay,
century.
Feral
cats
are now
aare
major
They
are,
as Lofty
has said,
story
paintings
and manyand many
Above:
Athe
horse
andof rider
from David
thesurveyor
party
of David
surveyor
David Lindsay,
th
is one
few
blue
pigment
paintings
known
the from theProtected Area
ury. Feral
cats are
now
aFeral
major
problem
They are, as
Lofty
Nadjamerrek
story
paintings
and
manypaintings
century.
cats
nowproblem
a major problem
th
They
are, Nadjamerrek
as has
Loftysaid,
Nadjamerrek
has
said,
story
th It is not that
Protected
Area
until
the
mid
20
surprising
that
barramundibarramundi
is one ofbarramundi
very
fewofblue
pigment
paintings
from
the from
isvery
one
of very
few
blueknown
pigment
paintings
known
century.
It iscentury.
not20
surprising
untilProtected
the
mid
20Area
century.
It
is
not
surprising
that
until
the
mid
Narrolombun
Creek
site,
painted
in
1883
and
rediscovered
in 2005. in 2005.
A
crouching
hunter,
fully
clothed
with
Narrolombun
Creek
site,
painted
in
1883
and
rediscovered
in
2005.
A
crouching
hunter,
fully
clothed
with
Narrolombun
Creek
site,
painted
in
1883
and
rediscovered
A
crouching
hunter,
fully
clothed
with
the
Warddeken
Indigenous
Protected
Area,
inflicting
heavy
of
these
are
stories
from
travels,
related
to
the
folks
who
stayed
at
Warddeken
Indigenous
Protected
Area.
It
is
likely
to
date
somewhere
ss the across
Warddeken
Indigenous
Protected
Area,
inflicting
heavy
across the Warddeken Indigenous Protected Area, inflicting
heavy Indigenous
of these are stories of
from
travels,
relatedfrom
to the
folks who
stayed
at folks who stayed at
travellersfrom
returning
from thehad
lowlands
had
to tell
andtoillustrations
to
these
are stories
travels,
related
to the
Warddeken
Protected
Area. It isProtected
likely to date
somewhere
Warddeken
Indigenous
Area.
It is likely to date somewheretravellers returning
the lowlands
tales
telltales
andhad
illustrations
to andhat
travellers
returning
from
the to
lowlands
tales
tell
illustrations
hattoand
boots,
stalks
hisstalks
breakfast
and boots,
stalks
breakfast
hathisand
boots,
his breakfast
casualties
on fauna.
the native
fauna.
between
thethe
1920s
the early
1960s,
the latest.
Location:
BodbangBodbang
home
onhome
the return
traveller’s
return
from
the
frontier.
They
areThey
essentially
an withFaced
ualties on
the native
casualties
on the
native fauna.
with
conservation
issues
ofissues
suchand
difficulty
and
at such
maketheir
to share
their
awe
of
such
powerful
and
dangerous
beasts.
Lofty
between the
1920s between
to
early
at
latest.
Location:
Bodbang
home
on
the
traveller’s
from
the
frontier.
They
are
essentially
an are Faced
theto1960s,
1920s
to the
the
earlyat1960s,
at the
latest. Location:
on
the
traveller’s
return
from
the
frontier.
essentially
an
conservation
issues
of such
difficulty
suchdifficulty
scale,
make to share
awe
of
such
powerful
and
dangerous
beasts.
Lofty
Faced
with conservation
ofatsuch
andscale,
at such scale,
make to share their awe of such powerful and dangerouswhich
beasts.
Lofty
whichjournal
Lindsay’s
journalwas
indicates
was
Lindsay’s
indicates
which
Lindsay’s
journal
indicates
was
Workwork.
indigenous
body
of
reportage.
Nadjamerrek’s
son
Keith
poses
with
a
buffalo
image
that
encapsulates
Workwork.
recording
paintings
in
high
definition
photography
is
a
strategic
priority priority
Workwork.
Nature
has
provided
a
remarkable
indigenous
body
of
reportage.
indigenous
body
of
reportage.
Nadjamerrek’s
son
Keith
poses
with
a
buffalo
image
that
encapsulates
Nadjamerrek’s son Keith poses with a buffalo image that often
encapsulates
recording paintings recording
in high definition
photography
is a strategic
priorityis a strategic
paintings
in high definition
photography
ure has providedNature
a remarkable
often
“stewed
has provided a remarkable
“stewed
parrot”.
often parrot”.
“stewed parrot”.
all
we
might
say
about
the
fragility
of
these
first
impressions.
The
white
rock
shelter
at
Bodbang
Workwork.
to
ensure
future
generations
can
see
images
at
least
preserved
as they as they
all
we
might
say
about
the
fragility
of
these
first
impressions.
The
white
all we might say about the fragility of these first impressions. The white
This painting
is another
which
clearly
shelter at Bodbang
Workwork.
to ensure
future generations
seegenerations
images at least
preserved
rock shelter
at Bodbang Workwork.
to ensurecan
future
can see
imagesas
at they
least preserved
loss of
readingillustrated
areading
lavishlyamagazine
illustrated
magazine
This is another
clearly
This which
is painting
another
painting
which clearly
Imagine theImagine
loss of the
information
reading
a lavishly
Imagine
theinformation
loss of information
lavishly illustrated
magazine
Unlikehunter,
theUnlike
other
hunter,
this
figure
(above
right)
is shown
barefoot.
pigment
is
powdery
and
soft,
easily
washed
thinner
by
rain
and
at
the
Unlike
the
other
this
figure
(above
right)
is
shown
barefoot.
the
other
hunter,
this
figure
(above
right)
is
shown
barefoot.
A
section
of
sandstone
karst
through
pigment
is
powdery
and
soft,
easily
washed
thinner
by
rain
and
at
the
are
found.
pigment is powdery and soft, easily washed thinner by rain and at the
aincident
particular
incident
or
observation
ction of sandstone
karst through
A section
of sandstone karst through
are found.
referencesreferences
a particular
observation
which
all
the text
redacted.
Watch
a Watch
news
with
the sound
references
aorparticular
incident
or observation
inofwhich allinthe
text in
is which
redacted.
Watch
report
with report
the
sound
Perhaps
this isthe
“Jacky”,
the youngman
manawho
waswho
aofmember
of
allisthe
text aisnews
redacted.
a news
report
withare
thefound.
sound
smallest
scaletonow
ablenow
to beable
dislodged
by rock
wind.joint
Thewind.
rockThe
jointrock
above
Perhaps
this
is “Jacky”,
young
Larrakia
who was
member
Perhaps
this is “Jacky”,
theLarrakia
young
Larrakia
man
was a member
once
ranonce
underground
smallest scale
now smallest
able
bescale
dislodged
by
wind.
above
to be The
dislodged
by
joint above
andthe
wasvisual
oncewas
the once
visual
prop
to of
aprop
tale told
ch waterwhich
oncewater
ran
underground
which
water
ran underground
and was once
prop
to a the
tale
told
and
visual
to a of
tale told of
workThe
of finding,
photographing
and conserving
otherwise
conserving
the party.the party.
turned off. turned off.turned off.
The work ofThe
finding,
surveying,
photographing
and otherwise
the image
during
theduring
wet
and
has
washed
theofparty.
work ofsurveying,
finding, surveying,
photographing
and otherwise
conserving
hastosurvived
toa stand
as
a discrete
the image leaks
during
the wet
season
andseason
haswet
washed
away
of much
theleaks
image
leaks
the
season
andmuch
has away
washed
away
much of
travels
totravels
the
The
twoboth
riders
areriders
both are both
survived
stand
discrete
hasassurvived
to stand
as a discrete
travels to the
frontier.
Thefrontier.
two
riders
are
to the
frontier.
The two
contact
art
is
a
huge
and
costly
task.
The
Warddeken
Indigenous
the
image
around
the
neck.
The
moist
areas
have
encouraged
growth
contact
art
is
a
huge
and
costly
task.
The
Warddeken
Indigenous
outlier.
Sandstone
pillars
support
a
contact
art
is
a
huge
and
costly
task.
The
Warddeken
Indigenous
Without
the
oral
narrative
the
images
are
puzzles,
with
only
the
“what”
the
image
around
the
neck.
The
moist
areas
have
encouraged
growth
the image around the neck. The moist areas have encouraged
growth
with
smoking
pipes bareback.
andpipes
ridingand
bareback.
It isthe
clear
the artist
whoartist who
er. Sandstone pillars
a pillars support a
outlier.support
Sandstone
Without the oral narrative
are puzzles,
with only
“what”with only the “what”
Withoutthetheimages
oral narrative
the images
arethe
puzzles,
shown withshown
smoking
pipes
and riding
It is clear
that
artist
shown
with
smoking
riding bareback.
Itthat
is who
clear
that the
Protected
Area13,500
occupies
13,500
square
abutting Kakadu
of mould.have
have
tracked
the
imagethe
to image
occupy
crackthe crack
stone
roofstone
and
enclose
series a series
Protected
Area
occupies
square
kilometres
abutting
Kakadu
of mould. Termites
tracked
across
the across
image
occupy
the
cracktothe
Protected
Area
occupies
13,500kilometres
square kilometres
abutting Kakadu
ofTermites
mould.
Termites
have
trackedto
across
occupy
leftjournalistic
from left
the from
journalistic
dictum
ofdictum
“who,
what,
when,
where
why”.
began,
but
failedbut
to complete,
k stonethick
roof and
enclose
a series
thick
roof
and aenclose
left
from
the
dictum
of
“who,
what,
when,
where
and
why”.
began,
but
failed
to
complete,
the
journalistic
of
“who,
what,
when,and
where
and why”.
began,
failed
to
complete,
Warddeken’s
rock art
projects
seek
to seek to
Warddeken’s
rock
art
projects
seek
to
above
—
indeed
the
termites
may
be
helping
to
hold
back
the
seepage
National
Park
and
very
little
is
accessible
by
vehicle.
Many
sites
Warddeken’s
rock
art
projects
of
large
interconnected
spaces
with
a
sandy
floor
—
an
idea
place
above
—
indeed
the
termites
may
be
helping
to
hold
back
the
seepage
National
Park
and
very
little
is
accessible
by
vehicle.
Many
sites
above — indeed the termites may be helping to hold backthis
thepicture
seepage
this
ofpicture
a waterofbuffalo
National Park and very little is accessible by vehicle. Many sites
rge interconnected
spaces
with a sandyspaces
floor —with
an aidea
place
of large
interconnected
sandy
floor — an idea place preserve and restore relationships as well
of apicture
water buffalo
a water buffalo
When
people
to
livepaintings
with
paintings
the
stories
some some
preserve
restorepreserve
relationships
as wellrelationships as well
of water.
head
of the
buffalo
isbuffalo
styled is
remarkably:
the hornsthe
andhorns andwanted tothis
and restore
When people
continue
tocontinue
live
withcontinue
their
stories
have
some
are discovered
during
other
management
such
as reinstating
When
people
to their
live the
with
their paintings
thehave
stories
in
weather.
The
of this
shelter
isshelter
stained
from
of water. The
head ofThe
the
buffalo
is
styled
remarkably:
the
horns
and
water.
The
head
of the
styled
remarkably:
emphasise
the size the size
are have
discovered
during
management
work, management
suchwork,
as reinstating
amp in to
wetcamp
weather.
The
this roof
shelter
isroof
stained
fromisdark
areother
discovered
during
other
work,
such as reinstating
to wet
camp
inroof
wetofweather.
The
of thisdark
stained
dark fromand
wanted
to
emphasise
the
size
wanted
to
emphasise
asimages.
conserve
images.
Lachlan
Jumbiri
gew
resilience.
But
with
such
profound
demographic
shifts
as
there
were
as
conserve
Lachlan
Jumbiri
gew
ears
have
been
drawn
in
plan
view,
from
above.
The
x-ray
image
of
as
conserve
images.
Lachlan
Jumbiri
gew
the
soot
of
many
campfires
and
a
combination
of
soot
and
mould
has
resilience.
But
with
such
profound
demographic
shifts
as
there
were
traditional
patterns
of
landscape
burning
using
incendiaries
and
resilience.
But
with
such
profound
demographic
shifts
as
there
were
ears
have
been
drawn
in
plan
view,
from
above.
The
x-ray
image
of
ears have been drawn in plan view, from above. The x-ray
image
ofand
power
of power
the lumbering
soot of many campfires
a combination
soot
and mould has
the soot and
of many
campfires of
and
a combination
of soot and mould has
traditional
patterns
of
landscape
burning
using
incendiaries
and
traditional
patterns
of
landscape
burning
using
incendiaries
and
and
power
of
the
lumbering
and
of
the
lumbering
up at Manyallaluk
near hearing
Katherine
hearing hearing
up
at
Manyallaluk
near
Katherine
bones
and
teeth
and
jaws
have
been
drawn
in
side
elevation.
The
from
the
Arnhem
Plateau
to
buffalo
camps,
mines
and
missions
in
the
up
at
Manyallaluk
near
Katherine
made
it
hard
to
discern
detail
of
the
head
of
this
clothed
and
booted
bones
and
teeth
and
jaws
have
been
drawn
in
side
elevation.
The
from
the
Arnhem
Plateau
to
buffalo
camps,
mines
and
missions
in
the
bones and teeth and jaws have been drawn in side elevation.
The
helicopters.
Helicopters
are
needed
take
traditional
from the Arnhem Plateau to buffalo camps, mines and missions
in the
that
had that
become
e it hard to discern
detail
of the
head ofdetail
this clothed
and booted
made
it hard
to discern
of the head
of this clothed and bootedstories of his country from his father, but
helicopters.
Helicopters
are needed
to take
rangers
andrangers
beasts
thatbeasts
had become
helicopters.
Helicopters
aretoneeded
totraditional
take and
rangers
and traditional
beasts
had
become
stories
of his countrystories
from his
father,
but from his father, but
seem
to have
to been
drawn
recurved,
asofthe
of ateeth of
of his
country
late 19thand
Century,
and
to
thecentury,
midto20th
century,
historic
He
shown
hunter’s
about
“takewith
the
shot”the
with
teeth seemteeth
to have
originally
recurved,
as
the teeth
a teeth
teeth
seemtooriginally
tobeen
havedrawn
originally
to been
drawn
recurved,
ascommon
the
a flood
onplains
the flood
plains
butplains but
late 19th Century,
through
to through
the mid
detail
oter. Heshooter.
is shown
inishunter’s
stance
about
to “take
thetoshot”
owners
new site
complexes
forofthe
work
ofand
recording
and
late
19th Century,
and20th
through
thehistoric
mid
20th
century,detail
historic
shooter.
He isin
shown
in stance
hunter’s
stance
about
to “take
shot” with
oncommon
the
but
ownersdetail
to new
sitetocomplexes
for the
recording
common
on the
flood
owners
to new
sitework
complexes
for the
work of recording
and
was
not
able
to
visit
his
country
until
a tripuntil a trip
was
not
able
to
visit
his
country
until
a
trip
python,
or
indeed
the
rainbow
serpent,
are
conventionally
drawn.
was
not
able
to
visit
his
country
one
knee
down
and
one
knee
up.
A
depiction
of
an
exotic
animal
below
and
semantic
connections
are
lost.
python,
or
indeed
the
rainbow
serpent,
are
conventionally
drawn.
python, or indeed the rainbow serpent, are conventionallywhich
drawn.
which
came
latecame
to thelate
rocky
knee down andone
oneknee
kneedown
up. Aand
depiction
of anup.
exotic
animal below
and
semantic
connections
are
lost.
one knee
A depiction
of an exotic animal below
conservation.
and
semantic
connections
are
lost.
came
late
to
the
rocky
which
to
the
rocky
conservation.
conservation.
sponsored
by
Warddeken
in
2004.
Lachlan’s
family
history
is
like
many
sponsored
by Warddeken
in 2004.
Lachlan’s family
history
is likefamily
many history is like many
sponsored
by Warddeken
in 2004.
Lachlan’s
left hasinsurvived
in betterand
condition
and by of
a and
process
evidence
and
uplands.
Using
a highly
pigment
a few
sources
has survived
better
by a process
evidence
and
left hascondition
survived
in
better
condition
by a of
process
of evidence
and
uplands. Using
a highly
prized
whiteprized
with
only
few only
sources
uplands.
Using
a pigment
highlywhite
prized
whiteawith
pigment
with
only
a few sources
As the plateau
diaspora
reconnects
with
and
this forgotten
from the from
Warddeken
diaspora,
people
who
left the
plateau
various
reconnects
with country
andcountry
thiswith
forgotten
from
the
Warddeken
diaspora,
people
who
left
the
plateau
for
various
and
evenand
middle-aged
indigenous
and
landowners
As the
plateau diaspora
reconnects
country
and thisFor
forgotten
the
Warddeken
diaspora,
people
who
left
thefor
plateau
for various
elimination
we
must
conclude
this
is
a
pig.
With
more
than
100km
young For
and young
evenFor
middle-aged
indigenous
rangers indigenous
andrangers
landowners
young
even middle-aged
rangers
and landowners
on the
plateau
the
artist
began
his
task overhanging
on
atask
largeonoverhanging
ceiling ceilingAs the plateau diaspora
ination we mustelimination
conclude this
a pig.
With more
100km
we is
must
conclude
this than
is a pig.
With more than 100km reasons but who through reasons of marriage or of health
on
the
plateau
the
artist
began
his
task
on
a
large
ceiling
on
the
plateau
the
artist
began
his
a
large
overhanging
issues
or
archive
re-emerges,
we
must
look
for
clues
embedded
in
imagery
that
reasons
but
who
through
reasons
of
marriage
or
of
health
issues
or
archive
re-emerges,
we
must
look
for
clues
embedded
in
imagery
that
reasons
but
who
through
reasons
of
marriage
or
of
health
issues
or
this
is
a
deeply
meaningful
and
life-affirming
reconnection
with cultural
archive
re-emerges,
we
must
look
for
clues
embedded
in
imagery
that
and
perhaps
a
week’s
walk
between
the
subject
and
the
image,
the
this
is
a
deeply
meaningful
and
life-affirming
reconnection
with
cultural
next
to
the
long
waterhole
and
rocky
gorge
at
Djabidj
Bakalloi
in
Mok
perhaps a week’s
between
the subject
and the the
image,
the and the image, the
this
is
a
deeply
meaningful
and
life-affirming
reconnection
with cultural
andwalk
perhaps
a week’s
walk between
subject
th
next
to
the
long
waterhole
and
rocky
gorge
at
Djabidj
Bakalloi
in
Mok
next
to
the
long
waterhole
and
rocky
gorge
at
Djabidj
Bakalloi
in
Mok
th
century
indeed
ofindeed
the impossibility
of getting
access
toaccess
20essentials
gaps
in these
stories
ofstories
fragile
impressions.
century
the
impossibility
of
access
toof20
century essentials
of getting
the impossibility
getting
to 20thessentials
can fill the can
gapsfillinthe
these
of fragile
first
impressions.
has
of While
depiction.
While
hooves,
snout
identity. identity.
can
fillstories
the
gaps
in these
offirst
fragile
first impressions.
Country.
What
is most
remarkable
is that
heto
was
able
tooutline
draw
the
outline
llectionrecollection
has warped
thewarped
accuracy
ofaccuracy
depiction.
hooves,
snout
identity.
recollection
hasthe
warped
the accuracy
of depiction.
While indeed
hooves,ofsnout
Country.
What
is
most
remarkable
that
he
was
able
draw
the
Country.
What
is
most
remarkable
is
that
he
was
able
to
draw
the
outline
were
unable
tounable
return.
back
permanently
to countrytoremains
wereinfluence
unable
to return.
Moving
back
permanently
toback
country
remains
were
toMoving
return.
Moving
permanently
country remains
and ears
clearly
say
“pig”
the “pig”
hindshow
quarters
show ainfluence
kangaroo
influence
so accurately
whileright
standing
right
under
the
drawing
an
ears clearly
sayand
“pig”ears
the
hind
quarters
a kangaroo
clearly
say
the hind
quarters
show a kangaroo
rock
paintings
havethousands
survived
thousands
of years, ofironically,
so accurately
while so
standing
understanding
the drawing
on
an uneven
anduneven
accurately
while
right
under
the on
drawing
on anand
uneven and
While manyWhile
rock many
paintings
have
survived
of years,thousands
ironically,
workThe
of connection
and conservation
will be
-subject--only
While
many
rock
paintings
have survived
years,
ironically,
too
hard
for
many
of
their
descendants
today
but
Warddeken
assists assists
The work
ofThe
connection
and
will
beconservation
ongoing
-- ongoing
subject
too
hard
for
many
of
their
descendants
today
but
Warddeken
assists
workconservation
of connection
and
will beonly
ongoing
subject only
too
hard
for
many
of
their
descendants
today
but
Warddeken
and
the
tail
has
lost
its
characteristic
porcine
curl.
The
big-eyed
figure
smallInplatform.
In
order
to
step
back
and
seeashis
work
as
awork
whole
meant
the tail has lostand
its characteristic
porcine
curl. The big-eyed
the tail has lost
its characteristic
porcinefigure
curl. The big-eyed figure
small
platform.
order
to
step
back
and
see
his
work
a
whole
meant
it
is
the
most
recent
paintings
that
are
critically
endangered
— the soft,
small
platform.
In
order
to
step
back
and
see
his
as
a
whole
meant
it
is
the
most
recent
paintings
that
are
critically
endangered
—
the
soft,
where
it
can
in
reconnecting
country
and
people
and
in
particular
to
finding
the
necessary
funding
to
continue
caring
for
this
vast
and vast and
it
is
the
most
recent
paintings
that
are
critically
endangered
—
the
soft,
where
it
can
in
reconnecting
country
and
people
and
in
particular
to
finding
the
necessary
funding
to
continue
caring
for
this
vast
and
where
it
can
in
reconnecting
country
and
people
and
in
particular
to
finding
the
necessary
funding
to
continue
caring
for
this
at
bottom
right
remains
an
enigma
—
could
the
concentric
circled
eyes
climbing
down
about
10about
metres
stepping
back
intoback
the forest.
ottom right remains
an enigma
— couldan
theenigma
concentric
circled
at bottom
right remains
— could
theeyes
concentric circled eyes
climbing down
aboutclimbing
10 metres
and
stepping
back
into
forest.
We
down
10and
metres
andthe
stepping
into theWe
forest. Weephemeralephemeral
ofrecent
the most
recent
paintings
are
also the
keeping
new
generations
in touch
with
theirand
heritage
and management
pigmentsephemeral
ofpigments
the most
paintings
are
also the
most
globallyarchive
important
archive
ofarchive
art andofhistory.
pigments
of the
most
recent
paintings
are most
alsoglobally
the most
generations
in new
touchgenerations
with
their heritage
management
keeping
in touch
with
their heritage
and management
important
art
and history.
indicate
round
spectacles?
Location:Workwork.
BodbangBodbang
Workwork.
globallyofimportant
art and history.
can only
imagine
why
the
painting
is
notbut
finished,
but one plausible
cate round
spectacles?
Location:
Bodbang
indicate
round spectacles?
Location:
Workwork.keeping new
can
only
imagine
why
the
painting
is
not
finished,
one
plausible
can
only
imagine
why
the
painting
is
not
finished,
but
one
plausible
fragile
—
vulnerable
to
wind,
water,
the
rubbing
of
feral
animals,
fire
and
responsibilities.
In
March
this
year
Lachlan
brought
his
sons
Seth
and
fragile
—
vulnerable
to
wind,
water,
the
rubbing
of
feral
animals,
fire
and
fragile
—
vulnerable
to
wind,
water,
the
rubbing
of
feral
animals,
fire
and
responsibilities. In March
this year Lachlan
hisLachlan
sons Seth
and his sons Seth and
responsibilities.
In Marchbrought
this year
brought
theory
is theory
that
ran
white
—
the
nearest
source
60km is 60km
Warddeken
and its landowners
areshare
proudthis
to glimpse
share to
this
glimpse
the of the
theory is that
he ran
out he
of iswhite
pigment
—pigment
thewhite
nearest
source
thatout
heofran
out
of
pigment
— is
the60km
nearestissource
Sadlypart
theSadly
lower
part
of this
picture
has
beenhas
lostbeen lost
Warddeken
are
to
ofshare
the this of
Warddeken
andproud
its landowners
are
proud
glimpse
Oscar
to Oscar
see
Bodbang
Workwork,
MakoBulurr
BimMako
and Bim
Bulurr
theofbrushing
of vegetation
now
in
what
once
the once
homes
ly the lower
of
thisthe
picture
has
been
lost
lower
part
of this
picture
Oscar to see
the art
sitesthe
at
Bodbang
Workwork,
Mako Bim
and
the brushing
vegetation
now growing
in growing
whatnow
were
once were
the
homes
toart
seesites
the at
art
sites at Bodbang
Workwork,
and Bulurr
the brushing
of vegetation
growing
in what
were
the homesand its landowners
distant.
Pictured:
Landowner
Keith
Nadjamerrek.
distant.
Pictured:
Landowner
Keith
Nadjamerrek.
hidden
stories
from
the
northern
frontier.
Warddeken
thanks
those
who
distant.
Pictured:
Landowner
Keith
Nadjamerrek.
to rubbing
animals
of therain of the
hidden stories from hidden
the northern
Warddeken
thanks those
who thanks
storiesfrontier.
from the
northern frontier.
Warddeken
those who
ubbing from
animals
and
driven
rain driven
of the
andofgalleries
of the story-tellers.
tofrom
rubbing
from and
animals
andrain
driven
Berdno. Berdno. Berdno.
and galleries
the and
story-tellers.
galleries
of the story-tellers.
season.
bodywithin
is shown
clothes.
have
helped
us
so
far
and
in
so
many
ways
and
we
extend
particular
Like
the
hidden
chamber
at
season.wet
The
body
shown
clothes.
have
helped
us
so
far
and
in
so
many
ways
and
we
extend
particular
wetisThe
season.
The
body
iswithin
shown
within clothes.
have
helped
us
so
far
and
in
so
many
ways
and
we
extend
particular
Like the hidden chamber
at hidden chamber at
Like the
The indigenous
of
the Warddeken
Indigenous
ProtectedProtected
Area Area
The x-ray
style
is often
used
show
“outerthe “outer
The indigenous
rangers
of rangers
the Warddeken
Indigenous
Protected
Area
thanksGrammar
tothanks
Trinityfor
Grammar
for
exhibition.
The indigenous
rangers
of the Warddeken
Indigenous
Narrolumbun
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Text
By Peter
Cooke
2014 2014
— Text— By
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A Threatened
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Indigenous
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A Threatened
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NOTES ON THE IMAGES
Late in 1845 Ludwig Leichhardt and
his party were nearing the end of
their epic exploration from Moreton
Bay in Queensland to the struggling
settlement of Victoria in Port
Essington. Traditional owner Jennifer
Hunter is pictured with an image
located in the East Alligator River
valley which is believed to depict
Leichhardt and his horse. Leichhardt
had lost his hat early in the expedition
and was wearing a canvas bag as a head covering. The headwear in
this image does not conform to usual ways of drawing European hats
and the painting is not far from the route travelled by the expedition. The
artist has chosen to show the horse, a mare, urinating — which explains
the odd, stiff-legged stance.
At Kabanderri, east of the Liverpool
River, Sam Namundja stands proudly
next to an exceptionally detailed and
well preserved painting of a horse
and pipe-smoking European rider.
The rider’s body is shown within
his clothes in x-ray style. The horse
carries a bag slung about its neck and the front legs are painted over
an image of a rifle. Like many “first impressions” of horses the artist
conflates equine anatomy with that of a kangaroo, emphasizing a large
rump and powerful hindquarters but narrowing the body to the chest
proportions of a kangaroo. The earliest experience of horses on the
Liverpool River was in May 1867 when Captain Francis Cadell landed
20 horses from the SS Firefly to conduct a three month exploration for a
suitable place for a capital for the north Australian colony. Cadell notes
in his journal of 5 May 1867: “the natives who had come down on our
arrival were much alarmed at the horses”. Some local people became
more accustomed to the exotic visitors and their beasts as the weeks
went by, but many other groups fled in terror when disturbed by the
horses and riders.
Djurray, in Johnny Reid’s Wurnkomku
Clan country, is near the headwaters
of the Katherine River — 150km from
the sea. The large painted shelter
is protected from rain by a rocky
overhang but nevertheless is so open
it can be seen from a helicopter.
Saltwater images dominate. As well
as a number of images of European
boats there are two very large paintings of saltwater species — one
showing a Fiddler Ray — a species that can grow to 3m — and another
more difficult to identify, but possibly a whale. The large vessel here has
a sunshade canopy protecting the behatted, pipe-smoking Europeans
from the tropic sun. The canopy sits between triangular sails fore and
aft and the vessel has an anchor chain. The boat may be early 20th
century or as early as the 1870s. Box shapes may be deck cargo for
a coastal community or superstructure. Unlike images from caves on
Groote Eylandt none of these craft have features associated with the
vessels of Macassan trepangers from eastern Indonesia.
A much smaller image shows a whaleboat sized craft with a triangular
sail and nine people aboard. Two are shown with paddles, which are
uncharacteristic for a whale boat, but perhaps are visual misreadings
of an upraised oar seen from a distance. The craft appears to be
connected by a line to a more distant, but larger, three-masted vessel,
also with figures on deck. No other clues to interpretation are visible.
A second image of a small craft, again with a
triangular sail and a paddler fore and aft could
be another representation of the boat attached
to the larger three-master. It has eight people on
board but seems smaller and more canoe-like
than the attached boat image.
at this site and in particular with the horse and rider at the western end
of the site.
At the base of the vertical rock face is a very
washed-out image of a three-masted boat.
Manipulation of the digital image does show
what appear to be horizontal yards on the main
mast and this suggests a boat from an earlier
period than the other vessels. A partly squarerigged three-masted boat could be from the mid
nineteenth century.
The landscape photograph with smoke shows
Djurray after a visit from landowner Johnny
Reid in March this year. Caring for the Arnhem
Plateau’s rich rock art heritage includes
protecting galleries from wildfire by burning off
fuel loads early in the dry season, at least as often as every two years.
To the right of this group of images
is a photograph showing pictures of
watercraft overlaid on the left by a
giant Fiddler Ray and on the right by
the lower legs of two female figures.
The canoe, with triangular sail and
man at the rear with a long rope
connecting to what is probably an anchor, is not part of the composition
in the background layer. The craft at the back has a European (or
perhaps Japanese) person standing on deck of a large craft with
internal compartments, a wheelhouse with a window, two masts and
possible air vents or a hatch cover. The vessel is likely to be a pearling
lugger and the dotted patterning possibly piles of pearl shell stacked
on deck and inside the craft. The small boat could be a tender, possibly
used for free-diving for shell. A date from late 19th century to mid 20th
century is possible.
This gallery, dominated by two nearlifesize images of horses was found
by chance from a helicopter only two
years ago. Wasps and termites have
caused some damage but the wide
overhanging roof in the shelter has
provided good protection from the
annual monsoon rains. Both horse images are drawn in kangaroo-like
motion and with a general kangaroo-like anatomy, demonstrating that
these are indeed first impressions of exotic animals. Just as some
European artists’ first impressions of Australian fauna unconsciously
incorporated visual templates based on foxes and other English
animals, so too the indigenous artist has drawn the European foreign
in a likeness of the antipodean familiar. The anatomical distortion
also suggests that the equine encounters were brief glimpses, rather
than extended observations. Two opportunities for early indigenous
interaction with horses are known in central Arnhem Land history. In
May 1867 Captain Francis Cadell landed 20 horses of the SS Firefly
on the east bank of the Liverpool River. In July Cadell’s party explored
west of the Liverpool guided by a local man, Calilly, who had become
comfortably attached to the explorers. On July 5, far from their riverside
camp they “met with a section of Calilly’s tribe who much wondered
at our horses,” says Cadell in his journal. “At Calilly’s request one of
them was made to show paces and gallop; the stockman suddenly
wheeling his horse, charged towards the natives, which scattered them
in all directions, first to their great fear and afterwards to their infinite
amusement”. It might be that this highly keyed event is commemorated
Between the images of horses is a human figure drawn in white,
bent at the waist and wearing clothes, including a hat. The pointed
nose indicates a European and the stance suggests a man perhaps
skinning a buffalo. The protruding half circle behind the waist could be
a pistol holster. The rifle below is difficult to identify — it lacks a trigger
guard and a forestock is not clearly defined but there is a suggestion
of a hammer. At the lower right in this image is another exotic animal
interpreted through a macropod mental template. The animal with horns
and whiskers is clearly a billy goat. The goat is most likely to have been
encountered about 100k westward at what is now called Oenpelli (or
Kunbarlanja) where frontier entrepreneur Paddy Cahill established his
dairy farm and horticultural enterprise about 100 years ago. Above the
contact layers subsequent imagery depicted kangaroos and emus.
Despite the protection of the large
overhanging roof, the horses and
other images at this site show the
effects of processes of ongoing
damage — from wasps and termite
nests and from animals rubbing
against the ochred surfaces.
Warddeken rangers have now erected a steel barrier to prevent buffalo
and pigs going into the site.
The low angle of this photograph accentuates the kangaroo referencing
in the horses anatomy. Is this perhaps a picture that aligns with Cadell’s
journal entry of the pandemonium which ensued in the encounter
with Calilly’s people? The rider stands in the stirrups, bent forward at
the waist as a rider at the gallop. It is easy to imagine this image as a
backdrop to lively verbal indigenous reportage of the event to families
camped in this large shelter in subsequent years. In 1883 another party
on horseback came riding by, not far from this site. This was the party
led by surveyor David Lindsay whose southward transect of the plateau
is recorded elsewhere, on the Mankungdjang estate of the Mok Clan.
While it is not possible to conclusively
identify the provenance of this rifle, it
is shown with seven cartridges like the
.50 calibre Spencer carbines carried
by Cadell’s party. The cartidges were
delivered to the breech from a tube
inside the stock. The rifle does not
show the distinctive hammer of the Spencer Carbine designed in 1860,
but the positioning and shape of the trigger guard are correct for a
Spencer carbine.
This image of a buffalo leg at 1:1
scale was recorded for the first time
during a survey in the Kunbambuk
estate in March this year. The back
leg, with bones and joints shown in
x-ray style, overlays a figure which
may be a human or a mimi spirit. The
buffalo image is in the uppermost layer at the site, suggesting a prompt
subsequent end of occupation with a movement off country down to
the buffalo camps and ready availability of highly prized protein...and
tobacco. The image may mark the arrival of reports, augmented by
illustration, of the lowland buffalo camps of the late 19th and early 20th
century that prompted the profound demographic shift from this and
other estates.
The survey at Kunbambuk documented 16 rock art sites within an
area of about 1 square kilometre, ranging in age from paintings tens
of thousands of years old to the buffalo leg above. The patri-line of the
original landowning clan, the Barradj, is now extinct and the last living
Barradj person bestowed ownership and custodial responsibility on
Dean Yibarbuk, a former chair of Warddeken Land Management and
a leader of indigenous land management in Western Arnhem Land.
Part of this custodial responsibility involves protecting the heritage of
Barradj artworks. The fires seen burning here are an expression of
that custodianship. Without regular clearing and burning off, spinifex
and other material may accumulate and cause serious damage to rock
art – in some known cases wildfire has caused painted rock surfaces to
explode.
People from the Djorrolom, Mok
and other clans of the plateau
actively occupied the site complex of
Manamnam until at least the Second
World War. In bright and vibrant
colours they painted the animals
and spirits of their country and also
illustrated stories of experiences from the lowlands — stories from the
mines at Maranboy or the buffalo camps in what is now Kakadu. Those
who were bold enough to step outside an exclusively Aboriginal domain
returned to relate their experiences to those who were too infirm or who
were too frightened of white people to travel. Mary Nadjamerrek, who
was a girl before the War, says there were indeed people who stayed
on the plateau for fear of white people. Although there are no reports of
massacres or brutal interaction on the plateau there was a period in the
late 19th century when mounted gun thugs from the Eastern and African
Cold Storage Company’s Arafura station, about 100km east, pursued
and shot people resisting the takeover of their country for pastoralism.
Such memories linger. The firearm pictured here with a barramundi with
its head pulled back seems to be a shotgun, possibly a double-barreled
shotgun with twin hammers. The ammunition is flat-ended like a shotgun
cartridge. Aboriginal people who attached themselves to buffalo camps
and became trusted workers may have been given use of shotguns to
hunt for the camp — but high powered rifles rarely left the hands of the
non-Aboriginal bosses.
Amongst the fish and kangaroos
at Manamnam is a brilliantly drawn
shotgun with nine cartridges,
including one in the breech. The
painting is likely to be from the
mid-20th century and a time of the
generation who were older men
when Bardayal Nadjamerrek was first setting out to explore the world of
white people. Bardayal made a number of journeys where he worked
for a time for white people in mines at Maranboy and later during
World War II, unloading trucks for the army at Mataranka. At the end
of work seasons he returned to his elders with tobacco, usually carried
in bottles, and other exotic wares such as fish hooks, fishing lines and
axes.
A “Dali-esque” picture of a rifle is
the topmost layer in this section on
ceiling at the Mako Bim complex.
The red figure beside the gun is
unusual in that a red base has been
decorated with white hatching and
other patterns.
Dean Yibarbuk has brought his family on
a week-long trip to begin taking up their
responsibility for the Barradj art sites. In the
late afternoon they return from a day of locating
sites and clearing away spinifex and other
fuel. The only practical way of accessing the
sites is by helicopter, as the plateau’s rugged
terrain constrains vehicle access. As an expert
in indigenous fire management, Dean Yibarbuk
supervises the protective burning work.
As well as their tools of trade at the
tin mines at Maranboy, at least some
miners had kitchen gardens and
domestic animals, fascinating to the
plateau people seeing these things for
the first time. As time went on small
market gardens were established to
supply the miners. At Bulurr Berdno in Djorrorlom clan country an artist
has illustrated a story of his encounter with a billy-goat, most likely
around the Maranboy tin mines in the early to mid 20th century.
Young Warddeken ranger Gavin Phillips
photographs the buffalo leg painting at Kunbambuk. Warddeken’s
indigenous rangers assist landowners with the recording of their rock
art sites for digital archiving in Warddeken’s
Bidwern Information Management System. High
definition photography may be the only way
to ensure future generations can see artworks
“looking their best”.
An illustration perhaps to go with a detailed
description of personal items of European
material culture. The horizontal orientation of the
figure is most likely just an incident of available
space. There is nothing to indicate whether this
is a miner, a buffalo shooter or indeed of any
trade or occupation. However the picture provides extensive generic
detail of European kit. He wears a hat, smokes a pipe, has a bandanna
tied rakishly around his neck, wears a shirt and trousers and boots. His
rifle is however not rendered as accurately as the owner — the trigger
guard is one side of the gun and the forestock at the other. Location:
Mako Bim
The original name of this site is
lost but it has been given a new
name in keeping with the story it
presents. Mako Bim (translating as
Gun Pictures) reflects at least one
man’s obsession with fireams and
a desire to accurately illustrate his
observations at the lowland frontier to the west and south-west. The
gallery has pictures of 13 guns or rifles, four handguns, and a number
of European style smoking pipes. As well as several shotguns of
indeterminate brand the gallery has at least one Winchester Rifle, a
Martini Henry rifle, a Webley revolver and a Colt revolver. One revolver
is drawn in a holster and another has a lanyard attached. Location:
Mako Bim.
While firearms dominate this gallery in
terms of numbers of images, a brightly
coloured iconic depiction of Ngalyod,
the Rainbow Serpent floats proudly
above the gun collection, spanning
more than four metres of the ceiling.
Ngalyod is painted in very different
ochres from those used on the guns. Nothing indicates which comes
first in time, the guns or Ngalyod, but perhaps the stunning Ngalyod is
a rejoinder from another artist, affirming the power of traditional belief
against foreign technology. Location: Mako Bim on Djorrolom country.
Despite a relatively exposed location this brilliantly composed picture of
a axe-bearing European and an apprehensive rooster has survived in
remarkable condition over at least seven decades. It is hard to look at
this picture without hearing the laughter of an audience echoing down
the decades as the tale is told and the illustration rendered. The novel
and unusual use of perspective adds to the idea that this is indeed
a “rooster’s eye view” of an incident of life and death on the frontier.
Location: Bulurr Berdno on Djorrolom country.
As the image of man and fowl is humorous, on first impression the
image below is very dark. But the images of woman and gun are
certainly not connected in time — they have been painted on quite
separate occasions, as the different colours of the ochres used shows.
The juxtaposition does not imply a semantic link, just competition for
painting space and an artistic tradition in which overpainting is OK.