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The Burrup Peninsula is the location of rock art of major archaeological and cultural significance and of several major industrial facilities. This report and recommendations of the Burrup Rock Art Monitoring Management Committee (BRAMMC) provides a summary of its findings in a style that can be readily understood by the general community.
Australia has one of the largest inventories of rock art in the world with pictographs and petroglyphs found almost anywhere that has suitable rock surfaces – in rock shelters and caves, on boulders and rock platforms. First Nations people have been marking these places with figurative imagery, abstract designs, stencils and prints for tens of thousands of years, often engaging with earlier rock markings. The art reflects and expresses changing experiences within landscapes over time, spirituality, history, law and lore, as well as relationships between individuals and groups of people, plants, animals, land and Ancestral Beings that are said to have created the world, including some rock art. Since the late 1700s, people arriving in Australia have been fascinated with the rock art they encountered, with detailed studies commencing in the late 1800s. Through the 1900s an impressive body of research on Australian rock art was undertaken, with dedicated academic study using archaeological methods employed since the late 1940s. Since then, Australian rock art has been researched from various perspectives, including that of Traditional Owners, custodians and other community members. Through the 1900s, there was also growing interest in Australian rock art from researchers across the globe, leading many to visit or migrate to Australia to undertake rock art research. In this volume, the varied histories of Australian rock art research from different parts of the country are explored not only in terms of key researchers, developments and changes over time, but also the crucial role of First Nations people themselves in investigations of this key component of their living heritage.
Global Perspectives for the Conservation and Management of Open-Air Rock Art Sites responds to the growth in known rock art sites across the globe and addresses the need to investigate natural and human-originated threats to them as well as propose solutions to mitigate resulting deterioration. Bringing together perspectives of international research teams from across five continents, the chapters in this book are divided into four discrete parts that best reflect the worldwide scenarios where conservation and management of open-air rock art sites unfolds: 1) ethics, community and collaborative approaches; 2) methodological tools to support assessment and monitoring; 3) scientific examination and interventions; and 4) global community and collaborative case studies innovating methodologies for ongoing monitoring and management. The diverse origin of contributions results in a holistic and interdisciplinary approach that conciliates perceived intervention necessity, community and stakeholders’ interests, and rigorous scientific analysis regarding open-air rock art conservation and management. The book unites the voices of the global community in tackling a significant challenge: to ensure a better future for open-air rock art. Moving conservation and management of open-air rock art sites in from the periphery of conservation science, this volume is an indispensable guide for archaeologists, conservators and heritage professionals involved in rock art and its preservation.
While much has been achieved in understanding and managing weather effects and erosion phenomena affecting ancient imagery within the relatively protected environments of caves and rock-shelters, the same cannot be said of rock-art panels situated in the open-air. Despite the fact that the number of known sites has risen dramatically in recent decades there are few examples in which the weathering and erosion dynamics are under investigation with a view to developing proposals to mitigate the impact of natural and cultural processes. Most of the work being done in different parts of the world appears to be ad-hoc, with minimal communication on such matters between teams and with the wider archaeological community. This richly illustrated book evaluates rock-art conservation in an holistic way, bringing together researchers from across the world to share experiences of work in progress or recently completed. The chapters focus on a series of key themes: documentation projects and resource assessments; the identification and impact assessment of weathering/erosion processes at work in open-air rock-art sites; the practicalities of potential or implemented conservation interventions; experimentation and monitoring programs; and general management issues connected with public presentation and the demands of ongoing research investigations. Consideration is given to the conservation of open-air rock-art imagery from many periods and cultural traditions across the Old and New Worlds. This timely volume will be of interest to conservators, managers, and researchers dealing with aesthetic and ethical issues as well as technical and practical matters regarding the conservation of open-air rock-art sites.
Eight case-studies undertaken in Australia, entitled "Minding Culture: Case-Studies on Intellectual Property and Traditional Cultural Expressions" were selected, prepared, researched and written by Ms. Terri Janke, an Australian lawyer. The studies have been incorported together in WIPO/GRTKF/STUDY/2.
Living Knowledge: The Plants of Murujuga was produced based on three field surveys in 2009 and a followup survey in 2011 to fill in data gaps. For each field survey, representatives from the five Traditional Custodian language groups at that time - the Yaburara, Ngarluma, Yindjibarndi, Mardudhunera and Wong-Goo-Tt-Oo - were nominated to attend, along with the project botanist, linguist and a Woodside representative.The group visited numerous sites across the Burrup Peninsula, collecting plant samples and recording stories of their traditional uses. The plants collected were taken back to Roebourne following each survey to be discussed with a wider audience, including any Elders who were unable to visit the field sites.Local botanist Vicki Long recorded all knowledge collated, identified plant species and lodged them with the WA Herbarium. Linguist Eleanor Deake (Wanka Maya) provided interpretation of language for the 2009 surveys and Kerry Churnside (Ngarluma Aboriginal Corporation) assisted with language for the 2011 survey. Information was written as it was given and in each case the informants name was recorded. Since the time of the surveys, Murujuga National Park has been recognised and is jointly managed by Murujuga Aboriginal Corporation (MAC) and the Department of Biodiversity, Conservation and Attractions (DBCA). This book will be used by MAC and the DBCA to assist with the management of the National Park and to share the wealth of traditional knowledge from those who have custody over it.
A fascinating case study of the archaeological site at Murujuga, Australia Located in the Dampier Archipelago of Western Australia, Murujuga is the single largest archaeological site in the world. It contains an estimated one million petroglyphs, or rock art motifs, produced by the Indigenous Australians who have historically inhabited the archipelago. To date, there has been no comprehensive survey of the site's petroglyphs or those who created them. Since the 1960s, regional mining interests have caused significant damage to this site, destroying an estimated 5 to 25 percent of the petroglyphs in Murujuga. Today, Murujuga holds the unenviable status of being one of the most endangered archaeological sites in the world. José Antonio González Zarandona provides a full postcolonial analysis of Murujuga as well as a geographic and archaeological overview of the site, its ethnohistory, and its considerable significance to Indigenous groups, before examining the colonial mistreatment of Murujuga from the seventeenth century to the present. Drawing on a range of postcolonial perspectives, Zarandona reads the assaults on the rock art of Murujuga as instances of what he terms "landscape iconoclasm": the destruction of art and landscapes central to group identity in pursuit of ideological, political, and economic dominance. Viewed through the lens of landscape iconoclasm, the destruction of Murujuga can be understood as not only the result of economic pressures but also as a means of reinforcing—through neglect, abandonment, fragmentation, and even certain practices of heritage preservation—the colonial legacy in Western Australia. Murujuga provides a case study through which to examine, and begin to reject, archaeology's global entanglement with colonial intervention and the politics of heritage preservation.