Search

Fish motifs in Aboriginal rock art of the Laura area (Cape York Peninsula, Queensland, Australia) include a heterogenous group that has been imprecisely classified by rock art researchers. By analysing motif attributes, style and contexts (including natural populations), we characterised three categories: fork-tailed catfish (Neoarius paucus), eel-tailed catfish (Neosilurus spp.) and eel (Anguilla reinhardti). We label the categories with the local names 'catfish', 'jewfish' and 'eel'. The catfish cohort has a relatively naturalistic style, while the eel exhibits anatomical trends of eels, distinctive arrangements, and stylistic overlaps with jewfish that may denote shared meanings. Ambiguity is confirmed as a cultural value and communication mode of the rock art system. [ABSTRACT FROM AUTHOR]

In the 1970s, a rare assemblage of trade beads was discovered inside a woven plant fibre bag in a rockshelter (the 'Dillybag site') near Laura, Cape York Peninsula, Queensland. Cached post-1895, the bag held more than 4000 glass beads strung on cotton, nylon and hand-spun (possibly human) hair twine. Seventy-eight percent of beads showed some degree of damage from bead-on-bead contact, suggesting that the assemblage accumulated gradually over time. All beads on hair twine were minute or small, and potentially reveal consumer choice in their selection, as does the large proportion of red, white and black beads, suggesting a preference for customary colours. This cache is not only the largest collection of glass beads recovered from an archaeological context in Australia, but also speaks to the dynamism, agency and persistence of the Indigenous people of southeast Cape York Peninsula following invasion. [ABSTRACT FROM AUTHOR]

The authors describe rock art dating research in Australia using the oxalate method. While the array of dates obtained (which range from c. 1200 to c. 25 000 BP) show a satisfactory correlation with other archaeological data, there are mismatches which suggest that some motif were often imitated by later artists, and/or that the mineral accretions continued to form periodically, perhaps continuously, as a regional phenomenon over a long period of time. Keywords: Pleistocene, Holocene, Australia, rock art, Quinkan, Introduction More than a decade ago, a programme of rock art dating was initiated by the authors in the Laura (Quinkan) region of Cape York Peninsula, in collaboration with other [...]

During the late Holocene, Aboriginal rock painters in north Queensland selected and combined various natural inorganic and organic materials in paint recipes -- possibly to increase the longevity of their [...]

The archaeological record of Lower Laura (aka Boralga) Native Mounted Police camp, a longstanding base for Queensland's frontier war in Cape York Peninsula, includes a diverse assemblage of culturally modified Erythophleum chlorastychys (Cooktown ironwood) trees. Analysis of cultural scar attributes and tool marks – which were found to be variously associated with Aboriginal stone tools, tomahawks of different types, and long handled axes – reveals a scenario of nineteenth century land use and technology that transcends the pre-conflict era of Aboriginal clan estates. As well as reflecting traditional patterns of Aboriginal tenure of prime waterfront land, the assemblage reveals innovations that occurred in Aboriginal technology in the lead-up to war. However, an unusual style of cultural scar cut using long handled axes appears to signal transformations in demography and land use following Native Mounted Police occupation. By integrating historical, oral history, spatial, typological, and botanical data this study provides evidence of demographic and environmental changes set in train by the gold-rush invasion. It also highlights the complexities of documenting Cooktown ironwood trees of advanced age and their fragile, deteriorating cultural modifications. [ABSTRACT FROM AUTHOR]

Although historians have provided substantial insights into the structure, development and activities of the Queensland Native Mounted Police, they have rarely focused on the complex and sensitive issue of Aboriginal recruitment. A careful reading of historical records, however, identifies several methods, including coercion, intimidation, kidnapping and inducement, as well as “voluntary” enlistment. It is difficult to identify Aboriginal agency in recruitment processes as the records are entirely one-sided—the voices of the troopers themselves are absent from the archival sources. In this article, we examine the cultural and historical contexts of Aboriginal recruitment—for example, the dire social situations of Aboriginal survivors of the frontier war and the absence of future survival options for the potential recruits. We explore, through the framework of historical trauma, the impacts on vulnerable victims of violence and other devastating effects of colonisation. We conclude that the recruitment of Aboriginal troopers was far from a homogeneous or transparent process and that the concept of agency with regard to those who can be considered war victims themselves is extremely complex. Unravelling the diverse, conflicting and often controversial meanings of this particular colonial activity remains a challenge to the historical process. [ABSTRACT FROM AUTHOR]

In the 1960s Percy Trezise integrated his rock art research in the Laura region, Cape York Peninsula, with recording Indigenous cultural knowledge and life stories. Since then, archaeologists have been reluctant to make use of this ethnographic information. This paper explores the issue in the light of current models of Aboriginal society and history for southern Cape York Peninsula. When viewed in these contexts the authenticity of Trezise's ethno-historic and ethnographic records is validated. Gaps and ambiguities in the Trezise records may result from cross-cultural issues and the deeply esoteric nature of Aboriginal art and its connections to ancestral law. The judicious use of ethnography is recommended as a complementary method in Laura rock art studies. Trezise's primary records may provide further clarity. [ABSTRACT FROM AUTHOR]

This paper focuses on Australian Indigenous rock art tourism, a field that has received limited research attention. Our aim is to identify aspects which are invisible in tourism promotions. We note trends in rock art tourism and related research, survey the Australian situation, and employ a case study approach to outline the development of Indigenous rock art tourism in Kakadu National Park (KNP) and parts of the Quinkan (Laura Cooktown) region. In both regions, Aboriginal communities inherited legacies of top down decision-making and bureaucratic methods. Although the Laura people transitioned to a community-based system and a successful ranger program, they face challenges in achieving their aspirations for sustainable rock art tourism. KNP communities, subsumed into an unwieldy joint management arrangement for the World Heritage listed National Park, are faced with competing values and perspectives of the dominant government system. A centerpiece of the Balnggarrawarra tourism initiative is the ranger/tour guide system of the type which operated for some years at Laura and was introduced briefly at KNP. The model incorporates key elements of sustainable Indigenous tourism–traditional owner control and jobs, land care, conservation, cultural preservation, partnerships, and public education. Notwithstanding contemporary challenges and realities, a unifying theme is caring for rock art. [ABSTRACT FROM AUTHOR]

An obituary for George Musgrave, elder of the Kuku Thaypan or Awu Laya people is presented.