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In Australia, recent climate change has resulted in prolonged droughts, massive devastating bushfires, extreme flooding, and more frequent and intense cyclones, all of which affect archaeological and historic heritage. In this paper, we report on new research on rock art at a site called Djarrng in western Arnhem Land, Northern Territory, Australia. Djarrng was heavily impacted by Tropical Cyclone Monica in 2006. We have visited the site sporadically since 1992, most recently in September 2019. We also have photographs taken in 1979 and accessed others taken in 1965 and so are in a position to document change to rock art panels over a 54 year period. We discuss not only change at the site as a result of the cyclone but also more general changes to rock art imagery at Arnhem Land sites in the past two hundred years, as well as lessons learnt from natural disasters that could be important for future rock art conservation. [ABSTRACT FROM AUTHOR]

The known geographic distribution of beeswax rock art is largely restricted to the Arnhem Land plateau and Kimberley regions of northern Australia. While considerable research has focussed on the antiquity and meaning of beeswax rock art, much less attention has been directed to the nature and extent of the distribution pattern for this unique motif production technique. In this article, we present details of two beeswax motifs recently discovered in Marra Country at Limmen National Park (southwest Gulf of Carpentaria, Northern Territory). In the first instance, the motifs are explored in the context of their meaning, drawing on ethnography collected in the region over the last 40 years. The motifs are then used as a platform to engage with questions around the low frequency, and in some cases complete absence, of beeswax rock art across other areas of northern Australia. While it is highly unlikely there is one single, homogenous explanation for this in the Gulf country and northeastern Australia, we suggest that exploring the social, cultural and relational understandings of beeswax in these areas offers considerable potential to understand better how people engaged with and inscribed their cultural landscapes. [ABSTRACT FROM AUTHOR]

In 2008 researchers from the Australian National University's Archaeology and Natural History Department and Flinders University's Program in Maritime Archaeology recorded nine non-Indigenous watercraft rock art images in a rock-shelter in the Wellington Range of north western Arnhem Land in the Northern Territory. During the project it was recognised that one of the missing elements of interpreting watercraft in rock art was a comprehensive analytical framework that can be tested and reproduced. The development of such a framework can be used by future researchers to begin addressing the larger issues and considerations represented in non-Indigenous watercraft depictions across Australia. [ABSTRACT FROM AUTHOR]