Balanggarra Aboriginal Corporation
Biographic Data
| ID | 4873227 |
|---|---|
| NAME | Balanggarra Aboriginal Corporation |
| GIVEN NAMES | Balanggarra Aboriginal |
| FAMILY NAME | Corporation |
| SIGNATURE | CORPORATION B A |
| AFFILIATIONS | 5 Kentia Way, Kununurra, Western Australia |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 45 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 3 |
Linear Naturalistic Figures: A new Mid-to-Late Holocene Aboriginal rock art style from the northeast Kimberley, Australia
We argue for the inclusion of a new Mid-to-Late Holocene rock art style—the Linear Naturalistic Figures (LNF)—to the sequence of Kimberley rock art styles. These figures have been identified through formal and contextual analysis at 22 sites in the northeastern Kimberley. Linear Naturalistic Figures are primarily characterised by large naturalistic animal figures presenting a continuous or linear outline. An analysis of their subject matter and s…
Scratching the surface: Subtractive rock markings from the Cockburn Ranges, eastern Kimberley, Western Australia
This article deals with visual expression in the form of subtractive rock markings from the Cockburn Ranges, situated within the Balanggarra Native Title determination in the east Kimberley, Western Australia.We present examples of subtractive rock marking diversity, ranging from cupules and abraded grooves, recursive cultural practises in the form of battering and scratching of extant artworks, figurative and non-figurative images, potentially r…
Superpositions and superimpositions in rock art studies: Reading the rock face at Pundawar Manbur, Kimberley, northwest Australia
Patterns of superposition in rock art are often used to systematically construct style sequences. However, once on the rock, images can affect subsequent engagements with the art, the rock surface, the site, and its surrounding landscape, and this recursiveness can be studied through the superimpositions (significantly overlaid markings) on a rock face. This is an opportunity for archaeologists to investigate the culture of engagement not just at…
Determining the origin and changing shape of landscape‐scale rock formations with three‐dimensional modelling: The Borologa rock shelters, Kimberley region, Australia
Archaeologists often wonder how and when rock shelters formed, yet their origins and antiquity are almost never systematically investigated. Here we present a new method to determine how and when individual boulders and rock shelters came to lie in their present landscape settings. We do so through 3D laser (LiDAR) mapping, illustrating the method by example of the Borologa Aboriginal site complex in the Kimberley region of northwestern Australia…
Metal burial: Understanding caching behaviour and contact material culture in Australia's NE Kimberley
This paper explores identity and the recursive impacts of cross-cultural colonial encounters on individuals, cultural materials, and cultural practices in 20th-century northern Australia. We focus on an assemblage of cached metal objects and associated cultural materials that embody both Aboriginal tradition and innovation. These cultural materials were wrapped in paperbark and placed within a ring of stones, a bundling practice also seen in huma…
Relational ontologies and performance: Identifying humans and nonhuman animals in the rock art from north-eastern Kimberley, Australia
Investigating the Anthropic Construction of Rock Art Sites Through Archaeomorphology: The Case of Borologa, Kimberley, Australia
Dating painting events through by-products of ochre processing: Borologa 1 Rockshelter, Kimberley, Australia
The ‘direct’ dating of rock art has proliferated since the development of accelerator mass spectrometry radiocarbon, uranium-series and optically stimulated luminescence dating, yet still, most rock art is not directly datable due to the mineral nature of the constituent pigments. Here we present another method: the recovery and dating by stratigraphic association of small buried fragments of ochre and dried paint drops deposited onto soft sedime…
Minjiwarra: Archaeological evidence of human occupation of Australia’s northern Kimberley by 50,000 BP
Recent archaeological research in Australia’s north-eastern Kimberley has luminescence dated a large red sedimentary feature, known as Minjiwarra, with artefacts in stratified contexts from the late Holocene to ∼50,000 years ago. This site is located on the Drysdale River, with preliminary excavations undertaken as part of an ARC Linkage Project. Deeply stratified sites in association with rockshelters are uncommon across the NE Kimberley and bas…
Minjiwarra: Archaeological evidence of human occupation of Australia’s northern Kimberley by 50,000 BP
Recent archaeological research in Australia’s north-eastern Kimberley has luminescence dated a large red sedimentary feature, known as Minjiwarra, with artefacts in stratified contexts from the late Holocene to ∼50,000 years ago. This site is located on the Drysdale River, with preliminary excavations undertaken as part of an ARC Linkage Project. Deeply stratified sites in association with rockshelters are uncommon across the NE Kimberley and bas…
Superpositions and superimpositions in rock art studies: Reading the rock face at Pundawar Manbur, Kimberley, northwest Australia
Patterns of superposition in rock art are often used to systematically construct style sequences. However, once on the rock, images can affect subsequent engagements with the art, the rock surface, the site, and its surrounding landscape, and this recursiveness can be studied through the superimpositions (significantly overlaid markings) on a rock face. This is an opportunity for archaeologists to investigate the culture of engagement not just at…
Dating painting events through by-products of ochre processing: Borologa 1 Rockshelter, Kimberley, Australia
The ‘direct’ dating of rock art has proliferated since the development of accelerator mass spectrometry radiocarbon, uranium-series and optically stimulated luminescence dating, yet still, most rock art is not directly datable due to the mineral nature of the constituent pigments. Here we present another method: the recovery and dating by stratigraphic association of small buried fragments of ochre and dried paint drops deposited onto soft sedime…
Relational ontologies and performance: Identifying humans and nonhuman animals in the rock art from north-eastern Kimberley, Australia
Investigating the Anthropic Construction of Rock Art Sites Through Archaeomorphology: The Case of Borologa, Kimberley, Australia
Metal burial: Understanding caching behaviour and contact material culture in Australia's NE Kimberley
This paper explores identity and the recursive impacts of cross-cultural colonial encounters on individuals, cultural materials, and cultural practices in 20th-century northern Australia. We focus on an assemblage of cached metal objects and associated cultural materials that embody both Aboriginal tradition and innovation. These cultural materials were wrapped in paperbark and placed within a ring of stones, a bundling practice also seen in huma…
Linear Naturalistic Figures: A new Mid-to-Late Holocene Aboriginal rock art style from the northeast Kimberley, Australia
We argue for the inclusion of a new Mid-to-Late Holocene rock art style—the Linear Naturalistic Figures (LNF)—to the sequence of Kimberley rock art styles. These figures have been identified through formal and contextual analysis at 22 sites in the northeastern Kimberley. Linear Naturalistic Figures are primarily characterised by large naturalistic animal figures presenting a continuous or linear outline. An analysis of their subject matter and s…
Scratching the surface: Subtractive rock markings from the Cockburn Ranges, eastern Kimberley, Western Australia
This article deals with visual expression in the form of subtractive rock markings from the Cockburn Ranges, situated within the Balanggarra Native Title determination in the east Kimberley, Western Australia.We present examples of subtractive rock marking diversity, ranging from cupules and abraded grooves, recursive cultural practises in the form of battering and scratching of extant artworks, figurative and non-figurative images, potentially r…
Determining the origin and changing shape of landscape‐scale rock formations with three‐dimensional modelling: The Borologa rock shelters, Kimberley region, Australia
Archaeologists often wonder how and when rock shelters formed, yet their origins and antiquity are almost never systematically investigated. Here we present a new method to determine how and when individual boulders and rock shelters came to lie in their present landscape settings. We do so through 3D laser (LiDAR) mapping, illustrating the method by example of the Borologa Aboriginal site complex in the Kimberley region of northwestern Australia…
Dating painting events through by-products of ochre processing: Borologa 1 Rockshelter, Kimberley, Australia
The ‘direct’ dating of rock art has proliferated since the development of accelerator mass spectrometry radiocarbon, uranium-series and optically stimulated luminescence dating, yet still, most rock art is not directly datable due to the mineral nature of the constituent pigments. Here we present another method: the recovery and dating by stratigraphic association of small buried fragments of ochre and dried paint drops deposited onto soft sedime…
Minjiwarra: Archaeological evidence of human occupation of Australia’s northern Kimberley by 50,000 BP
Recent archaeological research in Australia’s north-eastern Kimberley has luminescence dated a large red sedimentary feature, known as Minjiwarra, with artefacts in stratified contexts from the late Holocene to ∼50,000 years ago. This site is located on the Drysdale River, with preliminary excavations undertaken as part of an ARC Linkage Project. Deeply stratified sites in association with rockshelters are uncommon across the NE Kimberley and bas…
Investigating the Anthropic Construction of Rock Art Sites Through Archaeomorphology: The Case of Borologa, Kimberley, Australia
Determining the origin and changing shape of landscape‐scale rock formations with three‐dimensional modelling: The Borologa rock shelters, Kimberley region, Australia
Archaeologists often wonder how and when rock shelters formed, yet their origins and antiquity are almost never systematically investigated. Here we present a new method to determine how and when individual boulders and rock shelters came to lie in their present landscape settings. We do so through 3D laser (LiDAR) mapping, illustrating the method by example of the Borologa Aboriginal site complex in the Kimberley region of northwestern Australia…
Metal burial: Understanding caching behaviour and contact material culture in Australia's NE Kimberley
This paper explores identity and the recursive impacts of cross-cultural colonial encounters on individuals, cultural materials, and cultural practices in 20th-century northern Australia. We focus on an assemblage of cached metal objects and associated cultural materials that embody both Aboriginal tradition and innovation. These cultural materials were wrapped in paperbark and placed within a ring of stones, a bundling practice also seen in huma…
Relational ontologies and performance: Identifying humans and nonhuman animals in the rock art from north-eastern Kimberley, Australia
Superpositions and superimpositions in rock art studies: Reading the rock face at Pundawar Manbur, Kimberley, northwest Australia
Patterns of superposition in rock art are often used to systematically construct style sequences. However, once on the rock, images can affect subsequent engagements with the art, the rock surface, the site, and its surrounding landscape, and this recursiveness can be studied through the superimpositions (significantly overlaid markings) on a rock face. This is an opportunity for archaeologists to investigate the culture of engagement not just at…
Scratching the surface: Subtractive rock markings from the Cockburn Ranges, eastern Kimberley, Western Australia
This article deals with visual expression in the form of subtractive rock markings from the Cockburn Ranges, situated within the Balanggarra Native Title determination in the east Kimberley, Western Australia.We present examples of subtractive rock marking diversity, ranging from cupules and abraded grooves, recursive cultural practises in the form of battering and scratching of extant artworks, figurative and non-figurative images, potentially r…
Linear Naturalistic Figures: A new Mid-to-Late Holocene Aboriginal rock art style from the northeast Kimberley, Australia
We argue for the inclusion of a new Mid-to-Late Holocene rock art style—the Linear Naturalistic Figures (LNF)—to the sequence of Kimberley rock art styles. These figures have been identified through formal and contextual analysis at 22 sites in the northeastern Kimberley. Linear Naturalistic Figures are primarily characterised by large naturalistic animal figures presenting a continuous or linear outline. An analysis of their subject matter and s…
Archaeology (9 works) · Pleistocene-Era Hominins and Archaeology (9 works) · Archaeology and Rock Art Studies (7 works) · History (7 works) · Rock art (7 works) · Archaeology and ancient environmental studies (6 works) · Geography (6 works) · Geology (6 works) · History (6 works) · Art (5 works)