Although notions of resistance are not new in rock art research concerning cross-cultural colonial encounters, this study shows how multiple dimensions of Indigenous resistance can be explored through a multidisciplinary analysis of rock art in northern Australia. The study explores the intersections between introduced “Western” and pre-existing “traditional” motifs in rock art near Yingalarri waterhole in Wardaman Country, Northern Territory, analysing the visual conventions and superimpositions with an eye towards Wardaman epistemological engagements with rock art and experiences of colonial occupation. These intersections reveal further dimensions of Wardaman responses to colonial occupation, including the negotiation of shifting inter-regional relationships and engagements with Country as well as the continued emphasis on inherited artistic practices. The study also explores the continuing role that rock art, and its interpretation, plays in Indigenous colonial resistance. Wardaman discussions of introduced motifs documented during the 1988–1991 Earthwatch project brought the paintings out of the past, giving them contemporary significance via kinship connections and narratives of survival that challenge colonial efforts to erase Indigenous experiences of early colonial contact and occupation. The paper contributes to archaeological understandings of inter-regional connections between northern Australian rock art regions and rock art production and discussion as a means for Aboriginal resistance and remembrance after the arrival of Europeans.

中文翻译：

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通过岩石艺术进行抵抗和记忆：澳大利亚北部沃达曼国家接触时期的岩石艺术

尽管抵抗的概念在关于跨文化殖民遭遇的岩石艺术研究中并不新鲜，但本研究表明如何通过对澳大利亚北部岩石艺术的多学科分析来探索土著抵抗的多个维度。该研究探讨了北领地 Wardaman Country 的 Yingalarri 水坑附近岩石艺术中引入的“西方”和预先存在的“传统”图案之间的交叉点，分析了视觉惯例和叠加，着眼于 Wardaman 认识论与岩石艺术的接触和经验殖民占领。这些交叉点揭示了沃达曼对殖民占领的反应的更多方面，包括就改变区域间关系和与国家的接触进行谈判，以及继续强调继承的艺术实践。该研究还探讨了岩石艺术及其解释在土著殖民抵抗中的持续作用。Wardaman 对 1988-1991 年地球观察项目期间记录的引入主题的讨论使这些画作脱离了过去，通过亲属关系和生存叙事赋予它们当代意义，挑战殖民者为抹去早期殖民接触和占领的土著经历的努力。