Archaeology in Oceania最新文献

Adze quarries and sources are some of the most visible, unique and well-preserved Polynesian archaeological sites where stone technology, intensification of production, other aspects of economy, social organisation and ritual practices are anchored together on the landscape. The production and exchange of adzes are associated with complex interaction networks connecting islands and archipelagos up to 4000 km distant making adzes amongst the most widely transferred tools in the Neolithic world. Our review of Polynesian adze quarries and sources demonstrates that site descriptions are uneven hampering regional comparisons based on size, production output and internal complexity. We therefore provide suggestions for future research with the overall goal of making comparisons between these sites more meaningful. We believe it is an exciting time to be studying one of the most important site classes in archaeology not just to know how stone adzes were made, but what we can also learn about the development and variability of complex societies across Polynesia.

Across the Australian continent, backed artefacts are produced in enormous numbers during the mid-late Holocene. Previous examinations have revealed variation in the average shape of these artefacts, at both continental and regional scales. To better understand the factors creating this variability, we examine a large assemblage of backed artefacts from Ngungara (Weereewa/Lake George), in south-eastern Australia. This is one of the few open sites in Australia which has high-resolution evidence for spatially distinct, short-term workshops. Within these well-bounded workshops both locally manufactured and imported backed artefacts are present. However, across this landscape the shape of these artefacts is not uniform; rather, similarly shaped backed artefacts are concentrated in different workshop areas. Through the analysis of backed artefacts in different workshops, we suggest that “insert copying” or the replacement of spent inserts with similarly shaped, locally manufactured artefacts creates variability in backed artefact shape.

The Wellington Range region, in far Northern Australia, provides a remarkable record of cultural encounter. Cathedral-sized rock art galleries include contact imagery referencing Macassan and European visitors while lithic artefact assemblages echo social mobility between Indigenous groups occurring from at least the mid Holocene period. In this paper, we continue the trajectory of archaeological research in this region by examining community entanglement over the longue durée, focusing on the Mayarnjarn rock-shelter complex. Specifically, and following advice from traditional custodians, the authors complement archaeological excavation results with reflections on interactions between Traditional Mawng speaking Owners and archaeologists occurring during the 2016 and 2018 field seasons. This paper provides a cultural chronology built around both OSL and radiocarbon dates, a first for the region, indicating site activities dating from the terminal Pleistocene. An increase in exotic artefacts and presence of paintings belonging to a pan-Arnhem land rock art tradition suggests widening social networks during the Holocene. Insight into the nuanced nature of interactions, also the role of animate objects as relationship referents, emerge through ethnography and experience as the field season unfolds.

Hand stencils directly represent modern humans in landscape settings around the world. Yet their social and cultural contexts are often overlooked due to the lack of ethnography associated with the artwork. This paper explores the hand stencils from Kundumbue and Pundimbung rock art sites, situated in the traditional boundaries of the Auwim people in the East Sepik Province of Papua New Guinea. Combining archaeological rock art analysis with ethnographic knowledge, we demonstrate that the hand stencils are a priority in each clan's place-making practices, around which they construct the community's social narratives. Rock shelters and their rock art also show a form of communal history that is evoked through their production in contemporary settings, in addition to having been a form of esoteric magic in the past. We conclude that hand stencils can have multiple meanings over time and across space as a widespread cultural marker. However, aspects of the identities of individuals, groups and communities who created the now static hand imagery, remain in place.

Over millennia, and right across the globe, people have invested time and energy to create cultural landscapes that revolve around or incorporate powerful stones. Questions about the structured nature, distribution, source, or placement of stones (both within physical and meta-physical worlds), pose intriguing theoretical and methodological challenges. Emic and etic perspectives may provide additional insights into the complex (often animate) nature of the stone, the purpose of which varied radically between communities. In this special number of Archaeology in Oceania we explore some of the ways in which First Nations and non-Indigenous archaeologists address these potent features and objects, across widely varying chrono-cultural contexts in the Australia–Pacific region.