Although it is best known as Australia's oldest archaeological site, Madjedbebe also includes an extensive assemblage of rock art motifs on the walls. In 2012 a research team from the
Australian National University systematically documented the rock art at the site, under the auspices of the Mirarr Gunwarddebim Project. The team recorded more than 1000 motifs at the site. As many of the images are faded, and many overlap, this is the minimum number of motifs the site that can be seen today; presumably in the past there were many more present that no longer survive. The Madjedbebe motifs are mostly paintings (created using wet paint), but there are also some stencils (where a negative image is created by spraying wet paint around the outside of an object held up against the wall), drawings (created by dragging a piece of dry ochre or charcoal across the wall) and beeswax figures (created by applying small, rolled up pieces of beeswax to the wall surface). A variety of different coloured pigments have been used to create the art at Madjedbebe. These are mostly
ochres (red, yellow and orange), but many are also white clay (
kaolinite) and some black charcoal. Rock art is highly significant for the Mirarr people. The same image can convey different meanings to different people, depending on their cultural standing. The Madjedbebe motifs include many human-like figures ('anthropomorphs'), geometric designs, hand stencils, fish (including catfish, barramundi, freshwater long-tom, mullet and saratoga), fibre objects, and objects from the 'European-contact period'. The latter include firearms, European people (wearing clothing, hats and standing in a characteristic 'hands on hip' manner), pipes, knives and ships. There are no
absolute ages for any of the rock art motifs at Madjedbebe. Instead, the art has been dated using
relative techniques. This suggests that the majority of the art presented today was created in the last 1500 years, though some motifs may be several thousand years old. It is highly likely that the tradition of painting in the site is far older than this, with older paintings having faded away or been painted over. Of relevance here are the fragments of ochre recovered from the lowest occupation levels during the 2012 and 2015 excavations at Madjedbebe, some of which have ground facets. These are a tantalising suggestion that even at this early time people were engaging in some form of artistic pursuit, whether that was painting motifs on the walls of the shelter, or decorating objects or themselves with the ground ochre. ==References==