Andrea JalandoniGriffith University · Place, Evolution and Rock Art Heritage Unit (PERAHU)
Andrea Jalandoni
Doctor of Philosophy
About
34
Publications
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197
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Citations since 2017
Introduction
Andrea Jalandoni currently works at the Place, Evolution and Rock Art Heritage Unit (PERAHU), Griffith University. Andrea does research in Digital Archaeology focused on rock art.
Skills and Expertise
Publications
Publications (34)
Structure from motion (SfM) photogrammetry and geographic information system (GIS) tools were used to document an engraving site in Bontoc, Philippines. The natural discolorations of the rock obfuscated the engravings rendering traditional recording methods ineffective. Using a GIS software not only highlighted the engravings by applying an algorit...
Structure-from-Motion (SfM) has made 3D modelling mainstream in rock art research. However, a 3D model is just one level of data, one tier up from the raw data of photographs. By recognising that SfM is a form of remote sensing, it opens up the resulting 3D models to other forms of analysis used in remote sensing. There is a gap between all the raw...
The intensity values of terrestrial laser scanning (TLS) can be used to reveal painted black rock art behind graffiti and moss. The effect was observed in Gumahon cave in Peñablanca, Philippines where previously unnoticed black pigment was exposed underneath moss, red and white painted graffiti, and etched name graffiti. The application of TLS inte...
This paper integrates the first rock art directly dated with radiocarbon ( ¹⁴ C) in Southeast Asia with the archaeological activity in the area and with stylistically similar rock art in the region. Peñablanca is a hotspot of archaeological research that includes the oldest dates for human remains in the Philippines. The caves in Peñablanca with kn...
Inventories of a rock art site often do not include tracings due to time and budget constraints, however they are still important for aiding interpretation. While digital inventories from 3D models are expediting the documentation process, on-screen digitization is still tedious. We propose a method of automated tracing using opensource spatial alg...
From 1912, British anthropologist W. Baldwin Spencer and buffalo-shooter Paddy Cahill collected 163 bark paintings made by artists who also painted in rock shelters in western Arnhem Land, Northern Territory. Spencer made detailed notes about the bark paintings, secret/sacred objects, and other material culture he collected and some rock art, as we...
Guåhan (Guam), part of the Mariana Islands in the western Pacific, has an archaeological record spanning almost four millennia. In this seminal academic paper on the use of lidar for archaeological investigation on Guåhan, we determined which known sites can be visually detected to explore the effectiveness of lidar in this context. Several archaeo...
Rock art is globally recognized as significant, yet the resources allocated to the study and exploration of this important form of cultural heritage are often scarce. In areas where numerous rock art sites exist, much of the rock art is unidentified and therefore remains, unrecorded and unresearched. Manually identifying rock art is time-consuming,...
A large sandstone rock art site, Marra Wonga, near Barcaldine, central Queensland, is the focus of this paper. This 160-metre-long rock shelter is estimated to have over 15,000 petroglyphs, which are mostly animal tracks, lines, grooves and drilled holes, as well as 111 hand-related and object stencils. There is also a cluster of human-shaped foot...
Depictions of mythical beings appear in many different forms of art world-wide, including
rock art of various ages. In this paper we explore a particular type of imagery, back-to-back figures, consisting of two human-like figures or animals of the same species next to each other and facing in opposite directions. Some human-like doubles were joined...
en This paper provides a complete overview of all the known rock art sites to demonstratethe variation in motifs and techniques used in the Philippines, outline the indigenous associations, and highlight issues for conservation. In addition, new findings are introduced that include a second rock art site in Alab and previously unnoticed styles of r...
The introduction of new animals into hunter-gatherer societies produces a variety of cultural responses. This article explores the role of rock art in western Arnhem Land, Australia, in helping to mediate contact-period changes in Indigenous society in the nineteenth century. The authors explore etic and emic perspectives on the 're-emergence' of w...
During recent detailed recording of Nanguluwurr, a rock art site that is part of the Burrungkuy (Nourlangie) complex of cultural sites in Kakadu National Park, Australia, the data showed discrete clusters of specific motif types distributed throughout the length of the gallery. This paper focuses on the spatial distribution of the main motif cluste...
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...
In this paper, a previously undescribed rock art style consisting of large human figures and animals with stroke-line infill is introduced. These depictions have been named Maliwawa Figures. They are primarily found in northwest Arnhem Land and to date have been recorded at 87 sites from Awunbarna (Mount Borradaile area) to the Namunidjbuk clan sta...
Creating an inventory of a rock art site in the field can be time-consuming and expensive, but Structure-from-Motion (SfM) photogrammetry has the potential to alleviate these issues. Using SfM, rock art sites can be recorded rapidly, with a 3D model created to allow a digital inventory to be compiled. However, the veracity of a digital inventory ca...
This paper presents findings from a recent study of the Anbangbang Gallery in the Burrungkuy (Nourlangie) site complex of Kakadu National Park, Australia. Using new technologies alongside established methods for rock art documentation, we discuss the complexity and uniqueness of Anbangbang Gallery as an icon of Australian rock art. We have taken a...
Majuro Atoll in the central Pacific has high coastal vulnerability due to low-lying islands, rising sea level, high wave events, eroding shorelines, a dense population center, and limited freshwater resources. Land elevation is the primary geophysical variable that determines exposure to inundation in coastal settings. Accordingly, coastal elevatio...
Even though Southeast Asia is one of the most densely populated regions of the world, its rock art is relatively unknown, and the rock art of
Micronesia is even less so. As a starting point for comparing Philippine rock art within the region, a systematic quantitative literature review
(SQLR) was conducted to assess the current body of accessible p...
This paper looks at the current state of e-research strategies in rock art on the example of the Global Rock Art Database, global and
Australian e-research communities. It examines current practice, attitudes and requirements for discipline specific research methods in
an integrated data management cycle approach. Analysing qualitative and quantita...
The cover image, by Andrea Jalandoni and Maria Kottermair, is based on the Research Article Rock art as microtopography, DOI: 10.1002/gea.21677.
The rock art of Angono is the most famous and controversial rock art site in the Philippines. It has been 50 years since the rock art was discovered, studied and interpreted. This paper identifies two phases of rock art production and uses 3D modelling and Geographic Information System (GIS) enhancements to corroborate the interpretation. Furthermo...
Atoll and island coastal communities are highly exposed to sea-level rise, tsunamis, storm surges, rogue waves, king tides, and the occasional combination of multiple factors, such as high regional sea levels, extreme high local tides, and unusually strong wave set-up. The elevation of most of these atolls averages just under 3 meters (m), with man...
The discussion of digital photogrammetry and/or 3D laser scanning for recording the geometry of rock art sites is
not new, but the production of high-quality 3D models requires great expenditure and specialized personnel that
are not accessible to everyone or applicable to all sites. While the use of low-cost cameras and photogrammetry
has been sug...
Using a late seventeenth century map of Jesuit religious structures and native Chamorro communities on Guam, this chapter explores the possible impacts of early Spanish colonialism, in the period just prior to La Reduccion , on the island as reflected in the rather sparse record of Contact Period archaeological remains at these same communities. Is...
Located in the northern tropical Pacific Ocean, Majuro is the capital of the Republic of the Marshall Islands. Majuro Atoll consists of a large, narrow landmass and a set of smaller perimeter islands surrounding a lagoon that is over 100 square miles in size. The waters surrounding the Majuro Atoll land areas are relatively shallow with poorly mapp...
Informe arqueológico de la campaña de campo 2016 en “Casa Real” (Refugio Nacional de la Vida Salvaje, Ritidian, Guam). Este informe recoge el trabajo de campo arqueológico realizado durante mayo-junio de 2016 en el área del Refugio de la Vida Salvaje de Ritidian, en el norte de Guam. Durante el mismo, hemos podido documentar, entre otros, los resto...
The submarine Marigondon Cave (MC) is not only one of the most spectacular diving caves but also an unstudied, submerged rock-shelter with potential for intact stratigraphy. The Marigondon Cave yielded two rock samples, one coral limestone fossil with a travertine mantle, and a sclerosponge specimen that provided evidence to understand the external...
Projects
Projects (4)
This project aims to investigate historical Aboriginal responses to ‘contact’ with newcomers to their land. It will generate new knowledge using systematic recordings of rock art and bark paintings created during the last 400 years in western Arnhem Land. The analysis of these key visual first-hand records of Australia’s history, together with documentation from digital archives and other media, will lead to new ways of understanding Aboriginal history. Drawing on multiple forms of media, we will examine how Aboriginal people used graphic systems to navigate threats and opportunities in northern Australia.
Our focus is:
* The rock art of Awunbarna (Mt Borradaile)
* The Spencer/Cahill bark painting collection at Museums Victoria
Partners: Injalak Arts & Davidsons Arnhemland Safaris
This research project focuses on pathways across the Burrungkuy area of Kakadu National Park. We aim to develop a better understanding of the archaeology, recent history, and the long-term protection of the landscape, sites, rock art, and cultural knowledge associated with this World Heritage area. The project is a collaboration between Griffith University, Parks Australian, Senior Traditional Owner Jeffrey Lee, the Australia Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) and the University of Notre Dame Australia (UNDA). Our work merges some key themes in rock art documentation and conservation that have been developed over many years in western Arnhem Land and Kakadu. The project began in April 2018 and runs until 2024.
This project is a major case study of the Australian Research Council (ARC) funded program ‘Australian rock art history, conservation and Indigenous well-being’ led by Professor Paul S.C. Taçon at Griffith University.
The aim of this project is to ensure the most precious aspects of tangible heritage Indigenous people say needs safeguarding – rock art landscapes – are better conserved, appreciated and understood for the benefit of contemporary communities and future generations.
The project has three key research questions:
1) Why are rock art complexes important for Indigenous people and especially for Indigenous well-being?
2) How can we better conserve and manage rock art landscapes for the benefit of future generations?
3) Why is there currently little rock art conservation concern in Australia compared to many other countries and why do rock art sites continue to be threatened by economic activity (such as mining, agriculture and infrastructure development) before their economic contribution and social values are evaluated?
