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 water buffalo into Aboriginal cultural life. Merging archaeological analysis, rock art and ethnographic accounts, the article demonstrates how such artworks were used as a tool for maintaining order in times of dramatic social change. The results of this research have significant implications for understanding how cultural groups and individuals worldwide used rock art during periods of upheaval.

As there are so many Australian Aboriginal and Torres Strait astronomies and cosmologies, commonalities are unusual. However one of the ‘things belonging to the sky’ that seems common to all groups across the continent is the open star cluster of the Pleiades. Yet interpretations of this cluster vary. So far I have tentatively identified four different cultural areas, the first being most of mainland Australia; the second being the islands south of mainland Australia known as Tasmania; the third being the cultural area of north-eastern Arnhem Land; and the fourth being the cultural area of the Torres Strait Islands. Within these areas, versions of the stories vary as contemporary circumstances change.

The discovery of rare bird stencils from a unique Australian rock art complex is reported, the species they most closely resemble is discussed and their significance in terms of world rock art and climate change is highlighted.