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Crayback stalagmites have mainly been reported from New South Wales, Australia. Here we document a small crayback in the entrance of Painted Cave (Kain Hitam), part of the Niah Caves complex in Sarawak, Borneo. Measuring some 65 cm in length and 18 cm in height, this deposit is elongate in the direction of the dominant wind and thus oriented towards the natural tunnel entrance. It shows the classic humpbacked long profile, made up of small transverse segments or plates, in this case the tail extending towards the entrance. The dark blue-green colour down the centre suggests that cyanobacterial growth follows the track of the wind-deflected roof drip. The dry silty cave sediment provides material for accretion onto the biological mat. This is the only example known from Borneo and one of the very few known from outside of Australia
Various geomorphologists such as Bögli, Corbel and Lehmann have in recent years demonstrated the interest that certain simple chemical analyses of natural waters can have for the comparison of rates of limestone solution in different in different climatic conditions. They can also have their relevance for the tracing of underground water connections as Oertli (1953) has shown in the example of the Slovenian part of the classical Yugoslavian karst. Since 1957, the writer has therefore been making such analyses of waters from Australian limestone areas. The chief significance of these measurements comes when one caving area is compared with another. M.M. Sweeting (1960) has already commented briefly on observations from Mole Creek, Tasmania, Buchan, Victoria and the Fitzroy Basin, Western Australia, made in 1958-59 by herself and the writer; further discussion will appear in a forthcoming publication of ours on the Limestone Ranges of the Fitzroy Basin. Nevertheless measurements of this kind can have a certain intrinsic interest as it is hoped to show in the following notes on the few observations I made at Yarrangobilly. These observations are set out in tabular and Trombe graph forms; the locations of the collecting points are shown on the map.
Beetles form an important element of life in caves, where they provide some of the most spectacular examples of adaptation to the environment. The troglobic forms are of greatest interest from the zoogeographical point of view and their present distributions, which are largely limited to the temperate regions of the world, appear to have been determined by the glaciations and later climatic changes of the Quaternary. Troglophiles, which are much more widespread, show little adaptation and are almost certainly recently evolved cavernicoles.
This paper discusses hand stencils and imprints found in caves and rock shelters throughout the world, and considers their possible origin and significance. It discusses the paleolithic hand paintings of France and Spain, and presents some of the meanings attributed by various authors to this form of art. Particular mention is made to mutilation found in many of the hand stencils. Reference is made to historic and recent examples of these hand paintings. Australian aboriginal hand paintings in limestone caves and rock shelters are also considered and their meanings discussed. The similarity of Australian and European hand imprints is pointed out. Special reference is made to hand stencils found in caves on the Nullarbor Plain, Southern Australia. It appears that stencils in Abrakurrie Cave show the deepest penetration of aboriginal art yet recorded inside caves in Australia.
Kitava is the most easterly island of the Trobriand group. It is an uplifted coral atoll, oval in plan, with a maximum diameter of 4 1/2 miles. The centre of the island is swampy and surrounded by a rim that reaches a height of 142 m. Caves occur in various parts of the rim and several have been described in a previous article (Ollier and Holdsworth, 1970). One of the caves, Inakebu, is especially important as it contains the first recorded cave drawings from the Trobriand Islands. Inakebu is situated on the inner edge of the island rim at the north-eastern end of the island. Map 1 shows the location of the cave on Kitava Island. Map 2 is a plan of the cave, surveyed by C.D. Ollier and G. Heers. The location of the cave drawings is shown on the plan. Inakebu is a "bwala", that is a place where the original ancestor of a sub-clan or dala is thought to have emerged from the ground. The bwala tradition is common throughout the Trobriands and neighbouring islands. It has been described by many writers on the anthropology of the area, and was summarised in Ollier and Holdsworth (1969). The people believe that if they enter such places they will become sick and die. Until November, 1968, no member of the present native population had been in the cave, though there is a rumour that a European had entered it about 20 years before, but turned back owing to lack of kerosene. It must be admitted that this tale sounds rather like the stories one hears in Australia that Aborigines were afraid of the dark caves and therefore did not go into them. In fact, the many discoveries in the Nullarbor Plain caves show that they did, and the cave drawings in Inakebu show that someone has been in this cave. The point is that it does not seem to be the present generations who entered the caves but earlier ones; people from "time before" as they say in New Guinea. The first known European to enter the cave was Gilbert Heers, a trader in copra and shell who lived on the nearby island of Vakuta. He went into the cave on 8 November 1968 accompanied by Meiwada, head of the sub-clan associated with Inakebu, who had never been inside before. Heers and Meiwada investigated the two outer chambers but then turned back because they had only poor lights. They returned with better light on 15 November. Since they had not become sick or died, they then found seven other men willing to accompany them. They found the narrow opening leading to the final chamber, and discovered the drawings. None of the men, many of whom were quite old, had ever seen the drawings or heard any mention of them before. The drawings are the only indication that people had previously been in this deep chamber. There are no ashes or soot marks, no footprints, and no pottery, bones or shells such as are commonly found in other Trobriand caves, though bones and shells occur in the chamber near the entrance. With one exception, the drawings are all on the same sort of surface, a clean bedrock surface on cream coloured, fairly dense and uniform limestone, with a suitably rough texture. Generally the surface has a slight overhang, and so is protected from flows or dripping water. On surfaces with dripstone shawls or stalactites, the drawings were always placed between the trickles, on the dry rock. We have found no examples that have been covered by a film of flow stone. The one drawing on a flow stone column is also still on the surface and not covered by later deposition. A film of later deposit would be good to show the age of the drawings, but since the drawings appear to have been deliberately located on dry sites the lack of cover does not indicate that they are necessarily young. There are stencil outlines of three hands, a few small patches of ochre which do not seem to have any form, numerous drawings in black line, and one small engraving.
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