Calga Aboriginal Cultural Landscape facts for kids

The Calga Aboriginal Cultural Landscape is a special place in Calga, Australia. It is on Peats Ridge Road, in the Central Coast area of New South Wales. This site is also known as the Calga Aboriginal Women's Site or Calga Aboriginal Sites. It was added to the New South Wales State Heritage Register on October 1, 2019, because of its important history and cultural meaning.

History of Calga's Aboriginal Heritage

What is a Songline?

The Calga Aboriginal Cultural Landscape is found along a main ridge called Peats Ridge. This ridge was a traditional Aboriginal walking path. It connected the Hawkesbury and Hunter rivers. Aboriginal people often used ridgelines to travel through tough country. They used these paths to visit other groups for trade or ceremonies. These routes were like shared highways. Along them, people could travel through other groups' lands safely. Today, many modern roads in Australia follow these ancient Aboriginal paths. Peats Ridge Road is one example.

Aboriginal people call these routes "songlines." They believe that powerful ancestral beings created these paths. These beings, like Baiame, Bootha, and Daramulan, travelled across the land long ago. Their journeys are remembered through traditional songs and stories. The landscape itself shows where these beings acted. This includes rock engravings, natural landmarks, and waterholes. Songlines are like maps that teach people about the Dreaming. The Dreaming is a time when ancestral beings created the world. It also teaches about laws and how to care for the land. Travelling these songlines helps people learn about their culture.

Who are the Ancestral Beings?

Aboriginal people believe that ancestral beings left their mark on the Calga landscape. Many Aboriginal groups in southeastern Australia share beliefs in these creator beings. They have different names and stories in different areas. In the Sydney region, three main ancestral beings are important. They travelled the land during the Dreaming. They performed deeds and created the world as it is today.

These three main figures are Baiame, his wife Bootha, and their son Daramulan. Stories about their travels and deeds change from place to place. But the belief in their role in creating the world connects many Aboriginal nations. These figures are not just from the past. They are believed to still be part of life and ceremonies today. In some areas, Baiame and Daramulan are seen as the same being. However, in Darkinjung country, they are known as father and son. These ancestral heroes are often shown in rock art. They might be larger than life, or have human and animal features.

Local Darkinjung and Guringai communities say that Baiame and Bootha first told other ancestral beings to create the land. One of these was Echidna, who travelled north. Baiame and Bootha also travelled. They eventually came to Baiame Cave in Wonnarua Country. Art in Baiame Cave shows Baiame protecting the Hunter Valley. Many Aboriginal people believe that after creating the world, Baiame stepped on Mt Yengo. Then he went up into the sky. From the sky, he watches over people. Places Baiame visited are sometimes marked with his footsteps.

According to local communities, Bootha first held the law. She gave it to her son Daramulan. He then gave it to Aboriginal people through initiation ceremonies. These ceremonies are called Bora, Burbung, or Boraba. Daramulan is often shown in rock art as a male figure. He might have a club foot or one leg. Sometimes he is shown as an emu. Boys are called to initiation by the sound of a bullroarer. This sound represents Daramulan's voice. The law of Daramulan teaches boys to become men.

Bootha's totem is also the emu. She is sometimes shown as an emu-woman. Her special name is rarely spoken. Aboriginal people across eastern Australia understand Daramulan's role. He is Bootha's son and a key figure in initiation. The emu story stretches from the Pacific Ocean to the Northern Territory.

Aboriginal people see the Calga site as an important ceremonial place. It is strongly linked to these creation beings. At the women's site, a large female figure is engraved. Its size and special details show it is Bootha, Baiame's wife. A large emu and footprint engravings are also nearby. The footprint is believed to be Baiame's. The emu is Daramulan. The area is shaped like a womb. This shape protects the site. It provides privacy and resources for Bootha and ceremonies.

The eastern part of the site has many carvings linked to Daramulan. An emu with a three-toed foot is seen as Daramulan in emu form. A human figure pointing west is a "guide" to men's ceremonial grounds. A one-legged human figure is Daramulan calling mothers. He calls them to bring their sons for initiation. This is where they learn the Law Bootha gave him.

The landscape's womb-like shape protects the area. Its location near the songline is important. The Calga Aboriginal Cultural Landscape is seen as the place where Daramulan came to be. It is where he first received the Law. It also marks where boys were separated from their mothers. They would "die" as boys and be "reborn" as men. It is a place where Law is respected and passed on.

What is a Cultural Landscape?

A "cultural landscape" is a place shaped by both nature and people. An Aboriginal cultural landscape is special to Aboriginal groups. They value it because of their long connection to the land. It shows their link to the natural and spiritual world. It holds their traditional knowledge of spirits, places, and how to use the land. There might be physical signs of this connection, or they might be hidden.

In the 1990s, people started to understand Aboriginal heritage better. It was no longer just about physical objects like rock art. It became about rich, meaningful cultural landscapes. These landscapes have many layers of meaning. They show the deep connection Aboriginal people have with their country.

In 2019, the NSW government officially recognized cultural landscapes. They said that features in a landscape are connected. You cannot look at them alone. You must consider them as a whole. This means working closely with Aboriginal people. By doing this, the stories behind the features can be told. This shows how Aboriginal objects and other parts of the landscape are linked.

Studying the cultural landscape helps us understand the connection of Aboriginal people to their ancestors and country. The womb-shaped valley includes a women's ceremonial area. It also has an area important to men, linked to Daramulan. This area tells how Daramulan came to be and passed on the law. There are also shelters and camp areas. These supported groups before ceremonies.

The Calga Aboriginal Cultural Landscape has many layers of meaning. These layers are both visible and invisible. Across the site, there are journey and direction markers. These include the land's shape, water, plants, rock art, and stone arrangements. They traditionally shared information. This included directions, boundaries, and stories. This knowledge is passed down through generations. It depends on age and gender.

Moving through the Calga site involves interpreting these signals. This happens along natural paths. The landscape also offers privacy and important views. The land and plants have special meanings. They connect memories, stories, and beliefs to the cultural landscape.

Cultural Law and Gender Roles

Many symbols at the site are linked to secret women's business. For Aboriginal people in southeastern Australia, cultural law guides many parts of life. This includes hunting, fishing, and spiritual matters. Cultural law sets rules for behavior. It was established by ancestral beings during the Dreaming. This law is passed down through stories, songs, dances, and ceremonies. It covers rules for rituals, family, and caring for sacred places. A key part of this law is caring for country. Men's and women's ceremonies show the differences between sexes. They also show how they rely on each other.

Women's Business at Calga

For women, ritual duties, stories, songs, and knowledge are passed down. This happens at the right age. Women's business includes ceremonies for female life stages. For example, birth, puberty, and childbirth. It can also include social ceremonies for healing or relationships. This knowledge connects Aboriginal women to each other and to their ancestors.

Sometimes, secrecy is needed. Men and children might be excluded for their safety. Or because their presence could affect the ceremony. There are consequences for disrespecting cultural law.

The womb-shaped amphitheatre is important for women's business. Its shape, views, plants, engravings, and stone arrangements show it is a sacred area for women. Research and local Aboriginal knowledge confirm this. This area on the northern ridge is a place for teaching and ceremony. It is linked to sacred women's business. It is believed that Baiame, Bootha, and Daramulan marked this landscape. It is seen as Daramulan's birthplace. It is also where Bootha first gave the law to Daramulan. And where young women were initiated into sacred women's business. More details about this area cannot be shared publicly. This is out of respect for cultural sensitivities.

Beyond this sacred area, other parts of the landscape are important for women. For example, a southern area has a cave with red hand stencils and ponds.

More study of the site could help us understand how Aboriginal people, especially women, connected with the landscape. This is important because historical records often focused more on men's ceremonies.

European Settlement and Changes

The inland areas of the Central Coast were rugged. So, places like Calga remained undeveloped for a long time after European settlement. The land was set aside in 1915. But it wasn't until 1931 that it became available for farms. This was part of a program to help soldiers returning from war. The land was described as gently sloping with rocky ledges.

Over time, the land changed hands often. In the 20th century, it was used for citrus orchards. But much of the land was too steep and rocky for farming. A small area was also mined for shale. These activities might have affected natural features or art. But they are not thought to have broken the cultural connections across the site.

In the 1960s, a local resident reported that a "blackfellows' ground" was uncovered when land was cleared. This likely meant Aboriginal objects were disturbed.

Building Peats Ridge Road in the late 1960s caused big changes. It destroyed some known sites along the ridge. This included a Daramulan engraving and Baiame's footsteps. Other reported engraving sites in this area might also have been destroyed.

Even with these changes, Aboriginal communities still value the links between these sites. The connection between the songline and Calga is still visible. For example, an engraving of a pregnant woman near Peats Ridge Road is a way marker for pregnant women.

Other civil works, like an electrical line, also cross the site. These works might have affected natural features or art. But they are not believed to have broken the visual or symbolic connections. They do not stop ongoing work to understand the landscape's traditional meaning.

Recent Developments and Quarrying

From the 1960s, sand and clay quarrying began in the area. Early quarrying was small-scale. In 1990, a court ordered quarrying to stop. In 1991, a new company, Calga Sands Pty Ltd, got approval to restart. Rocla Materials Pty Ltd took over in 2002. In 2004, Rocla proposed to expand the quarry. This was approved in 2005. These works greatly changed the northern ridge of the natural amphitheatre. The ability to find and understand sites on this high point is now lost.

To the west, the property has been Glenworth Valley since 1972. It started as a horse riding business. Now it includes outdoor activities like quad biking and kayaking.

To the south, Popran National Park was created in 1994. It protects native plants and animals. It is an important wildlife corridor.

To the southeast, a wildlife sanctuary has been open since 2001. It was started by Barry Cohen. It was originally called Calga Springs Sanctuary. New owners bought it in 2005 and expanded it. It is surrounded by a fox and cat-proof fence. It is home to about 180 species of animals.

Reconnecting with the Women's Site

The "women's site" has a rare engraving of a woman. It was first recorded in 1962. It was later found again in 1993 and 2006. At that time, it was covered by leaves and roots.

The landowner, Rocla Quarries, hired experts to study the impact of the proposed mine expansion. Many Aboriginal sites were found near the "women's site." These included stone arrangements, rock engravings, and shelters with art.

During these studies, it was found that some Aboriginal community members had lost knowledge of the specific "women's site." This happened because of past government policies. But when local Aboriginal people rediscovered the site in 2005, they immediately knew it was a rare and important sacred women's site. This confirmed local oral history.

After this, the community came together. They combined their cultural knowledge to understand the site. Local Aboriginal women said this reconnection helped bring people together. People held different parts of the site's story. This effort helped heal the cultural impact of colonisation. It also showed the traditional way knowledge is passed down. Different people learn different parts of cultural law based on age, gender, and role.

Graham Walsh explains this gradual learning:

'All over Australia the stories, great and small, are told to the proper people at the proper time. The paths of the creator-powers link up the places where their mighty deeds took place and where other powers left descendants of Wallaby, Emu, Goanna, Yam and a host of others. Teachings are often followed, correct observance of ritual carries the religious law down through the generations, and only in old age can any person expect to have the great wisdom of dreaming, to receive the secret keys which unlock real understanding'

—Graham Walsh

Warpiri elder, Wanta Jampijinpa, also talks about sharing knowledge:

'There are "few who still know how to listen to country. Our libraries exist within the country. They are embedded in our land archives and in our people. There is so much to learn within this country. Feeding each other stories keeps us from being hungry. Sharing it is like leading each other back home".

—Wanta Jampijinpa

The community also said that reconnecting with the Calga Aboriginal Women's Site helped unite the Central Coast Aboriginal community. They believe the site itself has a power that brings women together. It helps them learn and share Aboriginal culture.

This reconnection has allowed female elders to teach young girls about Aboriginal culture and womanhood. Tracey Howie describes it:

'it is in our being....it is in us...it is our skin... for us to teach and support our fore-girl leaders emerging from our future leading women. Connection with this site and its surrounds, brings together a unity of continued learning, bringing together females, to share knowledge of Aboriginal culture across a diverse range of backgrounds'.

—Tracey Howie

Uniting to protect the site was important for many Aboriginal women. It confirmed their Aboriginal identity. It also showed their value and right to be heard as Aboriginal women. This movement was reported in local newspapers. It has had a lasting impact on the community.

The community has continued to protect the site's values. Aboriginal communities across Australia recognized its importance in 2018.

Quarry Extension and Court Case

In 2006, Rocla proposed to expand the Calga Sand Quarry. This new quarry would dig a large area up to 30 metres (98 ft) deep. The sandstone would be crushed into sand for construction. The project was approved in 2013.

In 2015, the New South Wales Land and Environment Court stopped the quarry expansion. Two groups had appealed the approval. The case was heard over 17 days.

The appeal was brought by the Australian Walkabout Wildlife Park and the Darkinjung Local Aboriginal Land Council. Rocla Materials Pty Ltd owned the land. The Minister for Planning was also involved.

The hearing mainly focused on the quarry's impact on Aboriginal cultural heritage. The groups appealing said the rare Women's Site was part of a larger cultural landscape. This landscape had unique values at local, regional, and state levels. Rocla argued that the area had "hotspots" like the women's site, with "free land" between them. Rocla suggested a 60-metre (197 ft) "buffer" around the Women's Site. But the groups appealing said this buffer would isolate the site. It would destroy the cultural landscape that made it important.

The court found strong evidence of a cultural landscape around the Women's Site. It connected to other sites. It included both visible and invisible elements. The court also said there was potential to find new important sites. These could add to the significance of known sites. The court stated that assessing Aboriginal heritage must include all values. This means not just archaeological and aesthetic values. It also includes historic and social values.

The court said:

'The extent of sites in the area, including those which relate to the evidence of past life, points to the fact that Aboriginal people traditionally, actively and intensively utilised an area which includes the Rocla land and probably stretching beyond. The area contains elements such as traditional food and water sources, walking routes, camping places, and abundant rock art, much of it relating to the travels of cultural heroes'.

—Darkinjung Local Aboriginal Land Council v Minister for Planning and Infrastructure [2015] NSWLEC 1465

The court also used the Precautionary Principle. This means if there's a threat of serious harm, you should prevent it. The court found that Rocla could not prove there was no serious harm. So, the preference was to prevent environmental damage.

This judgment was a landmark case in law. Experts said it showed that courts are recognizing cultural heritage beyond just objects. It includes landscapes and their values.

What Does the Calga Site Look Like?

The Calga site is a u-shaped valley. It is surrounded by a natural sandstone amphitheatre. This amphitheatre is formed by two ridges coming off Peats Ridge Road. A creek tributary carved out this shape. The upper slopes have many sandstone platforms. These create a terraced landscape. Below these, the land slopes steeply down to the creek.

The Calga Aboriginal Cultural Landscape has many recorded sites. These include shelters, engraved and pigment art, stone arrangements, and archaeological deposits. These features, along with the land's shape and natural resources, are deeply connected. They hold traditional meaning and are used in cultural practices.

The southern ridge runs west towards a tall hill. This hill is a clear natural landmark. A large sandstone platform at its base has many engravings. The sandstone platforms on this southern ridge are higher and steeper. They form natural rock shelters facing north. Some of these shelters have rock art and might hold archaeological finds. These shelters provide important space for groups and cultural practices. They also have totemic meaning. Art here shows totemic connections. For example, a large bird figure with a line pointing towards Mt White. Part of this southern area is very important to women. It includes a cave with red hand stencils and ponds.

The northern ridge has a series of sandstone terraces. The most important engraving site is on a large sandstone outcrop. It is in a women's ceremonial area. Two large engravings are on the stone: a big emu and a female figure. Both are carved outlines. The female figure is Bootha. She has very rare details that cannot be shared publicly. The large emu is Daramulan. It is above the female figure, with its head towards hers. The emu is about 385 cm by 310 cm. Five peck marks are in its head. A footprint is located near the female figure. It is completely filled in.

Stone arrangements are also in the women's ceremonial area. They are on the next sandstone terrace south of the female engraving. One arrangement is a circle of medium-sized sandstone boulders. It is about 4.8m wide. A single boulder stands in the center.

From this stone circle, a clear path runs east. It has marker boulders spaced along it. About 70m from the circle are two standing stones. They are about 10m apart. These flat, triangular stones are placed upright in the soil.

About 70m further east is another stone arrangement. It is on a large flat sandstone outcrop. It is almost directly below the engraving of the woman. On top of this outcrop are medium-sized sandstone boulders. They form a rough circle.

More details about the women's ceremonial area cannot be shared publicly. This is to respect cultural sensitivities.

The eastern ridge of the amphitheatre has many carvings related to Daramulan. One set of three engravings includes:

• A profile emu with a three-toed foot and large chest. This is seen as Daramulan in emu form.
• A male human figure pointing west with a small bandicoot. This is seen as a "guide" to men's ceremonial grounds.
• A one-legged human figure holding a large oval shape. This is seen as Daramulan using a bullroarer. He is calling mothers to bring their sons for initiation.

There are visual, physical, and symbolic links between sites across the Calga area. For example, the rare engraving of the woman on the northern ridge is linked to a pregnant woman engraving. This second engraving is about 700 metres southeast, near Peats Ridge Road. It shows a pregnant woman in profile. Aboriginal people see this figure as a direction signal. It is also linked to another site in the south with a similar animal figure.

An electrical line crosses the landscape. Past clearing and farming might have affected natural features or art. But these works are not believed to have broken the visual or symbolic connections. They do not stop ongoing work to understand the landscape's traditional meaning.

What Can We Learn from the Site?

Experts believe the Calga site has great potential for research. It can help us understand the cultural history of New South Wales. This is because the cultural landscape is still largely intact. It might hold information about Darkinjung and Guringai cultures not found elsewhere.

• Engraved art sites might be found on flat sandstone platforms. They could be hidden by soil or leaves. Some might show ancestral beings.
• Pigmented art sites might be found in larger shelters.
• Rockshelters are likely in areas with steep sandstone terraces. They could contain undisturbed archaeological deposits. These could show evidence of ancient Aboriginal life.
• Recording art sites needs to include views to and from the sites. This can help find more art sites.
• Walking routes between art sites should be recorded. They might have archaeological deposits.
• Standing stones and stone circles might be found on terraces. Their direction could be linked to other sites or stars.
• Grinding grooves are likely near creeks on exposed sandstone. They might be buried.
• Artefact concentrations might be found on terraces below engraving sites. These could be old camp sites. They might contain evidence of cooking.

Why is Calga Aboriginal Cultural Landscape Important?

The Calga Aboriginal Cultural Landscape is very important to the heritage of New South Wales. It is a symbolic and ritualized cultural landscape. It is found within a natural sandstone amphitheatre around a valley. The amphitheatre's shape provides natural resources and privacy for cultural practices. Aboriginal women see its shape as representing a womb.

The landscape is linked to Dreaming stories and beliefs about Baiame, Bootha, and Daramulan. These beings are recognized across much of southeastern Australia. Baiame is the all-father from the sky. Bootha and Daramulan are the mother and son who created the earth. They passed down sacred law to Aboriginal people. Many engravings at the site show these beings. This shows Aboriginal people that the site is where Daramulan came to be. It is a very sacred place. The Calga site is on the Peats Ridge songline. It is connected to other key sites like Mooney Mooney, Baiame Cave, and Mt Yengo.

The landscape has many interconnected journey and direction markers. These markers are important on their own. But when read together, they share rich information about cultural practices. This includes boundaries for certain areas and instructions for ceremonies. These markers include paths, views, water sources, special trees, rock engravings, stone arrangements, and pigment art. Some engravings linked to sacred women's business are very rare. One example with stone arrangements might be completely unique. There is potential for more archaeological and anthropological discoveries here.

Aboriginal women see this place as a link to their female ancestors. It is also a key resource for teaching future generations of Aboriginal girls and women about their culture. Much of the symbolism at the site is linked to secret women's business. Other areas are important to Aboriginal men. Other parts of the site, like southern rock shelters, can support mixed groups. This allows ceremonies to happen on the northern ridge.

The 2015 court judgment about this site was historic. It was based largely on evidence from Aboriginal women. It recognized how Aboriginal cultural landscapes, with their visible and invisible values, are protected by law.

Efforts to protect this cultural landscape have united Aboriginal communities. These communities were once separated. The community links the womb-shaped place to cultural beginnings and spiritual nourishment. This recent strengthening of ties has led to deeper understanding and reconnection with the landscape. The Calga Aboriginal Cultural Landscape shows the continuation of Aboriginal living culture and beliefs.

The Calga Aboriginal Cultural Landscape was listed on the New South Wales State Heritage Register on October 1, 2019, because it met several important criteria:

• It shows the history of New South Wales. Its location on Peats Ridge tells the story of an important traditional songline. This shows how Aboriginal people travelled for thousands of years. The site's art shows ongoing connections to other key sites. These sites are linked to creator beings like Baiame, Bootha, and Daramulan. The site is important for telling the story of the earth's creation. It also tells how Daramulan came to be and how Aboriginal law was passed down. This law continues as part of a living culture. The site also shows historical evidence of Aboriginal cultural life. This includes women's sacred ceremonies and the early stages of men's initiation. The court judgment in 2015 also made history. It recognized the importance of an Aboriginal cultural landscape in law.

• It has a strong link to important people or groups. The site is linked to Aboriginal people, especially the Darkinjung and Guringai peoples. It has deep cultural and spiritual meaning for them. Their experience of this landscape has been guided by cultural markers. These markers communicate directions, boundaries, and stories. The site is also important for its link to Aboriginal women. The land's shape and features show it is an area for women's ceremonial business. This is supported by traditional stories. The full meaning of this link cannot be shared publicly.

• It shows special beauty or creative achievement. The site is a beautiful and ritualized cultural landscape. It has unique features with both practical and spiritual meanings. The womb-shaped amphitheatre provides resources and privacy. Its shape reflects the site's cultural knowledge. It is seen as Daramulan's birthplace. The landscape's orientation also connects it to other Aboriginal lands. The land provides natural paths and important views. The rock art here is directly linked to Dreaming stories. These stories are common across southeastern Australia. They are about creator beings like Baiame, Bootha, and Daramulan. The engraving of the female figure (Bootha) is very important. Its size and details show it is a depiction of an ancestral deity. The nearby footprint is believed to be Baiame's. The emu figure is Daramulan. The location of these engravings near ceremonial stone arrangements adds to the site's beauty. The eastern part of the site has many carvings related to Daramulan. These include an emu, a male guide, and a one-legged figure using a bullroarer. The landscape also has other cultural markers. These include water sources, special trees, and stone arrangements. These markers communicate complex messages about cultural practices. The links between these sites are still largely intact.

• It has a strong link to a community or cultural group for social, cultural, or spiritual reasons. The Calga Aboriginal Cultural Landscape is very important to Aboriginal people. This is especially true for the Darkinjung and Guringai peoples. It has deep social, cultural, and spiritual meaning for them. It is central to the ongoing beliefs of Aboriginal people in eastern Australia. It is a key place along the songline created by Baiame, Bootha, and Daramulan. It is part of the sacred story of the earth's creation. It also tells how Daramulan came to be and how Aboriginal law was passed down. Much of the site's symbolism is linked to secret women's business. This is very important for Aboriginal women. They have a strong spiritual duty to care for this landscape. The fight to protect the site has united Aboriginal communities. This has led to deeper understanding and reconnection with the landscape. The community's efforts to combine their knowledge show a strong connection. The court judgment in 2015 also recognized its importance. This movement empowered Aboriginal women. Aboriginal people from across New South Wales feel a cultural duty to care for this site. It is also an important educational resource for Aboriginal women.

• It can provide information about the history of New South Wales. The site is important for scientific research. Experts have studied its potential. It might provide unique evidence of Darkinjung and Guringai cultures. It has potential for finding rock engravings, especially on terraces. It also has potential for rockshelters with occupation deposits. And for artefact scatters and grinding grooves. The site has a large collection of rock art that needs more study. This art, along with stone arrangements and natural features, can help us understand Aboriginal cultural landscapes. It can also help us understand the Sydney Basin Aboriginal rock art tradition. The court noted the potential for more rock art sites related to creation beings. There is also potential for buried archaeological deposits. These could help us understand how groups lived during ceremonies. They could also show broader occupation patterns in southeastern Australia. Further research could also help us understand the Peats Ridge songline.

• It has rare or unique aspects of New South Wales history. The site is important because it has many rare Aboriginal rock engravings. These show creation beings like Baiame, Bootha, and Daramulan. One rare rock art motif in the women's ceremonial area is found in only 1% of Sydney basin sites. Its specific details might be completely unique. Rock art with stone arrangements, like at this site, is also very rare. It is found in only 0.6% of Sydney basin sites. The intactness of the amphitheatre is rare in urban New South Wales. The connections between sites and their depictions of creation beings are unique. They have allowed the Aboriginal community to understand the landscape's meaning. This reconnects Dreaming stories with the environment. More study of the site could provide deeper understanding. This is especially true for how Aboriginal women connected with the landscape. This is rare because historical records often focused on men's ceremonies.

• It shows the main features of cultural places in New South Wales. The site is a good example of an Aboriginal cultural landscape. It is found within a natural amphitheatre that is mostly untouched. The visual, spatial, and symbolic links between individual sites are typical of Aboriginal cultural landscapes. But they are unique in how intact and well-documented they are. The way the landscape has been given symbolic meaning shows Aboriginal spirituality. It also shows common beliefs about country and the Dreaming. The site's location on Peats Ridge is a visible example of songlines. These routes were used by Aboriginal people across Australia for thousands of years. The depiction of creation beings like Baiame, Daramulan, and Bootha represents deities common to Aboriginal people in southeastern Australia. The style of engravings is typical of the Sydney basin. But the specific motifs and symbolism are very rare.