Published Resources Details

Report

Authors
Bickford, Anne; and associates
Title
The Irrawang pottery site, Grahamstown Dam, Raymond Terrace, NSW: Assessment of cultural significance and options for its future
Description of Work
Final Report
Imprint
Hunter Water Corporation Limited, New South Wales, October 1993, 1-97 pp
Url
https://digital.library.sydney.edu.au/nodes/view/9106
Format
pdf
Contains
Image
Description

Made available online by the University of Sydney Library as part of their NSW Archaeology Online collection.

Abstract

1.0 EXECUTIVE SUMMARY

1.1 The Irrawang Pottery Site was surveyed on 26 and 27 July 1993.

1.2 The cultural significance of the site has been assessed. It is found to have aesthetic, historic, scientific, and social value.

1.3 The statement of cultural significance states:
The Irrawang pottery is a site of national significance. It is the earliest known intact pottery site with major physical evidence in Australia, and through archaeological investigation has revealed large amounts of potsherds, bricks, and tiles, giving a representative sample of the shapes and types of vessel made there. It is of state and local significance because it was owned and built by James King, an important and active entrepreneur in the Raymond Terrace, Hunter Valley area in the first half of the 19th century.

1.4 Two options for the future of the site have been proposed:

1) Retain the site undisturbed in situ.

2) Remove all significant elements of the site so that the site can be destroyed as part of the augmentation of the Grahamstown Dam.

1.5 The option to retain the site undisturbed in situ is the preferred option.

People

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EOAS ID: bib/ASBS17428.htm

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Reference: https://www.bom.gov.au/resources/indigenous-weather-knowledge/indigenous-seasonal-calendars/gariwerd-calendar#bom-anchor-list__item-kooyang-season-of-eels

Publisher: Swinburne University of Technology.

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"... the rengitj, as a visible mark or imprint on the land, is characterised as a place of origin, the repository of all names, as well as a kind of mapped visual expression of the connection between people and places which is to be carried out in the temporal sequence of the journey." Fanca Tamisari (1998) 'Body, Vision and Movement: In the footprints of the ancestors'. Oceania 68(4) p260