Social Values and Rock Art Tourism: An Ethnographic Study of the Huashan Rock Art Area (China)

The rapid expansion of cultural tourism has led to increased numbers of visitors to rock art sites throughout the world. The rise of rock art tourism has affected not only the preservation of rock art sites, but also the social values attributed to the sites by communities in the immediate vicinity. Social values refer to the social and cultural meanings that a place of heritage holds for a particular community. This article aims to discuss the influence of tourism on the social values that uphold local communities’ emotional attachment to rock art heritage, using the Huashan rock art area in China as a case study. Zuojiang Huashan Rock Art Cultural Landscape is the first rock art heritage in China proposed to be inscribed on the UNESCO World Heritage List and officially obtained World Heritage Status in July 2016. This article argues that many of the changes generated by the endeavour towards tourism promotion by the authorities in their pursuit of World Heritage designation have contributed to the reinforcement of the social values under discussion. However, negative feelings among the communities in response to the undesired consequences of the designation campaign might have resulted in the attenuation of such values. The ultimate goal of the research is to prompt further reflection on existing rock art heritage management mechanisms both in China and worldwide.     

Future plans for Art and Archaeology Technical Abstracts (AATA)

Abstract

One of the principal resources for conservation research for many years has been the Art and Archaeology Technical Abstracts, originally produced by the International Institute for Conservation of Historic and Artistic Works (1IC), and more recently jointly published by the IIC and the Getty Conservation Institute (GCI). The following note on future plans for AATA is reproduced with permission from the IIC's Bulletin (no. 5; October1999).     

The Archaeology of Myth: Rock Art,Ritual Objects,and Mythical Landscapes of the Klamath Basin

Recent research in the Klamath Basin has shown that rock art and landscape are intimately connected, mutually informed by indigenous notions of sacred places. Modeling this landscape has been possible through an understanding of Klamath–Modoc myth. This has led some researchers to derive general interpretations of the rock art that are largely in agreement with Klamath–Modoc spiritual beliefs. I take this approach a step further and propose interpretations for specific rock art images and ritual objects, arguing that oral traditions harbor the fundamental logic that underpinned shamanic rituals that led to the creation of these paraphernalia.     

Landscape Construction and Long-Term Economic Practices: an Example from the Spanish Mediterranean Uplands Through Rock Art Archaeology

We argue in this paper that Levantine rock art in the Spanish Mediterranean basin allows us to ‘map’ the economic landscape of its makers. Rock art would be the ‘monumental’ side of a dual process of landscape construction: on the one hand, rock art is the first ‘cultural’ action on the landscape beginning in the Early Neolithic; on the other hand, the first evidence of active modification of the Mediterranean vegetation comes from this period. But this evidence as well as other kinds of archaeological remains are still relatively scarce in the uplands; rock art is therefore the most complete type of evidence we can use to support an early use of the Mediterranean upland environment. We use statistical and geographical analysis, together with archaeological, ethnohistorical, and ethnographic sources and pollen data, in order to support the idea of early use and exploitation of the Mediterranean uplands since the Neolithic, and into contemporary times.     

Rock Art and Ritual: An Archaeological Analysis of Rock Art in Arid Central Australia

Rock art researchers throughout the world have explicitly or implicitly invoked ritual as an activity associated with the production of rock art but the articulation between the structure and composition of rock art assemblages and ritual behaviour remains poorly understood. Anthropologist, Roy Rappaport (1999) argued that all ritual, whatever the content or focus, has a universal structure. We review this proposition in the context of ritual studies and propose a method aimed at assessing the potential for identifying ritual structure in rock art assemblages. We discuss an archaeological analysis undertaken on the rock art assemblages in arid Central Australia, which aimed at distinguishing such a ritual structure among engraved assemblages, likely to have a Pleistocene origin, as well as more recent painted, stencilled and drawn assemblages. This analysis, despite its limitations, provides the foundation for developing a model, which will enhance the understanding of the relationship between the production of rock art and ritual.     

The Evolution of Theory, Method and Technique in Southern African Rock Art Research

Southern African rock art research has progressed from an essentially denigrating social and political milieu, through an empiricist period, to contemporary social and historical approaches. Empiricism, once thought to be the salvation of southern African rock art research, was a theoretically and methodologically flawed enterprise. Attempts to see the art through an emic perspective facilitated by copious nineteenth- and twentieth-century San ethnography is a more useful approach. It began briefly, but was then abandoned, in the nineteenth century. Today, diverse theoretical and methodological approaches are being constructed on an ethnographic foundation. The centrality of the San in South African national identity has been recognized.

Archaeology and Epigraphy in the Digital Era

Journal of Archaeological Research - Archaeologists and epigraphers have long worked in concert across methodological and theoretical differences to study past writing. Ongoing integration of...     

Designing Digital Recording for Volunteers in Rock Art Surveys,Management Plans and Public Outreach in the Cederberg,South Africa

The rock art survey and recording project described in this paper was designed for volunteers and heritage professionals involved in locating and mapping the position of rock art and other archaeological sites in the field, recording basic details for conservation and management, and making these details accessible in digital format for researchers who might want to undertake further investigation. An OpenDataKit (ODK) App with a digital site recording form was designed for mobile phones to be used in the field and to send data directly to the digital inventory of the South African Heritage Resources Information System (SAHRIS). The inventory has accumulated over 3000 sites with Later Stone Age rock paintings in the mountainous terrain of the Cederberg, a region that includes properties in the serial Cape Floral Region World Heritage Site in the Western Cape Province. More than a third of these rock art sites have been added to the database since 2007 by the members of the South African Archaeological Society. The information forms the basis for rock art management plans that are given to property owners to guide them in maintaining the value of the rock art. Interpretation of the information has raised awareness of the significance of the rock art in its historical and landscape setting with a trail and information boards. Local residents and CapeNature staff, who have received training in rock art monitoring and tourist guiding, play a key role in implementing the management plans for CapeNature properties, and monitoring individual sites and trails. The broader international context of volunteer programmes for archaeological site recording suggests that this type of programme has the potential to raise awareness of rock art beyond books and visits to museums and public lectures.     

Authorisation and the Process of Power: The View from African Archaeology

African prehistory has a unique contribution to make to our understandings of the ways that power and authority were constituted and enacted in the past; a combination of anthropological, historical and archaeological approaches to the issue provide a powerful heuristic for thinking through the ways that authority was legitimised. In this introductory paper we focus on the divide between power and authority, and argue that a process-based approach is necessary to understanding the ways that each was created in societies of the past. Such an approach, we argue, can offer a mediation between practice-based perspectives on social power, and those that focus on the operations of the state. We make a fundamental distinction between twin aspects of the exercise of power, imposition and composition, and demonstrate how the incorporation of the latter into our understandings of prehistory can allow archaeologists to consider the materials with which they work as residues of the performance of power. The African archaeological record has a key role to play in our understandings of the operation of power, the creation of legitimacy and the exercise of authority.     

Digital Technology in Research and Documentation of Hunter-Gatherer Rock Art in South Africa

The use of digital technology to enhance and manipulate photographs of rock paintings affords researchers insights into imagery that was formerly invisible or obscure. Image enhancement and manipulation software have greatly increased the data set available for study. There is a wide range of techniques available in the digital repertoire, depending on the aim of the research. Here, three South African case studies are discussed in which hunter-gatherer rock paintings are enhanced and manipulated to create digital “tracings” using the computer programmes Adobe Lightroom, Adobe Photoshop and DStretch. The results obtained with these simple techniques are presented here, because they might prove useful for rock art research elsewhere in the world. It must be noted, however, that these technological developments do not eliminate the subjective nature of recording and interpreting rock art or the necessity of a theoretical framework in which to understand the imagery.     

Time, Space, and Image Making: Rock Art from the Dhar Tichitt (Mauritania)

Prehistoric images are particularly versatile and difficult to grasp. In a few cases of historical continuity, local cultural glosses provide researchers with a rich corpus of data and help in the interpretation of the imagery. Such approaches contribute to the interpretation of the material in a frozen time perspective. Their impact on the development of archaeological methodologies enabling researchers to deal with strictly prehistoric image making traditions without any known descendant communities remains to be felt. This paper is an attempt to develop a subtle and robust archaeological methodology for the study of prehistoric images. The suggested approaches are replicable, and conclusions are falsifiable.Les images préhistoriques sont particulièrement versatiles, et leur sens difficile à cerner en raison de leur polysémie. Dans une poignée de cas, là ou il y a continuité historique, les chercheurs ont reussi à constituer une riche documentation sur les pratiques culturelles liées à l'utilisation des images. Ils/elles parviennent ainsi à des niveaux d'interpretation très detaillée, dans une conception paradoxalement réifiée des sociétés en question, conservant des pratiques culturelles inchangées pendant des millénaires. L'impact de telles approches sur l'élaboration de bonnes méthodes archéologique est négligeable. Dans la plupart des cas, les images et les vestiges matériels sont le uniques témoins des sociétés préhistoriques étudiées. Cet article s'efforce de developper des méthodes, à la fois subtiles et robustes, permettant une analyse systématique des images préhistoriques. Les méthodes proposées sont réplicables, et les conclusions refutables.     

Scientific Discourse and Local Discourses: The Case of African Archaeology

To the extent that knowledge is the product of a complex construction of Nature-Culture facts more or less perpetuated, the challenge, for archaeology as science discovering and explaining the pasts for developees, is to learn how to manage: (1) its scientific “facts” more or less stabilized or hardened in function of precise, reproducible, universal “buildings of facts,” these facts being combined in networks and allied to specific societal facts, according to a dichotomy between Nature and Culture positioned as incommunicable poles of the world, and (2) traditional, ordinary, daily “facts,” local, contextual“facts” encountered during our activities, publications, lectures, and exchanges with everybody. These facts link approximately or unconsciously Nature and Culture, two poles we moderns have created and separated ontologically. How to produce a legitimate cooperation between these two conflicting discourses during the applications and the improvement of the processes which form, even in the case of archaeology, what is currently termed “development.”Pour l’archéologie en tant que science découvrant et expliquant les passés des peuples en voie de développement, le savoir étant le produit, selon les cultures, de fabrications complexes de faits de Nature-Culture plus ou moins pérennisés, le défi consiste à apprendre à gérer ensemble: (1) ses “faits” scientifiques, plus ou moins stabilisés ou durcis selon des “mises en fait” précises, répétables, universelles, ces faits étant établis en réseau et alliés à tel ou tel secteur de la société en question selon une dichotomie établissant la Nature et la Culture comme pôles incommunicants du monde; et (2) les “faits” de savoirs traditionnels, ordinaires, quotidiens, faits locaux, contextuels rencontrés durant nos activités, publications, cours et échanges avec tout le monde. Ces faits lient approximativement ou inconsciemment la Nature et la Culture, ces deux pôles que nous, modernes, avons créés et ontologiquement séparés. Comment légitimement, même en Archéologie, faire collaborer ces deux discours, en conflit lors des applications et améliorations des processus relevant de qu’on appelle couramment le Développement?     

Empowering the Local Saharawi People: Training for Rock Art Documentation in Western Sahara (DARSSO Project)

The former Spanish Sahara is the last remaining colony in Africa. Most of the local people have been living in refugee camps in Algeria for the last 40 years and this situation has largely conditioned the archaeological research in the territory for a long time. In spite of the Saharawi Ministry of Culture in exile occasionally collaborating with European academic institutions for the study of its huge archaeological heritage, the training of local archaeologists or initiatives exclusively aimed at targeting the self-management of the Saharawi Archaeology are rarely carried out. This could be due to the difficulties in getting funds for long-term projects in this area, among other factors. However, today’s technological revolution has come to the desert including mobile telephones, televisions, computers and even an incipient Internet connection. At the same time, current digital technology has encouraged the development of new methods of documenting rock paintings, which might be appropriate and more accessible for the Saharawi technicians. This paper discusses the successful and failed aspects, as well as future perspectives, of a training course in rock art documentation intended for empowering local archaeologists who are living in very unfavourable circumstances.     

浅谈数字化测量技术在田野考古中的应用

本文结合多个考古测量工作,就数字化测量技术如何在考古测量中的应用进行了有益的尝试,并取得了较好的成果。     

Archaeology, Development and Conflict: A Case Study from the African Continent

Apart from wars, other contexts of social conflict have recently become a setting in which archaeologists are faced with acute, sometimes armed, violence. On the African continent, a region often overlooked in discussions of “archaeology in conflict”, rapid economic development has led to several such scenes. The paper discusses a particularly poignant example from the Middle Nile valley in Sudan, where large dam projects have been met with various levels of opposition by affected populations. Local communities opposing the construction of further planned dams on the Nile are increasingly stressing ‘cultural survival’ and fear of ‘developmental genocide’ as two of their major motivations for fighting these projects. Assuming a close link between the developer and archaeological salvage missions, affected people have started to use the expulsion of salvage teams from their territory as a strategy of resistance—posing an ethical dilemma for the archaeologists who struggle to find a position in the increasingly violent controversies accompanying these contested development projects.     

The Many Meanings of “Integration”: Some Thoughts on Relating Rock Art and Excavated Archaeology in South Africa

African Archaeological Review - New and improved methods for obtaining chronometric dates for southern African hunter-gatherer rock paintings raise questions about how researchers can use the new...