A (Digital) Future for Saharan Rock Art?

First visited by westerners in the mid-nineteenth century, Saharan rock art has since received a great deal of attention. The richness and diversity of this region is recognised by the inclusion on the UNESCO World Heritage list of three properties: Tassili-n-Ajjer in Algeria, Tadrart Acacus in Libya, and Ennedi in Chad. The situation in many North African countries now makes this vast region very difficult to access: safety in the field is not guaranteed and few research funds are available. Today, a new generation of African and foreign scientists has no access to rock art sites in the north of the continent and the lack of fieldwork may entail a lack of safeguard and awareness. The growth of digital technologies over the last 15 years has revolutionised methods for recording rock art sites. Digital technologies are also used to mitigate the gap between artworks and accessibility in those countries where turmoil and social instability make fieldwork impossible. However, much of the documentation and most digital recordings of artworks currently available on the Internet lack an archaeological context. Equally, many of these websites barely mention methodological and theoretical aspects. It is also difficult to understand the extent of awareness among local communities in remote areas—sometimes suffering a digital and linguistic divide—and if (and how) they are genuinely able to exploit these digital resources. Here, I collate some examples from different parts of the Sahara illustrating that the recording, management and dissemination of rock art still present highs and lows. I argue that we should share theories and methods within the digital scientific community, with a view to adopting a shared nomenclature and a public thesaurus, making our cataloguing criteria explicit and, finally, developing an ethical code of conduct involving local communities.     

Burning Images: A Critical Review of Rock Art Conservation in Zimbabwe

Rock art is the most easily accessible of archaeological material. In Zimbabwe, there are thousands of sites, mostly in open-air environments which can be accessed and enjoyed by many people without any restrictions. Yet, rock art is also easily damaged and therefore requires conservation. Social, political and economic challenges in the last two decades have had profound effects on the conservation status of this particular cultural heritage. This paper examines the state of conservation of rock art, conservation approaches and challenges in Zimbabwe. It also discusses possible solutions especially as the country is making frantic efforts at international re-engagement. The story of rock art conservation in Zimbabwe is similar to what is happening in many neighbouring developing countries such as Kenya, Uganda and South Africa. Therefore, the discussion in this paper also informs on general issues in rock art management and conservation in Africa.     

Reflections on Collaborative Archaeology and Large-Scale Online Research Infrastructures

ABSTRACT

The Archaeology Data Service (ADS) is an archive working at a national level in the UK, ensuring that archaeologists have access to high quality and dependable digital resources, including openly licensed legacy data for reuse. The ADS acts as a metadata aggregator for archaeological data held by larger heritage agencies and smaller regional organizations and participates in international aggregation infrastructure projects such as ARIADNE, which allows users to access archaeological resources held in many countries from a single interface. Large-scale infrastructures can facilitate the building of long-term, complex relationships and active collaborations, not just technical solutions. This paper reflects on the roles of stewardship and equity within ARIADNE and the ADS, two large-scale online research infrastructures, and how these types of infrastructures may help to create a more collaborative archaeology, including lessons learned, challenges and opportunities, and thoughts for the future.     

Removal of Rock Art Affected by the Raising of the Clanwilliam Dam Wall,Western Cape Province,South Africa: Techniques and Procedures

The commissioning by South Africa’s Department of Water and Sanitation of a new and higher wall for the Clanwilliam Dam will increase dam storage and provide additional water for emerging and existing commercial farmers. But there is a cost to South African heritage. The raising of the wall will flood 27 rock art sites as well as other archaeological and historical resources. In partial mitigation of this impact on heritage the removal of particular pieces of rock art was approved by Heritage Western Cape, the provincial heritage agency. This report focuses on the removal process and techniques used to cut out three pieces of rock art under the management of PGS Heritage between 18 April 2016 and 7 May 2016 from the sites designated CDE02 and CDW10. Publication of the techniques used and the procedures followed will add to the sparse literature on rock art removal and increase the accessibility and availability of information about the removed stones.     

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.     

Collections,Collecting and Collectives: Gathering Heritage Data with Communities in the Mountains of Matatiele and Lesotho,Southern Africa

Gathering digital data is a twenty-first-century research concern. Working in the previously undocumented region of the Eastern Cape’s former 'Transkei' homeland presents several data collection opportunities and obstacles. Local community collectives can vastly enhance the data collection process, aiding in administration, field walking, translation and—as trained archaeologists—excavation and rock art documentation. In the last 7 years, the Matatiele Archaeology Rock Art (MARA) team has discovered over 240 archaeological sites, the vast majority of which contain rock art. The principal investigator (PI), postdoctoral fellows, technical skills specialists and students have all engaged with, helped train and benefitted from field technicians chosen by the local communities to work with us. With their help, we have undertaken excavations and taken thousands of documentary photographs. We have documented oral traditions and the indigenous knowledge of local healers, all of which research is produced, and stored, digitally and requires preservation in perpetuity. The present contribution outlines some of the many and varied ways in which this programme has undertaken these tasks, in the endeavour to redress the imbalance in this region’s history.     

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.     

Monitoring Islamic Archaeological Landscapes in Ethiopia Using Open Source Satellite Imagery

The African landscape is set to change dramatically in the coming years, and will have a detrimental impact on the inherent archaeological and cultural heritage elements if not monitored adequately. This paper explores how satellite imagery, in particular open source imagery (Google Earth, multispectral satellite imagery from Landsat and Sentinel-2), can be utilized to monitor and protect sites that are already known with particular reference to Islamic archaeological sites in Ethiopia. The four sites used are in different geographic and geomorphological areas: three on the Somali Plateau (Harlaa, Harar, and Sheikh Hussein), and one on the edge of the Afar Depression (Nora), and have varied histories. The results indicate that open source satellite imagery offers a mechanism for evaluating site status and conservation over time at a large scale, and can be used on data from other areas of Africa by heritage professionals in the African continent at no cost.     

Digital Technology and a Community Framework for Heritage Rock Art Tourism,Makgabeng Plateau,South Africa

Using digital technologies in the process of collecting and documenting oral heritage allows previously marginalised voices to feed into heritage and historical narratives for rock art heritage tourism. Literary heritage narratives have tended to dominate the dissemination of information on African heritage, whereas African cosmologies and oral traditions are the intangible values of place that attract visitors to heritage sites. In the Makgabeng, oral heritage narrated through stories, songs, dances and poetry and collected using digital technologies will help preserve African values threatened by the onslaught of Western ones, especially through written European languages and social media. The Makgabeng Community Rock Art Project re-values the role of elders in sustainability of heritage tourism initiatives and the integration of a community structure as a sustainable “ready-made” framework to heritage management in Africa.     

Promotion of a neglected heritage at Stone Age sites in the Western Cape,South Africa

Abstract

All archaeological sites in South Africa are protected in terms of the National Monuments Act, yet some have been badly damaged by vandals, unauthorized collectors and the effects of natural and anthropogenic erosion. In an effort to minimize such damage, the policy in the past has been either to restrict access or to keep a low profile, in relation both to rock art and excavated sites. Coupled with the fact that, in the past, the precolonial period has not been included in school history curricula, this policy has had a negative effect. South Africans generally have a limited knowledge of the results of research on rock art and archaeology and are not aware of the legislation. Furthermore, there is no infrastructure and no market for promoting such sites for tourism. The National Monuments Council has identified the need for public education in this field within a broader goal of promoting a common heritage for all South Africans in this time of political change. Three examples of recent active intervention are given in this paper. Stone Age living sites at Nelson Bay Cave and Matjes River rock shelter have been developed as local attractions, and protective conservation measures have been put into practice at rock art sites that are open to the public in the Western Cape.     

Rock Art Between Preservation,Research and Sustainable Development—a Perspective from Southern Ethiopia

This paper focuses on southern Ethiopia, along the outer rim of the Rift Valley and not far from the Kenyan border, in an area forming part of a larger region known as a cradle of humankind. However, it also hosts a diverse Holocene rock art heritage, which is still underestimated and underdocumented. Paintings and engravings are widespread in the region, both in rock shelters and open-air sites, often located in remote areas currently inhabited by communities belonging to different ethnic groups. The aim of this paper is to present the first results of a new project in the area around Yabelo, within the broader framework of rock art research in East Africa, integrating archaeological research, preservation and heritage management with a relevant involvement of local communities. The outstanding cultural importance of these contexts offers new prospects for both scholarly research and sustainable development. The recording and study of the artworks is underway, using digital technologies that guarantee a high standard of accuracy of the documentation and non-invasive recording methods. This provides important insights for reconstructing cultural dynamics in the area between the final Pleistocene and onset of the Holocene. Moreover, the focus on rock art makes it possible to enhance local knowledge, increasing the awareness of local communities, with a significant impact on the preservation of this fragile heritage and the development of local, sustainable tourism projects. Differently from other archaeological features, rock art can have a more immediate attractiveness for contemporary observers, in terms of the apparent immediacy of the images and their emotional impact, raising awareness of cultural heritage and fostering major involvement in its preservation.     

The rock art of the Côa valley,Portugal: Significance,conservation and management

Abstract

The Côa river valley is the largest open-air Palaeolithic art site currently known. Some 150 decorated panels have already been found, spread along 17km. The whole complex would have been submerged under 100m of water if construction of the large Foz Côa dam, begun in 1992, had been allowed to continue. The dam project was halted in 1995 and a 200km² archaeological park is being established in this area, which is now legally protected at the highest level as a National Monument. Public access to selected sites is organized through four-wheel drive. tours of groups of eight people accompanied by guides appropriately trained in archaeology and rock art studies. Visitor Centres have been set up in restored traditional houses located in the villages around the periphery of the park. A Museum of Rock Art and Archaeology and associated research facilities is to be established at the site of the now abandoned dam.     

Laser scanning for conservation and research of African cultural heritage sites: the case study of Wonderwerk Cave,South Africa

The ‘African Cultural Heritage and Landscape Database’ project, initiated and directed by the senior author and administered by Aluka (www.aluka.org), is aimed at the creation of a digital library of spatial and non-spatial materials relating to cultural heritage sites in Africa. The archaeological site of Wonderwerk Cave (South Africa) is one of the 19 sites documented to date using laser scanning, conventional survey, digital photogrammetry and 3D modelling. To date, it is one of the few archaeological caves worldwide to be fully scanned. This paper explores the different uses to which the spatial data derived from this cave have been, or will be, put – for historical and educational purposes, scientific research and site conservation and development.     

WEST OF THE BEST: ROCK ART AND ARCHAEOLOGICAL DISCOVERIES IN THE DORO !NAWAS REGION OF NORTHWEST NAMIBIA

The Northwest of Namibia bears a concentration of rock art that is among the highest in the world. One of the centres is Twyfelfontein, a cluster of sites surrounding a waterhole at the eastern fringe of the Namib Desert, classified as the prime rock engraving site in southern Africa and designated a UNESCO World Heritage Site. Recent prospections in the desert west of Twyfelfontein have resulted in the discovery of engravings and paintings that exceed those at the UNESCO site, both in quantity and quality. Our contribution to this volume in memory of Klavs Randsborg introduces this newly discovered archaeological landscape and discusses the connection between water ‐ a rare commodity in the desert environment ‐ and the rich array of rock art and other archaeological features found here.     

Calcium oxalate AMS C dating and chronology of post-Palaeolithic rock paintings in the Iberian Peninsula. Two dates from Abrigo de los Oculados (Henarejos,Cuenca, Spain)

Since 2005 we have been utilizing accelerator mass spectrometry (AMS) ¹⁴C dating in research on calcium oxalate crusts associated with open air rock art of the Iberian Peninsula. In this paper we present two dates linked with three eye-idol pictographs at Abrigo de los Oculados (Henarejos, Cuenca, Spain). Radiocarbon ages for these motifs agree with the expected iconography-based archaeological chronology. Such oxalate dates could provide an independent basis for evaluating chronological theories for post-Palaeolithic sites, designated in the UNESCO World Heritage List as Rock Art of the Mediterranean Basin on the Iberian Peninsula.     

Prospects of Public Archaeology in Heritage Management in Bangladesh: Perspective of Wari-Bateshwar

Culture wandered through the plain-lands of Himalayan valley all through Bangladesh, enriching the heritage and diversity of this piece of land for centuries. This country, hence, witnesses numerous changes in its geo-political graph and inherits a reach archaeological heritage. In this land, the practice of archaeology has also witnessed a historical development. With the passage of time, the archaeological practices have found a new dimension in terms of diversities and development. New theories and excavations enriched the whole practice. With the foundation of a new era, new views and motifs have splayed roots in the ground of archaeological practices. Public archaeology is one of the newest areas on which archaeology and archaeological practices are been flourishing lately. This article tries to find out the prospects and the importance of Public Archaeology in Bangladesh in the perspective of the stupendous excavation taken place at Wari-Bateshwar.     

The “Hidden” Code: Coding and Classifying in Rock Art. The Case of Northwestern Patagonia

In spite of its importance for rock art studies, rock art motifs coding and classification process is not always made explicit. In this discussion of the process of rock art classification, we consider an exploratory research employing two different criteria for the coding of a northwestern Patagonian rock art motifs database. One coding makes use of a ‘lumping’ criterion, and the other uses a ‘splitting’ criterion. Each of these criteria will be evaluated using cladistic analysis, recording how each coding criterion affects results. As a conclusion, and given our results, the use of more than one coding criterion is suggested when classifying rock art.     

Genetic characterization of an archaeological sheep assemblage from South Africa’s Western Cape

The Neolithic Revolution, constituting a shift from food acquisition to food production, came to Africa as it did to most of the rest of the world: through processes of transmission rather than through de novo innovation. In contrast with other regions the pastoral management of cattle, sheep and goats was widespread in Africa thousands of years before settled agricultural communities or the use of domesticated plants were in evidence ( 46, 35 and 10). We report here the discovery of haplogroup B in the first genetic analysis of an African archaeological sheep assemblage.