Digital Management of Rock Art: the African Archaeology Archive Cologne (AAArC)

Archaeology is a costly and object-affine practice requiring sophisticated technical equipment, and therefore is largely initiated and run from industrialised countries. Accordingly, also data and objects are largely lodged in these countries. In rock art, this leads to the paradoxical situation that many motifs and sites with outstanding prehistoric art are better known and more often shown in northern hemisphere urban centres than in the global south rural areas where the art in fact is found. This paper will focus on the possibilities and benefits of a digital archive in making pictures, data and other archaeological source material accessible anytime from everywhere. An open online archive will in the long run flatten the hierarchical order of access to the results of archaeological research and heritage archiving. Today, this is still concentrated in the western metropoles and rarest in African hinterlands. The open access to thousands of pictures will facilitate dissemination of motifs in particular since the distribution of smartphones and network coverage are ever growing particularly in Africa’s rural areas. The African Archaeology Archive Cologne (AAArC), being licenced under Creative Commons, provides open access to tens of thousands of rock art photos and to the enormous Brandberg-Daureb Data Base that contains 39,000+ rock art figures. Additionally AAArC stores all kinds of digital archaeological products from across Africa (mainly Sudan, Algeria, Chad and Namibia), including audio and film documentary.     

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.     

Keith Muckelroy: Methods, Ideas and Maritime Archaeology

Between his graduation from the Department of Archaeology at Cambridge University in 1974 and his death in 1980, Keith Muckelroy’s work and ideology were crucial in promoting an alternative research methodology in maritime archaeology. Instead of a particularist or historiographic approach, methods prominent both then and now, Muckelroy’s methodology was grounded in the foundations of the prehistoric archaeology he learned under Grahame Clark and David Clarke at Cambridge, and the basic tenets of New Archaeology maturing in the United States during the 1970s. This paper, which elucidates Muckelroy’s methods and research, is neither a complete biography nor an exhaustive study of his ideas. Although unpublished letters, papers and notes were studied in archives at Cambridge University and the National Maritime Museum, there is still much more to be learned from many of his former colleagues and their memories—only a handful of those individuals were consulted during the creation of this work. Nevertheless, this paper was written in the hope that by understanding Muckelroy’s ideas, and placing them in the larger framework of the discipline of archaeology, maritime archaeologists who are attempting to pursue a variety of approaches may find inspirations, models and, perhaps, questions that still need to be answered.     

Altamira 1937: <Emphasis Type="Italic">Grotta Aperta—</Emphasis>Conflict Archaeology of a World Heritage Cave

This article addresses the dark and barely known side of one of the most iconic symbols of Spanish heritage: the Palaeolithic cave of Altamira (region of Cantabria). The cave is a benchmark of European rock art and was declared a World Heritage Site by UNESCO in 1985. Access to the cave’s guestbook (inaugurated on 18 August 1928 with King Alfonso XIII’s signature) has granted us the opportunity to deconstruct the hegemonic discourse therein, and to approach a time, the Spanish Civil War (1936–1939), which had been left almost without discussion in historical literature on the archaeological site. Conflict Archaeology can cast light on this unknown reality and raise controversial and contentious issues about the Altamira cave and its role as a wartime cultural asset during the war.     

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.     

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.     

Putting the Records Straight: ‘What is up with WAC?’

This paper is a reaction to the paper of Nick Shepherd and Alejandro Haber titled ??What is up with WAC? Archaeology and ??Engagement?? in a Globalised World??, published in Public Archaeology volume 10, number 2 of May 2011. Having been associated with WAC since its inception in 1986 and having been a player in all the programmes criticized by Nick Shepherd and Alejandro Haber, I am reluctantly obliged to provide some information to put the records straight. WAC being a true worldwide organization (not just international) has membership from different social, cultural, linguistic, political, economic, religious and ideological backgrounds. This calls for mutual respect and conscious effort to understand people and their points of view and also to be very sensitive to our differences. Summing up issues in the context of simplistic ??globalised world?? is big error of judgment.     

The Thaikkal-Kadakkarappally Boat: an Archaeological Example of Medieval Shipbuilding in the Western Indian Ocean

Recent excavations at Kadakkarappally in Kerala, south-west India, have unearthed the remains of an iron-fastened boat, believed to predate the earliest known records for the use of iron in South Asian boatbuilding. The design departs significantly from the traditional view of Indian watercraft, although the use of locally available timber and the suitability of the design for use in the backwaters that characterise the region suggest that it was built and used in India. This is the first excavation of its type to take place in Kerala and contradicts the belief, widely held in Kerala, that the survival of organic remains has been negated by the tropical climate of the region.
© 2004 The Nautical Archaeology Society     

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 Future of WAC: A Fringe or a Popular Professional-Social Network?

In response to Shepherd and Haber??s (Public Archaeology 10(2):96?C115, 2011) article ??What is up With WAC??? I argue that, on the one hand, it is possible to adopt the authors?? new definition of Indigenous with certain modifications that enable it to accept a diverse constellation of responses to dwelling-in-displacement and explain the origin of these inequalities. On the other hand, I argue that WAC is not a reactionary organization of colonial heritage but that it makes great efforts to respond to 21st century postcolonial archaeology.     

Early Paleoindian Mobility and Watercraft: An Assessment from the Mississippi River Valley

Several researchers have suggested use of watercraft during the Early Paleoindian period 11,500 and 10,800 rcybp (13,400–12,700 cal B.P.), but none have brought empirical data to bear on this possibility. This paper addresses the potential for fluted point-making groups to have made and used boats circa 11,000 rcybp (13,000–12,800 cal B.P.). Fluted point data from a large region of the upper and central Mississippi River valley strongly suggest that the Mississippi River was a barrier to movement and that Early Paleoindians in the midcontinent did not routinely use watercraft.     

Weathering of rock art at two sites in the KwaZulu-Natal Drakensberg,southern Africa

Sediments of the Karoo Basin in southern Africa represent one of the world's finest laboratories for investigating sandstone weathering. The natural breakdown of these sandstones, most notably in the Clarens Formation, is destroying much of the indigenous rock art heritage that exists there. In an attempt to elucidate the operative weathering processes, a range of micro-climatic, rock temperature, rock moisture, rock chemistry, and rock property data have been monitored over a 15 year period at two sites in the KwaZulu-Natal Drakensberg. Results suggest that rock moisture regimes and to a lesser extent, rock thermal regimes exert the most damaging influence on San paintings. It is argued that granular disintegration and the enlargement of existing sandstone pores and bedding planes close to the rock surface, facilitate an increasingly dynamic moisture regime, which leads to an accelerating rate of weathering. Recent technological advances in data collection suggest that a re-evaluation of environmental controls may be necessary before weathering, at a scale appropriate to the deterioration of rock art, can be fully understood. The continued existence of indigenous rock art in southern Africa depends on investigations aimed at the development of techniques for its preservation.     

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.     

ONLY TIME WILL TELL: A REVIEW OF THE METHODOLOGY OF DIRECT ROCK ART DATING

Epistemology has not kept pace with the progress experienced in the direct dating of rock art. This paper reviews the experimental methods that have been developed in recent years. While many do provide important information about the possible age of rock art, it is of concern that the precipitate archaeological interpretations these data are used for are often not warranted. Some are attributable to not understanding the severe qualifications that apply to most dating results, others perhaps to over-enthusiasm on the part of some researchers. The introduction of archaeological dynamics into direct dating of rock art threatens the reliability of this young methodology. Some of the pitfalls are considered in this paper, and a general rationale for the direct dating of rock art is developed.     

Revisiting the Parietal Art of Wonderwerk Cave,South Africa

Seen by all who visit Wonderwerk Cave, the rock paintings that adorn its walls have attracted less attention than many other aspects of the site. The paper gives a brief account of their history and significance and of factors that have constrained their study. Graffiti damage and restoration added layers through which researchers would need to delve in order to understand them archaeologically. Pointing to directions for future work, the paper concludes with discussion on a currently debated category of southern African rock art, the “non-entoptic” geometric rock art tradition, to which the Wonderwerk Cave rock paintings would belong. A shift in theoretical focus is advocated for comprehending local contingencies in the formation of rock art “traditions” rather than simply assuming the prior existence of such constructs.     

Collections of Chinese antiquities outside China: problems and hopes

Abstract

This paper is a revised and abbreviated version of an inaugural address delivered on 3 March 2005, at the International Centre for Chinese Heritage and Archaeology. The Centre was jointly established in London by the Institute of Archaeology and the School of Oriental and African Studies, University College London, together with the School of Archaeology and Museum Studies at Beijing University as their Chinese partner institution.     

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.     

Uranium-series age estimates for rock art in southwest China

We report the first uranium-series age estimates for rock art in China. Calcite bracketing a paint layer was used to constrain the age of a naturalistic outline hunter-gatherer painting in the Jinsha River area of northwest Yunnan Province (southwest China). The rock paintings in this region are unique in style and content compared with other bodies of rock art in China, which are dominated by Neolithic subject matter. The minimum and maximum ages were determined using isochron techniques on multiple samples of calcite from above and beneath the paint layer. A large painted deer head was dated to between 5738 and 2050 years. This painting and underlying flowstone are superimposed on older paintings that suggest the older paintings are at least 3400 years old, if not older than 5738 years. The results indicate for the first time that Jinsha River rock art is older than other forms of rock art in the region and show that rock art likely extends back to at least the transition from the Palaeolithic to Neolithic in this part of China.     

Combining Indigenous and Maritime Archaeological Approaches: Experiences and Insights from the ‘(Re)locating Narrunga Project’, Yorke Peninsula, South Australia

This paper details the unique pairing of Indigenous and maritime archaeological approaches in the ‘(Re)locating Narrunga Project’. Narrunga was a ketch built by the Narungga Aboriginal community at Point Pearce Mission (Yorke Peninsula, South Australia) at the turn of the twentieth century and later sunk in the 1940s. It is argued that convergences between the scholarly interests of Indigenous and maritime archaeological approaches have been slow to develop and that maritime archaeology as a sub-discipline has not capitalized on the insights that can be gained from collaborative approaches between communities and practitioners. Similarly, Indigenous communities in Australia have had few opportunities to work with researchers to record their maritime heritage. As is evident in the Narrunga story told in this research, non-Indigenous records have been complicit in underplaying the maritime achievements and skills of Narungga people and collaborative research can work towards decolonizing this past.