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.     

Neolithic rock art in context: Landscape history and the transition to agriculture in Mediterranean Spain

Rock art is one of the most salient features of Neolithic societies in eastern Spain and an explicit form of landscape history. This paper summarizes current debates of Mediterranean rock art chronology and interpretation and explores the contextual differences in two areas of Neolithic settlement with rock art: the Canyoles Valley (Valencia) and the Alcoi Basin (Alicante). Large-scale survey of the Canyoles Valley resulted in a clearer understanding of agricultural land use during the Neolithic that contrasts with evidence from the Alcoi Basin. By analyzing Neolithic rock art in its archaeological context, we discuss the significance and limitations of rock art analysis for understanding and characterizing landscape histories and the transition to agriculture in the region.     

A FIELD METHOD FOR INVESTIGATING the DISTRIBUTION of ROCK ART

Summary: Recent studies of prehistoric rock art have analysed its position in the landscape and have suggested that it played an important role in a mobile pattern of settlement. But the distribution of petroglyphs is usually taken as given, with the result that it is difficult to assess the significance of this kind of patterning. We argue that such evidence should be compared with the distribution of uncarved rocks across the surrounding area, and illustrate this procedure by two case studies from northern England. In these examples rock carvings were carefully sited at viewpoints and may have overlooked important routes across the landscape.     

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.     

Engagement and Management: Developing a Monitoring System for Open-air Rock Art in the UK and Ireland

ABSTRACT

Neolithic and Early Bronze Age rock carvings in the United Kingdom and Ireland represent an internationally unique rock art tradition as it is, to the best of our knowledge, the only wholly abstract global rock art tradition. This heritage resource is, however, under threat from an array of factors, such as increasing population densities and agricultural intensity. In this paper, we report on the Condition Assessment Risk Evaluation (CARE) project that had as one of its primary objectives the co-production of a user-friendly, non-invasive condition assessment risk evaluation Toolkit for gathering and organising information essential for the long-term conservation of open-air rock art. We describe the public involvement CARE process through co-experience participatory focus groups, which evaluated the Toolkit, concluding that we can have confidence in the results obtained from the public. Furthermore, the variables that form part of the Toolkit and related management recommendations are presented.     

Valuing rock art: a view from Northumberland in North East England

Abstract

Since the turn of the millennium three rock art projects focusing primarily on Northumberland in the United Kingdom (Northumberland Rock Art: Web Access to the Beckensall Archive, Rock Art on Mobile Phones and Heritage and Science: working together in the CARE of rock art) have made information and images widely available to the public via the Internet. All three projects were strongly underpinned by the ethos expressed in the Faro Convention and the Ename and Burra Charters that the value of cultural heritage should be enhanced by interpretation. This paper investigates the responses to these digital media initiatives, showing that they have increased the reach of this ancient rock art resource to large numbers of people in United Kingdom and Ireland, and globally. In addition, it reveals that having made these heritage resources available online, they have created a further desire among people to engage with the rock art virtually with the increased possibility of following this up with an in situ visit.     

Rock art on Socotra,Yemen: the discovery of a petroglyph site on the island's south coast.

Recent fieldwork on the south coast of the island of Socotra, Yemen, has revealed a hitherto unknown petroglyph site. This site represents the first rock art to have been recorded on the south coast, an area generally regarded as being unpopulated up until the recent past. The corpus of recorded petroglyphs includes feet, cupules, anthropomorphic figures and geometric motifs, whose designs parallel those from known rock‐art sites on the north coast. The importance of this site is that it provides us with the first glimpse into the religious and socio‐political lives of the inhabitants of the previously unknown southern half of Socotra. Placing these petroglyphs within the broader context of rock‐art studies on the island of Socotra has also allowed us to begin to disentangle the skewed view of Socotra's inhabitants.     

The lesser gods of the Sahara

Abstract

Following a highly publicised expedition in the 1950s, the Tassili-n-Ajjer mountains of the Central Sahara (Algeria) were presented to the world as ‘the greatest museum of prehistoric art in the whole world’. Many of the claims of the expedition's leader, Henri Lhote, were misleading. A number of the paintings were faked, and the copying process was fraught with errors. The ‘discovery’ can only be understood within the political and cultural context of the time, namely the Algerian Revolution, France's attempt to partition Algeria, and the prevailing views of the Abbé Breuil, the archadvocate of foreign influence in African rock art. The expedition's methods caused extensive damage to the rock art while the accompanying looting of cultural objects effectively sterilized the archaeological landscape. Any restitution process must necessarily include a full recognition of what was done and the inappropriateness of those values.     

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.     

Cultivating Personalized Museum Tours Online and On-Site

Abstract

Web 2.0 — the perceived second generation of the World Wide Web that aims to improve collaboration, sharing of information and interoperability — enables increasing access to digital collections of museums. The expectation is that more and more people will spend time preparing their visit before actually visiting the museum and look for related information reflecting on what they have seen or missed after visiting the museum. It can also be expected that museum curators want to enhance visitors' museum experiences in the more personalized, intensive and engaging way promised by an improved Web. In other words, to keep their visitors, they should adopt an immersive museum environment that combines the museum Web site (online) with the physical museum space (on-site). In this context, the CHIP (Cultural Heritage Information Presentation) project offers tools to the users to be their own curators, e.g. browsing the online collections, planning a personalized museum tour suiting their art interests, getting some recommendations about interesting artworks to see, and quickly finding their ways in the museum. In this paper, we present the new additions to the CHIP tools, which target such functionality: a Web-based museum Tour Wizard based on the user's interests and the Mobile Guide that converts the tours to a mobile device (PDA) used in the physical museum space. To connect the user's various interactions with these tools online and on-site, we built a dynamic user model. Online, the user model stores the user's personal background, ratings of artworks and art concepts, recommended or created museum tours. On-site, it is a conversion of the online user model stored in RDF into XML format which the mobile guide can parse. When the user rates artworks inside the physical museum, the on-site user model is updated and when the tour is finished, it is synchronized with the online user model. In such a way, we support a 'virtuous circle' of the museum visit, which links the personalized museum experiences both online and on-site.     

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.     

Hermoupolis: the archaeology of a Mediterranean industrial city

Abstract

Hermoupolis, on the island of Syros, developed in the nineteenth century as the first industrial city in Greece. Its historical monuments are of more than national importance, providing evidence which does not survive elsewhere of particular processes, and forming a landscape which illuminates the whole history of industrialisation.     

Ethics,politics and practices in rock art conservation

Abstract

Weathering and deterioration of Norwegian rock art has become an increasing area of concern over the last decade, with subsequent increasing efforts towards conservation. This has brought questions onto the agenda regarding the ethics and politics involved in conservation theory and practice. It is argued that such issues have been difficult to debate due to the concept of conservation being regarded as a legal and moral ideal. Referring the situation in Norway to ongoing global debates and perspectives regarding rock art conservation enables us to reveal and discuss some of the fundamental and complex philosophical issues involved. Notions of authenticity which implicitly underlie attitudes to rock art conservation are questioned, and the relationship between ‘green’ politics and rock art conservation is also discussed. A tendency towards uniform solutions and avoidance of critical issues, seen as influenced by strong social-democratic political traditions in Scandinavia, is at odds with the growing realization that most approaches to rock art conservation inevitably have unforeseen and frequently undesired consequences. Rather than further segmenting ethics, politics or practices in rock art conservation, a self-critical and reflective approach is suggested whereby changing concepts of ethics and authenticity are continuously debated.

Aucune loi ne pourra jamais préserver la sacralité d'un lieu … si ce n'est une loi morale, non écrite,adoptée et respectée par chaque individu, un véritable code personnel d'éthique.

(Soleilhavoup, 1994: 14)     

Beyond ‘the Phenomenological Walk’: Perspectives on the Experience of Images

Scandinavian rock art has been of major interest for archaeological studies of a phenomenological character. By reflecting on the experience of rock art it has been argued that images choreograph movement and that this embodied interaction reflects both social order and world views. This perspective has been applied in studies of both open-air rock art and images in the confined spaces of caves. When critically evaluating these efforts, it seems clear that these phenomenological studies reduce rock art to a mere representation of the experience of place. Phenomenology also fails to challenge the assumption that the meaning of images is created primarily by the intentions of its creator. It is therefore suggested that, in order to discuss the experience of images as meaningful, we need to develop the phenomenological theory of embodiment into a material phenomenology. This material turn enables us to problematize the relationship between intentionality and the meaning of images, which could lead to a perspective where rock art affects both the experience of place and of landscape and the creation of new images. Consequently, an archaeology of images should treat rock art as an expression which creates and maintains practices and relations with places and landscapes.     

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.     

Long-Term Occupation and Seasonal Settlement of Eastern Eurasian Pastoralists at Begash,Kazakhstan

Abstract

Recent excavations of the prehistoric pastoralist settlement of Begash, located in the Semirech'ye region of eastern Kazakhstan, provide evidence of one of the earliest pastoralist settlements in the eastern Eurasian steppe region. The archaeological complex at Begash includes a multi-period cemetery and rock art in addition to the settlement—a site complex that is well distributed throughout the koksu River Valley. Excavations at Begash have revealed three major phases of architectural development and six phases of material transition and site use, dated by a series of 34 calibrated radiocarbon AMS dates. These data demonstrate that mobile pastoral populations were active in the Dzhungar Mountains and koksu River Valley (Semirech'ye) as early as 2460 CAL B.C., more than 800 years earlier than previous theories suggested. Pastoralist activity at this domestic locale spans nearly 4000 years, with no archaeological evidence for long-term abandonment of the site in prehistory. Rather the occupational phases of the site are only interrupted by short-lived periods of disuse followed by centuries of re-engagement by local pastoralist communities. Thus, the broadly continuous record of material culture, domesticated faunal remains, and settlement at Begash index a local evolution of herding economies in Semirech'ye throughout the Bronze Age, beginning in the middle part of the 3rd millennium B.C. Ultimately, the data from Begash contribute a new perspective on the dynamic nature of Eurasian mobile pastoralists while also illustrating broad continuity in the settlement ecology of local populations that had a key role in the regional transmission of numerous innovations throughout the Bronze Age and later.     

Animal engravings in the central Sahara: A proxy of a proxy

The rock art of the central Sahara was created out of the beliefs, traditions and experiences of the engravers and painters. The animal engravings of the Wadi al-Ajal in south-western Libya are used to isolate some of the environmental and cultural/symbolic components that make up the pictorial record. A comparison between the depicted animals and the faunal remains recovered in the area identifies a number of characteristics. The engraving repertoire is dominated by a small number of frequently depicted animals that were of symbolic or economic importance to the engravers. Rare and singular depicted species extend this record to a diverse species spectrum. Although a preferential depiction of herbivores is evident in the data, there is a close match between faunal record and engravings which shows that all larger animals (over ca. 10 kg) that were present in the area were also depicted. The selection of animals in the rock art appears to reflect their visibility in the landscape while also providing a record of changing climatic conditions from savanna to desert habitats. The rock art therefore provides an indirect record of the local environment while also capturing the engravers' perception of animals and landscape.     

Adaptation and foraging from the Terminal Pleistocene to the Early Holocene: Excavation at Bubog on Ilin Island,Philippines

Abstract

The recently discovered human remains from Callao Cave, northern Luzon, Philippines securely date the migration of hominins into the Philippines to ca. 70 kya (thousands of years ago). The direct route to reach Luzon from the Asian mainland is via Borneo, Palawan, through Mindoro and into Luzon. Our research focuses on Mindoro Island as a potential stepping stone to the main Philippine Archipelago. While Palawan and Luzon have produced evidence for early human occupation, no systematic research on the prehistory of Mindoro has been conducted until now. We report on recent archaeological investigations at the Bubog rockshelter sites on the small island of Ilin just off the coast of Mindoro. The excavations produced evidence of stratified sequences of human habitation at the two rockshelter sites in the form of dense shell middens that date to ca. 11 kya onwards. They provide direct evidence on how variability in landscape formation, sea levels, and landmass during the terminal Pleistocene and early Holocene influenced the behavior of early human populations. Numerous species of molluscs were recorded and provisional results indicate variations in the invertebrate faunas throughout the stratigraphic sequences, resulting from sea level rise and the establishment of coral reefs between Ilin and Mindoro at the end of the Pleistocene. Our results contribute substantially to our understanding of the processes of human island adaptation, complement ongoing research into Island Southeast Asia’s paleogeography, and enhance current knowledge of prehistoric subsistence strategies across the region.     

The Conservation Programme of the Côa Valley Archaeological Park: Philosophy,Objectives and Action

Abstract

This paper outlines the methodology for the conservation of Côa Valley rock art, as carried out by the Côa Valley Archaeological Park Conservation Programme. It examines the overall conservation environment that has determined this approach, which aims at an understanding of all the factors affecting the survival of the Côa Valley heritage. We stress that although the Programme sets precise guidelines for the examination and testing of conservation work to mitigate the effects of complex weathering dynamics in action, there are no miraculous solutions to ensure the complete longterm in situ preservation of this World Heritage Site. Despite this geological impossibility, we also emphasize that in a human time scale it makes sense to try to conserve significant heritage (such as the Côa Valley rock art) that expounds and explains our history and ourselves.