The Qhapaq Ñan Project: A Critical View

The Qhapaq-Ñan Project promotes the integration of shared cultural values among six countries: Argentina, Chile, Bolivia, Peru, Ecuador and Colombia. These countries are collaborating to nominate the Main Andean Road or “Qhapaq-Ñan” for inclusion on UNESCO’s World Heritage List. Although the participants envision local and Indian communities as the true beneficiaries of the project, and the archaeological effort is already under way, communities associated with the road have not been involved. (At the very moment we are editing this article (March 2007) Argentina is holding the first meeting about a project that is already five years old, with some of the Indian communities of the territories where the project will be carried out. The participation, however, was far below what we expected.). Following the guidelines of the World Archaeological Congress and the current emphasis of many heritage professionals on community participation, we strongly advise that these dynamics must be changed and that the program must be developed jointly with affected communities from the beginning of the project and not in subsequent steps, or (even worse) once the project already taken shape.     

The Anthropogenic Use of Firewood During the European Middle Pleistocene: Charcoal Evidence from Levels XIII and XI of Bolomor Cave,Eastern Iberia (230–160 ka)

Human control of fire is a widely debated issue in the field of Palaeolithic archaeology, since it involved significant technological innovations for human subsistence. Although fire evidence has been the subject of intense debate regarding its natural or anthropogenic nature, most authors agree that combustion structures represent the most direct evidence of human control of fire. Wood charcoal fragments from these contexts represent the fuel remains that result from humans’ collection of firewood, which means they can reveal significant behavioural and palaeoenvironmental information relevant to our understanding of Middle Palaeolithic societies. In this work, we present anthracological data derived from combustion structure 2 (level XIII, ca. 230?ka, MIS 7) and combustion structure 4 (level XI, ca. 160?ka, MIS 6) from Bolomor Cave, which are chronologically among the earliest combustion structures found in Europe. The present work discusses how the presence of black pine and / or scots pine in both levels sheds light on the characterisation of the local landscape. Additional analyses focussing on the pre- and post-depositional processes affecting charcoal preservation point to biodegradation patterns. The aim of this work is to provide the first discussion concerning the anthracological data derived from Bolomor Cave in order to contribute to the general debate regarding the use of fire during the European Middle Pleistocene.     

La resignificación de los márgenes del teatro independiente: Oratorio,del Teatro Estudio Lebrijano

Abstract

Oratorio, by Alfonso Jiménez Romero and Teatro Estudio Lebrijano, is arguably among the most representative plays of 1970s Spain’s independent theater. This play experienced many changes and adjustments before it was staged in the Festival Mondial de Théâtre de Nancy in 1971. These changes were tested in performances in Andalusia before audiences with little exposure to theater but sympathizing with the play. By studying a production that developed for three years, this article challenges the claims that support a history of theater as a catalogue of finished products. This article aims at considering the creative process that emerges from the direct contact with audiences in performing spaces. Independent theater archives have limitations, but they are made up with oral histories from troupe members. This article studies both the incorporation of theatrical devices associated with ritual participation of the audience and the use of flamenco reassessed as protest music. The latter included in the play as an artistic device since the tour in Andalusia. This play made explicit references to the Spanish Civil War, which prompted physical reactions from the audience in towns where the repression was fierce.