The identification of cultivated pearl millet (Pennisetum) amongst plant impressions on pottery from Oued Chebbi (Dhar Oualata,Mauritania)

The majority of the neolithic pottery from Dhar Tichitt and Oualata bears abundant plant impressions on its surface. The present study involves direct examination of these impressions and comparsion with a control series in the laboratory. The criteria for differentiation between impressions made by wild and cultivatedPennisetum are clearly defined. In the pottery from Oued Chebbi (Dhar Oualata), the existence of many many impressions of pearl millet (Pennisetum), including both wild and cultivated strains, is confirmed. It is concluded that the area around Dhar Tichitt and Oualata belongs to a non-centre zone of origin (Harlan 1975) and that,ca 3000 bp, its inhabitants knew how to use cultivated strains in an area where wild strains were also found in some abundance.

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Résumé La céramique néolithique des dhars Tichitt et Oualata présente une abondance d'empreintes végétales en surface. La présente étude—basée sur la lecture directe des empreintes sur la céramique—s'appuye sur une série de référence fabriquée en laboratoire. Les critères de différenciation, dans le genrePennisetum, des empreintes de formes sauvages et de formes cultivées sont clairement précisées. L'existence, dans les céramiques de Oued Chebbi, de nombreuses empreintes de mil du genrePennisetum et, parmi celles-ci, de formes cultivées, est affirmée. Les différentes analyses d'empreintes permettent de penser que le secteure des dhars Tichitt et Oualata appartient à la zone d'origine non-centre définie par J. Harlan (1975) et qu'aux alentours de 3000 ans bp, ses habitants savaient exploiter des formes cultivées dans un cadre où les populations de forme sauvage avaient une certaine abondance.

     

The Little Nyonya and Singapore’s national self: reflections on aesthetics,ethnicity and postcolonial state formation

Singapore’s postcolonial state formation process has combined the appeal/distress of a multiracial society with the nationalistic pride of economic development. In recent years, the city-state has witnessed a revival of Peranakan culture and history, referring to the descendants of early Chinese immigrants who integrated into Indigenous societies before becoming prized mediators for British colonisers in the nineteenth and twentieth centuries. We question how these references are strategically deployed as part of the process of postcolonial state formation and how their aesthetic representations support public discussions and debates about what defines contemporary (Chinese) Singaporean identity. By examining Peranakan representations in the television series The Little Nyonya from a Deleuzian perspective, it will be argued that Peranakan history and culture are mobilised to de-territorialise previous meanings of national ethnic markers, specifically Chineseness, and to re-territorialise a local sense of Indigeneity. In reaction to concerns over Mainlander identity, representations of Peranakan culture and history in The Little Nyonya support the indigenisation of a specific Chinese identity that is accessible to all Singaporeans, offering an aesthetic framework in which the ongoing process of negotiating between Singapore’s national self and other unfolds.