Archaeological ethnography: Conversations around Kruger National Park

Este artículo esboza las posibilidades para una práctica mixta, a la que yo denomino etnografía arqueológica, que enlaza la arqueología y antropología sociocultural. Mi trabajo de campo se ha realizado en los límites del Parque Nacional Kruger con individuos de la comunidad de Malatji, y también con ecologistas sociales, guardas del parque, intérpretes y agentes del patrimonio que trabajan en el parque nacional. La investigación contribuye y evalúa críticamente el centralísmo del patrimonio arqueológico de Sudáfrica y sus múltiples papeles en la formulación de nuevas subjetividades en la nación cosmopolita y postcolonial.

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Résumé Cet article illustre la possibilité d'utiliser l'ethnographie archéologique comme pratique hybride permenttant de faire le pont entre l'archéologie et l'anthropologie socioculturelle. Mon travail de terrain se déroule à la limite du Parc National Kruger avec des individus de la communauté Malatji et aussi des spécialistes en écologie sociale, des agents de la conservation, des guides interprètes et des représentants du patrimoine employés du parc national. Cette recherche entend contribuer et faire une évaluation critique de la centralité du patrimoine archéologique en Afrique du sud et de ses r?les multiples dans la formation d'une nouvelle subjectivité dans la nation cosmopolite postcoloniale.

     

Editorial

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The Gothic and the Gaelic: Exploring the Place of Castles in Ireland’s Celtic Revival

This paper examines the conflict in early nineteenth century Ireland that emerged between the way castles were portrayed in academia on the one hand and romantic literature on the other. Focusing on a key text of the Celtic Revival, Sydney Owensons The Wild Irish Girl, the paper explores how this novel (with its strong gothic influences) established a lens through which Gaelic Ireland could be understood and how this in turn affected the representation of castles. The second part of the paper ties these themes into an analysis of the relationship between architecture, literature and identity in the occupation of Leap Castle, Co. Offaly during the changing political climate of nineteenth and early twentieth century Ireland.     

Wild Cattle: Red Deer in the Religious Texts,Iconography, and Archaeology of Early Medieval Ireland

Humans use animals as a means of creating and manipulating relationships with other human beings. This process occurs both through the use of animals for food or raw materials and through the use of animals as literary and artistic symbols. Cervus elaphus is Irelands only indigenous deer species. It is also unique in being the only native Irish, wild animal to appear frequently in medieval texts, iconography, and archaeological deposits. This paper brings together diversesources of information to illuminate how early medieval monasteries used reddeer to establish an identity for themselves and to conceptualize socioeconomic relationships with others.     

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.     

Working on Rock Art in the Dakhleh Oasis: Some Thoughts on Threats to Petroglyphs and Possibilities of Research in the Western Desert,Egypt

The rock art in Dakhleh, despite being known for more than a century, has been thoroughly investigated only since the late 1980s, and remains far from being well known especially outside of Egypt. At the same time, the consecutive seasons of fieldwork conducted by the Petroglylph Unit (part of the international Dakhleh Oasis Project) have produced a great number of findings and substantially enhanced our knowledge of the petroglyphs of this area. Here, rather than focusing on interpretive aspects of the research, I wish to discuss the threats endangering the petroglyphs in the Oasis. Dakhleh has developed very intensively in the last 100 years. It is, however, the twenty-first century which seems to pose some serious threats to archaeological heritage. Hence, in this paper I wish to report on what has been done so far to document rock art in the Oasis, and try to establish the priorities for potential future work. The agricultural and infrastructural development in the area, and the uncertain political climate in the country, heavily influence the state of rock art preservation and the possibilities of research. The need for documentation and preservation of rock art is larger than ever before, because many changes in the local landscape cannot be stopped. The time is pressing, because more and more rock art is disappearing due to the reasons discussed in this paper. Threats to Egyptian rock art in general will form a background for considerations concerning petroglyphs from the Western Desert.     

Living in an Egyptian Oasis: Reconstruction of the Holocene Archaeological Sequence in Kharga

Within the Egyptian Western Desert, the Kharga Oasis was a particularly favourable and highly frequented area during the Holocene thanks to a permanent ground water supply. The high concentration and accessibility of archaeological sites here allows the cultural and economic changes to be documented at a local scale, when northeastern Africa was experiencing strong climatic variations and the transition to a food production economy. An expansive program led by the Institut français d’archéologie orientale (IFAO) which included systematic survey, sampling collections, tests and stratigraphic excavations has dramatically increased the amount of data available concerning the prehistory of the Kharga Oasis. Typo-technological analyses focusing on the lithic industries, and other aspects of material culture, plus a series of ¹⁴C dates have led to the definition of four main successive cultural phases: Kharga A, B, C and D. This paper describes this proposal of a new archaeological sequence for human occupation in the Kharga Oasis and discusses its integration in the wider frame of Egypt and the Eastern Sahara.     

The Style of Blugzeimat and the “Masks” of the Prehistoric Rock Art of the Western Sahara: New Evidence for Long-Distance Contacts

Blugzeimat is a prehistoric rock-art site in the Tiris region (southern Western Sahara), with more than 100 engraved slabs. The major portion of these engravings represents zoomorphs, anthropomorphs and non-figurative signs. Based on the absence of protohistoric texts, chariots or horse riders, and the probable depiction of a halberd, the age of these engravings may correspond to the first half of the second millennium BCE. The stylistic attributes of the engraved bovines, which are the most commonly represented subject, allow us to relate Blugzeimat to several sites with pecked engravings located in the Tiris (Western Sahara) and Adrar (north-western Mauritania) regions. In addition to this first stylistic and geographic delimitation, we have also been able to identify signs, traditionally designated as “masks” in the literature, which relate Blugzeimat to several sites with incised engravings located in the northern Saguia el Hamra basin. As incised and pecked engraving techniques have been regularly considered examples of unrelated rupestrian traditions in the Western Sahara, the engraving of these highly specific signs using both techniques allows us to question that paradigm. Finally, the long-distance thematic coincidence represented by the presence of such signs, in regions far from one another, provides additional evidence to refute the common idea of an absence or scarcity of cultural contacts between the north and south of the Western Sahara before the adoption of the horse and camel.