Add shamans and stir? A critical review of the shamanism model of forager rock art production

The “shamanism” or “neurpsychological” model proposed by Lewis-Williams and colleagues has had a powerful impact on rock art research, and has significantly added to our knowledge of past foragers lifeways in southern Africa and elsewhere in the world. However, this model is primarily based on the view of shamanism as a universal and unvarying characteristic of foragers over space and time. This paper raises both theoretical and empirical problems with this view. The paper examines the relationship between the specific social roles and practices of shamanism and the overarching cosmological structures on which they are based in both southern Africa and Northern Eurasia. In both cases, the paper argues that many cosmological beliefs are highly persistent and durable, extending into prehistory, while the specific practices and roles of shamans are variable, changing to meet the immediate and local needs of their communities. This suggests that rock art is easier to relate to the overarching cosmological dispositions of the people that produced it and the paper closes by suggesting some theoretical and methodological alternatives recognizing this fact.     

Iktomi in the Land of the Maymaygwayshi: Understanding Lived Experience in the Practice of Archaeology Among American Indians/First Nations

In discussions concerning American Indians/First Nations and the practice of archaeology in North America, the issues are typically presented in a polarized fashion with American Indians/First Nations on one side and archaeologists on the other. Frequently the literature discusses how archaeologists should modify their practice in response to the needs of American Indian communities. Very little of the literature looks at the roles and challenges faced by American Indians who choose to pursue archaeology. This paper addresses this latter issue by examining my own work among First Nations communities in Ontario, Canada. Through the lens of ‘lived experience’, I will examine the interplay of identity, personal and communal histories, and the contemporary situation of my self and the First Nations communities I worked with, looking at how having ‘insider’ knowledge can be both useful and a handicap in fieldwork.     

Time, Space, and Image Making: Rock Art from the Dhar Tichitt (Mauritania)

Prehistoric images are particularly versatile and difficult to grasp. In a few cases of historical continuity, local cultural glosses provide researchers with a rich corpus of data and help in the interpretation of the imagery. Such approaches contribute to the interpretation of the material in a frozen time perspective. Their impact on the development of archaeological methodologies enabling researchers to deal with strictly prehistoric image making traditions without any known descendant communities remains to be felt. This paper is an attempt to develop a subtle and robust archaeological methodology for the study of prehistoric images. The suggested approaches are replicable, and conclusions are falsifiable.Les images préhistoriques sont particulièrement versatiles, et leur sens difficile à cerner en raison de leur polysémie. Dans une poignée de cas, là ou il y a continuité historique, les chercheurs ont reussi à constituer une riche documentation sur les pratiques culturelles liées à l'utilisation des images. Ils/elles parviennent ainsi à des niveaux d'interpretation très detaillée, dans une conception paradoxalement réifiée des sociétés en question, conservant des pratiques culturelles inchangées pendant des millénaires. L'impact de telles approches sur l'élaboration de bonnes méthodes archéologique est négligeable. Dans la plupart des cas, les images et les vestiges matériels sont le uniques témoins des sociétés préhistoriques étudiées. Cet article s'efforce de developper des méthodes, à la fois subtiles et robustes, permettant une analyse systématique des images préhistoriques. Les méthodes proposées sont réplicables, et les conclusions refutables.     

Forbidden Images: Rock Paintings and the Nyau Secret Society of Central Malaŵi and Eastern Zambia

This paper examines the rock art of the nyau secret society of eastern Zambia and central Malai. The art dates principally from the nineteenth and early twentieth centuries. It has been known to researchers since the 1970s but has given up few of its secrets. I examine the questions of why the art was made and why the tradition ceased. Key to answering these is the realization that the art belonged to a specific historical and geographic context: the era and area where nyau was forced to become an underground movement because of its suppression by Ngoni invaders, missions, and the later colonial government. The art provides us with detailed insights into the way nyau has served in the process of overcoming and manipulating the traumatic social changes faced by Chea society in the last few centuries.Cet article examine l'art rupestre de la société secrète de nyau au est du Zambia et Malai centrale. L'art date principalement aux dix-neuvième et bas vingtième siècles. Recherchers ont su l'art depuis les années soixante-dix, mais ils ont appris peu de ses secrets. J'examine les questions de pourquoi l'art était fabriquer et pourquoi la tradition a cessé. Pour résoudre ces questions c'est important à réaliser que l'art était à sa place dans un milieu spécifique d'histoire et géographie: au temps et place où nyau était forcer à devenir un mouvement clandestin à cause de sa répression par les envahisseurs Ngoni, les missions et, plus tard, le gouvernement colonial. L'art nous donne les aperçus détaillé sur comment nyau a servi dans le procès à surmonter et manipuler les changements traumatiques que la société Chea a bravé dans les siècles récents.     

Who Lived in Mauermanshoek Shelter, Korannaberg, South Africa?

Mauermanshoek Shelter, in the Korannaberg of the eastern Free State, has traditional San hunter–gatherer rock art together with white finger-painted horsemen of uncertain authorship. The excavated material dates to between 3500 bp and approximately 200 bp. The lithic assemblages show little change throughout, but ceramics, glass beads, and domesticated animal remains appear in the uppermost levels. The issue of most interest is that of the shelter's occupancy in the last few hundred years. Historical records show that the ethnic composition of the eastern Free State was complex during this time and that there were both aggressive and cooperative interactions between the various groups. Kora pastoralists were notorious stock raiders and the secure identification of other people on the landscape was complicated by a tendency for early writers to call all raiders Kora. A combination of archaeological and historical evidence suggests that San occupied the shelter for most of its history but that Kora herders may have been responsible for the finger-painted horsemen somewhere between 1837 and 1851 when a Wesleyan Mission Station, Merumetsu, served the Kora of Korannaberg.La grotte de Mauermanshoek, située dans le Korannaberg, à l'est de la province du Free State, contient des peintres rupestres de tradition San, réalisées par des chasseurs/bergers, ainsi que des cavaliers blancs, peint avec le doigt, d'une origine incertaine. Le matériel qu'on a trouvé dans les fouilles daté d'une période entre 3500 bp et approximativement 200 bp. L'industrie lithique est très homogène sur l'ensemble du site, mais des céramiques, des perles de verre et des restes d'animaux domestiques sont présents aux niveaux supérieurs. L'occupation de l'abri pendant les quelques centaines d'années passées est d'un inérêt tout particulier. Selon les archives historiques, la composition ethnique de la partie est du Free State était, à l'époque, complexe et il y avait les interactions à la fois agressifs et coopératifs entre les groupes différents. Les pasteurs Kora sont bien connus pour leur réputation d'attaquer les troupeaux mais l'identification certaine des autres peuplades est compliquée par le fait que les premiers écrivains rapportaient tous les aggresseurs comme des Kora. Une combinaison d'indices archeologiques et historiques suggère que les San occupèrent cette grotte pour la plus grande partie de son histoire mais que des bergers Kora pourraient être à l'origine des cavaliers peints avec le doigt, probablement entre 1837–1851, la période durant laquelle une mission Wesleyan servait le Kora de la région du Korannaberg.     

L'art au temps des fractales

Fractals, as a mathematical concept, made their way into many scientific fields, but have also inspired artistic creations, in particular the plastic arts. The art exhibition «Fractal Time» gives us the opportunity to analyze the link between «art under fractalism» and mathematics. Metamorphoses of the concept, as it goes further its original field, provide us information on the relation between its initial theoretical ground and its additional esthetical meaning. We propose to distinguish, according to a criterion of theorical but non esthetical distance, three ways of derivation for «fractalism»: technical derivation, esthetical actualization and ideological actualization. *** DIRECT SUPPORT *** A01KB003 00010     

中古壁画与陶塑再现的挎包女性形象

中国服装史一直以来较为忽视服饰中的挎包装饰,本文利用新出土的中古壁画和唐代各种挎包女性陶塑,对中古艺术中的挎包女性形象进行了初步分析。作者认为,"挎包女人"图像赋予了女性非凡的人性精神。同时,作者还对外国该类形象的出现和流传进行了梳理,依据现存图像资料,指出中国古代女性挎包要比西方早出现几个世纪。挎包、拎包具有时尚和实用美观的意义,折射出古代女性鲜明的超前意识和服装审美。     

Framing indigenous self-recognition: the visual and cultural work of the politics of recognition

Visual and cultural modes of expression and intercultural engagement have broad implications for recognition politics. Recognition-based strategies for the governance of Indigenous difference in settler colonies engage in an economy of perception that capitalises on the currency of inclusion and diversity. This paper explores the visual and cultural fields of recognition politics in the Canadian settler state through the examples of the 2008 Apology from the federal government for Indian Residential Schools and the stained-glass window – Giniigaaniimenaaning (Looking Ahead) by Métis artist Christi Belcourt – commissioned to commemorate the Apology. The paper uses Judith Butler’s concepts of recognisability and framing to make sense of these events as legitimations of settler colonialism. It goes on to explore the possibility of rupture in the inherent instability of ‘frames of recognition’, in Butler’s terms, and uses Jolene Rickard’s conceptualisation of visual sovereignty to also make sense of the simultaneous subversion and self-recognition that takes place in Belcourt’s artwork. In doing so, this paper furthers a critical dialogue surrounding the normativity of recognition policies and practices in Canada as well as the intersubjective or interpellative orientation of visual-cultural expressions of recognition.