Working with Rock Art

Leslie Zubieta, David S. Whitley, Lindsay Weiss, Paul Taçon, Thembi Russell, Andrzej Rozwadowski, Alexey E. Rogozhinskiy, Juha Pentikaïnen, David Pearce, Terje Norsted, Ndukuyakhe Ndlovu, Catherine Namono, David Morris, Dipuo W. Mokokwe, Trond Lødøen, Tilman Lenssen-Erz, Antti Lahelma, Gitte Kjeldsen, Pieter Jolly, Anne-Sophie Hygen, Knut Helskog, Janette Deacon, Christopher Chippindale, Neville Agnew

Description

Indexed in Clarivate Analytics Book Citation Index (Web of Science Core Collection)
Chapter 1. Rock art management: Juggling with paradoxes and compromises, and how to live with them
Anne-Sophie Hygen and Alexey E. Rogozhinskiy
Chapter 2. Expressing intangibles: A recording experience with /Xam rock engravings
Janette Deacon
Chapter 3. Aspects of documentation for conservation purposes exemplified by rock art
Terje Norsted
Chapter 4. The position of rock art: A consideration of how GIS can contribute to the understanding of the age and authorship of rock art
Thembi Russell
Chapter 5. R ock art in context: Theoretical aspects of pragmatic data collections
Tilman Lenssen-Erz
Chapter 6. Representing southern African San rock art: A move towards digitisation
Dipuo W. Mokokwe
Chapter 7. The routine of documentation
Knut Helskog
Chapter 8. Prehistoric explorations in rock: Investigations beneath and beyond engraved surfaces
Trond Lødøen
Chapter 9. Politics, ethnography and prehistory: In search of an ‘informed’ approach to Finnish and Karelian rock art
Antti Lahelma
Chapter 10. Ethnography and history: The significance of social change in interpreting rock art
David G. Pearce
Chapter 11. Symbols on stone: Following in the footsteps of the bear in Finnish antiquity
Juha Pentikäinen
Chapter 12. Animals and humans: Metaphors of representation in south-central African rock art
Leslie F. Z ubieta
Chapter 13. Ways of knowing and ways of seeing: Spiritual agents and the origins of Native American rock art
David S. Whitley
Chapter 14. R ock art, shamanism and history: Implications from a central Asian case study
Andrzej Rozwadowski
Chapter 15. Presenting rock art through digital film: Recent Australian examples
Paul S. C. Taçon
Chapter 16. Rock art at present in the past
Lindsay Weiss
Chapter 17. The importance of Wildebeest Kuil: ‘A hill with a future, a hill with a past’
David Morris
Chapter 18. Theoretical approaches and practical training for rock art site guiding and management
Janette Deacon and Neville Agnew
Chapter 19. Two related rock art conservation/education projects in Lesotho
Pieter Jolly
Chapter 20. Norwegian rock art in the past, the present, and the future
Gitte Kjeldsen
Chapter 21. The presentation of rock art in South Africa: Old problems, new challenges
Ndukuyakhe Ndlovu
Chapter 22. Yellowstone, Kruger, Kakadu: Nature, culture and heritage in three celebrated national parks
Catherine Namono and Christopher Chippindale

Sujets

• Social Science
• Histoire
• Archaeology

Informations

• Publié par: WITS University Press
• Date de parution: 01 décembre 2012
• Nombre de lectures: 0
• EAN13: 9781868148073
• Langue: English
• Poids de l'ouvrage: 6 Mo

Extrait

WORKING WITH ROCK ART
RECORDING, PRESENTING AND UNDERSTANDING ROCK ART USING INDIGENOUS KNOWLEDGE
WORKING WITH ROCK ART
RECORDING, PRESENTING AND UNDERSTANDING ROCK ART USING INDIGENOUS KNOWLEDGE
EDITED BY
BENJAMIN W. SMITH
KNUT HELSKOG
DAVID MORRIS
This book is monograph 4 of the Rock Art Research Institute monograph series. The other three titles are:
Reservoirs of Potency: The documentary paintings of Stephen Townley Basset (Edited by David Lewis-Williams and Benjamin Smith)
The Eland s People: New Perspectives in the Rock Art of the Maloti-Drakensberg Bushmen (Edited by Peter Mitchell and Benjamin Smith)
Seeing and Knowing: Rock Art with and without Ethnography (Edited by Geoffrey Blundell, Christopher Chippindale and Benjamin Smith)
Published in South Africa by Wits University Press
Published edition copyright Wits University Press 2012
Compilation copyright Edition editors 2012
Chapter copyright Individual contributors 2012
First published 2012
The publishers gratefully acknowledge financial support for this publication from the Rock Art Research Institute, University of the Witwatersrand, Johannesburg, the National Research Foundation of South Africa and the Research Council of Norway.
All royalties from the sale of this book will be donated to the Rock Art Endowment Fund of the Rock Art Research Institute and the Wildebeest Kuil Rock Art Tourism Centre.
All chapters in this book have undergone a thorough and anonymous peer review according to the procedures stipulated by the National Research Foundation.
ISBN (print) 978 1 86814 545 4
ISBN (digital) 978 1 86814 598 0
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of the publisher, except in accordance with the provisions of the Copyright Act, Act 98 of 1978.
Edited by Jill Kinahan
Project management by Julie Miller
Cover design by Hothouse South Africa
Layout and design by Hothouse South Africa
Printed and bound by Ultra Litho (Pty) Limited
Contents
Foreword
Acknowledgements
Contributors
PART 1 ON DOCUMENTING ROCK ART
Chapter 1. Rock art management: Juggling with paradoxes and compromises, and how to live with them
ANNE-SOPHIE HYGEN AND ALEXEY E. ROGOZHINSKIY
The problem
What do we manage when managing rock art?
The relationship between research and management
Case: Tamgaly, Kazakhstan
Interaction: Documentation, research and management
The problem revisited
Chapter 2. Expressing intangibles: A recording experience with /Xam rock engravings
JANETTE DEACON
Introduction
Ways of recording rock engravings
Narrative recording
Rock art and visual anthropology
Possibilities and limitations
Chapter 3. Aspects of documentation for conservation purposes exemplified by rock art
TERJE NORSTED
Introduction
Part 1: Initial remarks on conservation
Part 2: Some aspects of rock art conservation
Chapter 4. The position of rock art: A consideration of how GIS can contribute to the understanding of the age and authorship of rock art
THEMBI RUSSELL
Introduction
Large-scale analysis of horizontal patterning
Small-scale analysis of vertical patterning
Discussion
Conclusion
Chapter 5. Rock art in context: Theoretical aspects of pragmatic data collections
TILMAN LENSEN-ERZ
Context and basic human needs
The context of rock art
The Brandberg/Daureb case study
Conclusion
Chapter 6. Representing southern African San rock art: A move towards digitisation
DIPUO W. MOKOKWE
Introduction
A history of southern African San rock art representation
The scientific approach
The socially negotiated approach
Storm Shelter, Maclear District Southeastern South Africa: A case study
Is digital the answer?
Discussion and conclusion
Chapter 7. The routine of documentation
KNUT HELSKOG
Introduction
The many sides of documentation
Conclusion
Chapter 8. Prehistoric explorations in rock: Investigations beneath and beyond engraved surfaces
TROND L D EN
Introduction
Inward and outward perspectives
Involvements in rock
The depths of rock
The empirical aspect
Conclusion
PART 2 ON UNDERSTANDING ROCK ART USING INDIGENOUS KNOWLEDGE
Chapter 9. Politics, ethnography and prehistory: In search of an informed approach to Finnish and Karelian rock art
ANTTI LAHELMA
Introduction
The rock art region and local ethnohistorical sources
Analogical reasoning in archaeology
Bridging arguments for an informed approach to Finnish-Karelian rock art
Uralic bird-mythology and the engravings of Lake Onega
Looking back: Finnish archaeology, nationalism and The Kalevala
Russian and Soviet archaeology: From dogmatic Marxism to ethnographically inspired research
Conclusions: Ethnography, politics and the informed approach
Chapter 10. Ethnography and history: The significance of social change in interpreting rock art
DAVID G. PEARCE
Introduction
Analogy
San ethnography
Using San ethnography
The Holocene Southern Cape
Continuity and dicontinuity
Chapter 11. Symbols on stone: Following in the footsteps of the bear in Finnish antiquity
JUHA PENTIK INEN
The geological formation of post-glacial Finland
Finland s first inhabitants
Rock paintings in Finland
Lake Lapps
The bear in archaeology
The bear on the threshold of modernity
An outline of the Finnish-Karelian bear rites
The bear on the shaman s drum
Conclusion
Chapter 12. Animals and humans: Metaphors of representation in south-central African rock art
LESLIE F. ZUBIETA
Chapter 13. Ways of knowing and ways of seeing: Spiritual agents and the origins of Native American rock art
DAVID S. WHITLEY
Religion and supernatural agency from the cognitive sciences perspective
The ethnography of supernatural agents and agency
Consistency throughout the numic realm
Chronological implications
Consistency across North America
Indigenous perceptions and attributions of causality
Conclusion
Chapter 14. Rock art, shamanism and history: Implications from a central Asian case study
ANDRZEJ ROZWADOWSKI
Central Asian rock art and culture
Tracing shamanistic symbolism in rock art
Discussion
PART 3 ON PRESENTING ROCK ART
Chapter 15. Presenting rock art through digital film: Recent Australian examples
PAUL S. C. TA ON
Australian rock art reporting
Films on Australian rock art
Journey to the land of the eagle
Discussion and conclusions
Chapter 16. Rock art at present in the past
LINDSAY WEIS
Situating rock art with society
Rock art sites as restitutional heritage
Wildebeest Kuil
Conclusion
Chapter 17. The importance of Wildebeest Kuil: A hill with a future, a hill with a past
DAVID MORIS
Introduction
Under the gaze of scholars
Public rock art: New senses of importance
Going public
The Wildebeest Kuil experience
Discussion
Conclusion
Chapter 18. Theoretical approaches and practical training for rock art site guiding and management
JANETTE DEACON AND NEVILLE AGNEW
Historical background
Getty Conservation Institute Initiative
Principles for presentation
Training rock art guides
Rock art site management plans
Interpretation and presentation
Future plans
Chapter 19. Two related rock art conservation/education projects in Lesotho
PIETER JOLLY
Introduction
Educational poster
Community outreach project
Conclusions
Chapter 20. Norwegian rock art in the past, the present, and the future
GITTE KJELDSEN
Introduction and background
Authenticity and contexts
Rock art in modern society
Chapter 21. The presentation of rock art in South Africa: Old problems, new challenges
NDUKUYAKHE NDLOVU
Democratic South Africa
Rock art presentation
New challenges
Conclusion
Chapter 22. Yellowstone, Kruger, Kakadu: Nature, culture and heritage in three celebrated national parks
CATHERINE NAMONO AND CHRISTOPHER CHIPINDALE
Kruger National Park
Increasing interest in cultural history
Yellowstone National Park: Land in a state of nature
Kakadu National Park: A peopled land
Kruger National Park: Acknowledging a human history and presence
Yellowstone, Kruger, Kakadu: Conservation in the long term
Index

Recording rock art in South Africa
Foreword
Working with Rock Art presents the outcomes of the first ever collaboration between South Africa and Scandinavia in the field of rock art studies. The particular focus was on hunter-gatherer rock arts. Norway and South Africa are two countries that are famous for their ancient rock engravings and rock paintings. Both have rock art of such great international significance that they are registered on the UNESCO World Heritage List. In both countries therefore, rock art has a high public profile and both governments have made rock art research, conservation and rock art tourism national priorities. However, the research traditions in each region have followed vastly different trajectories.
Our collaboration therefore sought to bring together a series of teams from each region to share their experiences on how we work with rock art. We hoped that our different experiences would prove mutually challenging, and they did. It caused a series of profound debates about what constitutes best practice in the field of rock art studies and these have changed the way we work in tangible ways. We challenged all of the collaborators to report their perspectives at a joint conference in Kimberley, South Africa in 2006 and then to engage in further discussions and workshops before writing up these experiences for this volume. This volume therefore represents the consolidated findings of a prolonged engagement of research and debate in rock art practice. It is therefore predominantly a book about method, and this has great importance in itself, because rock art studies is a growing discipl