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Rock Art of the Caribbean focuses on the nature of Caribbean rock art or rock graphics and makes clear the region's substantial and distinctive rock art tradition.
Examines the interpretation and use of indigenous rock art by non-Natives and what this tells us about contemporary cultural dynamics in the U.S.
This comprehensive guide to the rock art of Missouri presents major design motifs and links those images to Native American beliefs.
A mouse couple, in search of the mightiest husband for their daughter, approach the sun, the clouds, the wind, and a butte, before the unexpected victor finally appears.
This book presents a fresh perspective on rock art by considering how ancient images function in the present. It focuses on how ancient heritage is recognized and reified in the modern world, and how rock art stimulates contemporary processes of cultural identity-making.
The result of twenty years of searching out and recording ancient designs on rocks in Oregon and Washington, Pictographs and Petroglyphs of the Oregon Country is now in a convenient, one-volume edition. The authors, Malcolm and Louise Loring, began their monumental task in the early 1960s as members of the Oregon Archaeological Society committee dedicated to surveying and recording rock art. Soon finding themselves a committee of two, they soldiered on with the monumental task of cataloging and illustrating rock art of the region. After Malcolm retired from the US Forest Service in 1963, he and Louise began a full-time effort to record the sites. For many of these sites, this volume is the only record. Part I describes sites in Washington along the Columbia River and sites in northern and central Oregon. Part II contains sites in southern Oregon, Idaho, and Nevada.
This book shares timely and thought-provoking methodological and theoretical approaches from perspectives concerning landscape, gender, cognition, neural networks, material culture and ontology in order to comprehend rock art’s role in memorisation processes, collective memory, and the intergenerational circulation of knowledge. The case studies offered here stem from human experiences from around the globe—Africa, Australia, Europe, North and South America—, which reflects the authors’ diverse interpretative stances. While some of the approaches deal with mnemonics, new digital technologies and statistical analysis, others examine performances, sensory engagement, language, and political disputes, giving the reader a comprehensive view of the myriad connections between memory studies and rock art. Indigenous interlocutors participate as collaborators and authors, creating space for Indigenous narratives of memory. These narratives merge with Western versions of past and recent memories in order to construct jointly novel inter-epistemic understandings of images made on rock. Each chapter demonstrates the commitment of rock art studies to strengthen and enrich the field by exploring how communities and cultures across time have perceived and entangled rock images with a broad range of material culture, nonhumans, people, emotions, performances, sounds and narratives. Such relations are pivotal to understanding the universe behind the intersections of memory and rock art and to generating future interdisciplinary collaborative studies.
​Ethics and Rock Art: Images and Power addresses the distinctive ways in which ethical considerations pertain to rock art research within the larger context of the archaeological ethical debate. Marks on stone, with their social and religious implications, give rise to distinctive ethical concerns within the scholarly enterprise as different perceptions between scholars and Native Americans are encountered in regard to worldviews, concepts of space, time, and in the interpretation of the imagery itself. This discourse addresses issues such as the conflicting paradigms of oral traditions and archaeological veracity, differing ideas about landscapes in which rock art occurs, the intrusion of “desired knowledge”, and how the past may be robbed by changing interpretations and values on both sides. Case studies are presented in regard to shamanism and war-related imagery. Also addressed are issues surrounding questions of art, aesthetics, and appropriation of imagery by outsiders. Overall, this discourse attempts to clarify points of contention between Euro-American scholars and Native Americans so that we can better recognize the origins of differences and thus promote better mutual understanding in these endeavors.
The understanding and interpretation of ancient architecture, landscapes, and art has always been viewed through an iconographic lens—a cognitive process based on traditional practices in art history. But ancient people did not ascribe their visions on canvas, rather on hills, stones, and fields. Thus, Chris Tilley argues, the iconographic approach falls short of understanding how ancient people interacted with their imagery. A kinaesthetic approach, one that uses the full body and all the senses, can better approximate the meaning that these artifacts had for their makers and today’s viewers. The body intersects the landscape in a myriad of ways—through the effort to reach the image, the angles that one can use to view, the multiple senses required for interaction. Tilley outlines the choreographic basis of understanding ancient landscapes and art phenomenologically, and demonstrates the power of his thesis through examples of rock art and megalithic architecture in Norway, Ireland, and Sweden. This is a powerful new model from one of the leading contemporary theorists in archaeology.