Working with Rock Art: Recording, presenting and understanding rock art using indigenous knowledge

This volume contains contributions that consider new approaches to three areas: the documentation of rock art; its interpretation using indigenous knowledge; and the presentation of rock art. Working with Rock Art is the first edited volume to consider each of these areas in a theoretical rather than a technical fashion, and it therefore makes a significant contribution to the discipline. The volume aims to promote the sharing of new experiences between leading researchers in the field. While the geographic focus is truly global, there is a dominant north-south axis with strong representation from researchers in southern Africa and northern Europe, two leading centres for new approaches in rock art research. Working with Rock Art opens up a long overdue dialogue about shared experiences between these two centres, and a number of the chapters are the first published results of new collaborative research. Since this volume covers the recording, interpretation and presentation of rock art, it will attract a wide audience of researchers, heritage managers and students, as well as anyone interested in the field of rock art studies.

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Contents

Frontmatter
pp i-iv
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Contents
pp v-ix
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Frontispiece
pp x-x
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Foreword
pp xi-xii
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Acknowledgements
pp xiii-xiii
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Contributors
pp xiv-xvi
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PART 1 - ON DOCUMENTING ROCK ART
pp 1-2
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Chapter 1 - Rock art management: Juggling with paradoxes and compromises, 3 and how to live with them
pp 3-14
- By Anne-Sophie Hygen, Riksantikvaren – the Directorate for Cultural Heritage, Oslo, Norway, Alexey E. Rogozhinskiy, Kazakh Scientific Research Institute on Problems of the Cultural Heritage of Nomads, Almaty, Kazakhstan
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Chapter 2 - Expressing intangibles: A recording experience with /Xam rock engravings
pp 15-24
- By Janette Deacon, Honorary Professor, Department of Anthropology and Archaeology, University of South Africa
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Chapter 3 - Aspects of documentation for conservation purposes exemplified by rock art
pp 25-36
- By Terje Norsted, The Norwegian Institute for Cultural Heritage Research, Oslo, Norway
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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
pp 37-46
- By Thembi Russell, Rock Art Research Institute, University of the Witwatersrand, South Africa
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Chapter 5 - Rock art in context: Theoretical aspects of pragmatic data collections
pp 47-60
- By Tilman Lenssen-Erz, African Research Centre, University of Cologne, Germany
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Chapter 6 - Representing southern African San rock art: A move towards digitisation
pp 61-82
- By Dipuo W. Mokokwe, Department of Science and Technology, Pretoria and Archaeology Division, School of Geography,
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Chapter 7 - The routine of documentation
pp 83-98
- By Knut Helskog, Department of Cultural Sciences, Tromsø University Museum, Tromsø, Norway
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Chapter 8 - Prehistoric explorations in rock: Investigations beneath and beyond engraved surfaces
pp 99-110
- By Trond Lødøen, University of Bergen Museum, Bergen, Norway
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PART 2 - ON UNDERSTANDING ROCK ART USING INDIGENOUS KNOWLEDGE
pp 111-112
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Chapter 9 - Politics, ethnography and prehistory: In search of an ‘informed’ approach to Finnish and Karelian rock art
pp 113-134
- By Antti Lahelma, Institute of Cultural Research, Department of Archaeology, University of Helsinki, Finland
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Chapter 10 - Ethnography and history: The significance of social change in interpreting rock art
pp 135-146
- By David G. Pearce, Rock Art Research Institute, University of the Witwatersrand, South Africa
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Chapter 11 - Symbols on stone: Following in the footsteps of the bear in Finnish antiquity
pp 147-168
- By Juha Pentikäinen, Institute for Northern Culture, Lapland University Consortium, Finland
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Chapter 12 - Animals and humans: Metaphors of representation in south-central African rock art
pp 169-178
- By Leslie F. Zubieta, Rock Art Research Institute, University of the Witwatersrand, South Africa
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Chapter 13 - Ways of knowing and ways of seeing: Spiritual agents and the origins of Native American rock art
pp 179-192
- By David S. Whitley, ASM Affiliates, Tehachapi, California, United States of America
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Chapter 14 - Rock art, shamanism and history: Implications from a central Asian case study
pp 193-204
- By Andrzej Rozwadowski, Institute of Eastern Studies, University of Poznań, Poland
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PART 3 - ON PRESENTING ROCK ART
pp 205-206
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Chapter 15 - Presenting rock art through digital film: Recent Australian examples
pp 207-216
- By Paul S. C. Taçon, Gold Coast Campus, Griffith University, Australia
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Chapter 16 - Rock art at present in the past
pp 217-228
- By Lindsay Weiss, Stanford University, California, United States of America
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Chapter 17 - The importance of Wildebeest Kuil: ‘A hill with a future, a hill with a past’
pp 229-246
- By David Morris, McGregor Museum, Kimberley, South Africa
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Chapter 18 - Theoretical approaches and practical training for rock art site guiding and management
pp 247-256
- By Janette Deacon, Honorary Professor, Department of Anthropology and Archaeology, University of South Africa, Neville Agnew, Getty Conservation Institute, Los Angeles, California, United States of America
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Chapter 19 - Two related rock art conservation/education projects in Lesotho
pp 257-272
- By Pieter Jolly, Department of Archaeology, University of Cape Town, South Africa
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Chapter 20 - Norwegian rock art in the past, the present, and the future
pp 273-280
- By Gitte Kjeldsen, Museum of Archaeology, University of Stavanger, Norway
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Chapter 21 - The presentation of rock art in South Africa: Old problems, new challenges
pp 281-292
- By Ndukuyakhe Ndlovu, University of Newcastle-upon-Tyne, United Kingdom and Archaeology Division, School of Geography
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Working with Rock Art

Recording, presenting and understanding rock art using indigenous knowledge

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