This paper addresses the tension between élite-sponsored rituals in the context of state expansion and the persistence of rituals involving hallucinogens among communities that met with state colonists. It focuses on the consumption of hallucinogens inducing altered states of consciousness during the Peruvian Middle Horizon (ad 600–1000), a period characterized by the expansion of the Wari state, known for large state-sanctioned feasts during which élites distributed corn beer and reaffirmed their power. This paper presents new evidence for the ingestion of hallucinogens from the site of Ak'awillay in the Cusco region, focusing on paraphernalia and ritual spaces recovered in large horizontal excavations. Results indicate that the people of Ak'awillay were able to maintain practices that were fundamentally different from those of Wari élites and retained access to low-altitude areas lying outside Wari control for the procurement of hallucinogens and esoteric knowledge. The paper concludes that at least some people at Ak'awillay operated outside the Wari state, thereby maintaining local power over the religious realm despite Wari presence in the region.

Rock-art researchers have long acknowledged the importance of discerning superimposition sequences as a means for exploring chronology. Despite their potential for reconstructing painting events and thus informing on a site's production sequences, the social significance of superimpositions and their associated meanings have been little explored. In the Kimberley Region of northwestern Australia, interpretations of superimpositions as an analytical lens have often lingered on the ‘negative’ connotations of this practice (e.g. to destroy supernatural power embedded in previous paintings and/or to show cultural dominance). As a result, it has been proposed that the overpainting of previous images was tantamount to defacing, leading to the proposition that new images constituted a form of vandalism of older art. In this paper, a sample of rock-art sites from the northwestern and northeastern Kimberley is analysed with the aim of grounding the study of superimpositions in more nuanced practices, leading researchers to contemplate the role they played among populations within the same area. It is argued here that superimpositions brought together past and present experiences that served to reinforce the links between contemporary art production and the inherited landscape.

A massacre took place inside the Sandby borg ringfort, southeast Sweden, at the end of the fifth century. The victims were not buried, but left where they died. In order to understand why the corpses were left unburied, and how they were perceived following the violent event, a theoretical framework is developed and integrated with the results of osteological analysis. I discuss the contemporary normative treatment of the dead, social response to death and postmortem agency with emphasis on intergroup conflict and ‘bad death’. The treatment of the dead in Sandby borg deviates from known contemporary practices. I am proposing that leaving the bodies unburied might be viewed as an aggressive social action. The corpses exerted postmortem agency to the benefit of the perpetrators, at the expense of the victims and their sympathizers. The gain for the perpetrators was likely political power through redrawing the victim's biographies, spatial memory and the social and territorial landscape. The denial of a proper death likely led to shame, hindering of regeneration and an eternal state of limbo.

The establishment and use of space is a culturally constructed dimension of the human experience that is figurative, metaphorical, and analogical in nature. Such phenomena are mapped and encoded in people's spatial and cultural cognition and they are constituted and reconstituted during moments of migration onto new lands. In this paper it is argued that analysing the spatial dimensions that are enacted by a social group during its migration offers scholars a means to ascertain the metaphorical meaning of the lives of its members. Examining such processes also enables archaeologists to identify and interpret the nature of cultural continuity during such movements. The paper presents the results of examining the nature of cultural continuity in the configurations and patterns of ancient house structures and settlements that were established and then abandoned by the Kaushi, a Paiwan group in southern Taiwan, as they migrated and colonized and created a new cultural landscape.

Whaling was a central aspect of Nuu-chah-nulth, Ditidaht and Makah culture on the northwest coast of North America. Not only was it economically important, it was vital to chiefly prestige. Art and ceremonial life were dominated by themes related to whaling. Thunderbird, the great supernatural whaler, was the source of hereditary prerogatives held by chiefs, including names, dances, regalia and rights to display images of thunderbird and whale. This paper argues that human observations of predatory behaviour by orcas (or killer whales) led to these animals also being perceived as non-human whalers from which chiefly prerogatives could be obtained. Wolves, the main figures in Nuu-chah-nulth ceremonial life, had the power to transform into orcas, explaining their frequent presence in the art with thunderbirds and whales. This paper presents archaeological evidence for orca in the context of whaling and offers interpretations based on the extensive ethnographic and oral historical records. It also places perceptions of animals, the role of the hunter's wife and beliefs about orca in a broader context involving hunting societies in northwestern North America.