Rock art has long been considered an archaeological artifact reflecting activities from the past, yet it is also a phenomenon with present-day meaning and relevance to both indigenous and non-indigenous communities. Relating to Rock Art in the Contemporary World challenges traditional ways of thinking about this highly recognizable form of visual heritage and provides insight into its contemporary significance.   One of the most visually striking forms of material culture embedded in landscapes, rock art is ascribed different meanings by diverse groups of people including indigenous peoples, governments, tourism offices, and the general public, all of whom relate to images and sites in unique ways. In this volume, leading scholars from around the globe shift the discourse from a primarily archaeological basis to one that examines the myriad ways that symbolism, meaning, and significance in rock art are being renegotiated in various geographical and cultural settings, from Australia to the British Isles. They also consider how people manage the complex meanings, emotions, and cultural and political practices tied to rock art sites and how these factors impact processes relating to identity construction and reaffirmation today.   Richly illustrated and geographically diverse, Relating to Rock Art in the Contemporary World connects archaeology, anthropology, and heritage studies. The book will appeal to students and scholars of archaeology, anthropology, heritage, heritage management, identity studies, art history, indigenous studies, and visual theory, as well as professionals and amateurs who have vested or avocational interests in rock art.     Contributors: Agustín Acevedo, Manuel Bea, Jutinach Bowonsachoti, Gemma Boyle, John J. Bradley, Noelene Cole, Inés Domingo, Kurt E. Dongoske, Davida Eisenberg-Degen, Dánae Fiore, Ursula K. Frederick, Kelley Hays-Gilpin, Catherine Namono, George H. Nash, John Norder, Marianna Ocampo, Joshua Schmidt, Duangpond Singhaseni, Benjamin W. Smith, Atthasit Sukkham, Noel Hidalgo Tan, Watinee Tanompolkrang, Luke Taylor, Dagmara Zawadzka

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Project MUSE (https://muse.jhu.edu/)

Brady, Liam M.; Taçon, Paul S.C.

Liam M. Brady, Paul S. C. Taçon

Paul S. C Taçon; Liam M Brady

edited by Liam M. Brady

Arthur C. Nelson

Book collections on Project MUSE, Boulder, 2016

United States, United States of America

2, 20161201

producers:
Muse-DL/1.1.2

Cover 1
Title Page, Copyright Page 2
Contents 8
List of Illustrations 10
Acknowledgments 18
Note to Reader 20
1. The Place of Rock Art in the Contemporary World 24
2. A Fabricated Past?: The Case of Nyero Rock Art Site, Kumi District, Uganda 36
3. “What Rock Art?”: Stories from Northeast Thailand 58
4. What the Places Teach Us: Challenges for Cultural Tourism and Indigenous Stewardship of Rock Art Sites in the North American Midcontinent 80
5. “That Painting Now Is Telling Us Something”: Negotiating and Apprehending Contemporary Meaning in Yanyuwa Rock Art, Northern Australia 104
6. Parks, Petroglyphs, Fish, and Zuni: An Emotional Geography of Contemporary Human-Animal-Water Relationships 128
7. Rock Art in South African Society Today 148
8. Inscribing History: The Complex Geographies of Bedouin Tribal Symbols in the Negev Desert, Southern Israel 178
9. Land/People Relationships and the Future of Rock Art in the Laura Basin, Northeastern Australia 210
10. From Science to Heritage: New Challenges for World Heritage Rock Art Sites in Mediterranean Spain in the Twenty-First Century 234
11. Rock Art, Cultural Change, the Media, and National Heritage Identity in the Twenty-First Century 266
12. Teaching and Learning about Rock Art in Argentina 296
13. Recent Art History in Rock Country: Bark Painters Inspired by Rock Paintings 328
14. Marks and Meeting Grounds 358
15. Establishing New Ground: Reflexive/Reflective Thinking and Plotting a Future for Studying Rock Art in Contemporary Contexts 384
Contributors 392
Index 396
Publisher:University Press of Colorado,Published:2016,ISBN:9781607324980,OCLC:962436685
NA

"Rock art is considered an archaeological artifact reflecting activities from the past, it is also a phenomenon with present-day meaning and relevance to both indigenous and non-indigenous communities. Challenging traditional ways of thinking about this recognizable form of visual heritage and providing insight into its contemporary significance"--Provided by publisher

2022-03-08