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IFRAO 2013 Albuquerque, New Mexico, USA 1 Session 1 SYMBOLS, MYTHS, and COSMOLOGY Archaeological Material and Anthropological Meanings

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IFRAO 2013 Albuquerque, New Mexico, USA 1 Session 1 SYMBOLS, MYTHS, and COSMOLOGY Archaeological Material and Anthropological Meanings IFRAO 2013 Albuquerque, New Mexico, USA 1 Session 1 SYMBOLS, MYTHS, AND COSMOLOGY Archaeological Material and Anthropological Meanings Dario Seglie CeSMAP, Pinerolo - Polytechnic of Torino, Italy [email protected] Mike Singleton University of Louvain, Belgium [email protected] Herman Bender Hanwakan Center for Prehistoric Astronomy, Cosmology and Cultural Landscape Studies, Fond du Lac, Wisconsin, USA [email protected] Enrico Comba University of Torino, Torino, Italy [email protected] The Symposium seeks to occasion new ideas and innovative research, to afford fresh theories and bold hypothesis to- gether with unpublished information and recent discoveries relative to the study of Rock Art in general and in particular to the philosophies and practices it implies. The Symposium thus provides an opportunity to discuss the roles played by Iconography and Myth in archaeological times thanks, in part, to the light which can be shed thereon by insights emerg- ing from the anthropological study of peoples whose material life styles and assimilated mentalities can be plausibly paralleled to those of our prehistoric forebears. There is no third way beyond conscious or unconscious ethnocentrism. It must consequently be recognized that anthro- pology and archaeology with their respective categorizations of empirical reality (amongst which “Art” and “Prehis- tory”, “Ritual” and “Myth”) are pure products of recent Western history. This recognition, rendered creative as well as critical, could lead, far beyond the usual interdisciplinary syncretism, to radically new hermeneutical systems able to attribute less ambiguous meaning to the very terms under discussion such as “artistic production”, “primitive religion” and “hunter-gatherers”. In particular, such issues as the following will be debated: • problems emerging with regards the archaeological and anthropological documentation of art sites, with special refer- ence to symbolic systems and ritual practices; • the correlations, synchronic and diachronic, between palaeo-ethnocultural areas at different periods and in various places; • the iconography found in Rock Art as a reflection of world-views and cosmologies of the past; • ceremonial aspects and underlying meanings of the material; the possible roles and function of Rock Art in keeping with eco-social-cultural changes; • data from sites that are still in use, insofar as they can be related to Rock Art sites and to their meanings for contempo- rary native peoples. WOMEN, CATTLE AND LUNAR SYMBOLS: 2006; di Lernia 2006). These funerary monu- THE COSMOLOGICAL SIGNIFICANCE OF ments have also been linked to the production THE SAHARAN FUNERARY MONUMENTS of rock art in the relevant areas. Absent from the Ahmed Achrati Ph.D. literature, however, is the question of whether Georgetown University School of Continuing there is any gender significance to the artistic Studies, Washington, DC, USA and funerary symbolisms of the Sahara. This [email protected] paper studies the iconographic relationships between cattle and women in rock art in funer- Many researchers have studied the prehistoric ary practices in order to assess possible gender funerary structures in the Sahara and comment- stratification in the pastoral culture of the Sa- ed on their significance as status markers in hara and how it may have evolved since the the context of a pastoral culture (Miburn 1993; Neolithic. The article concludes that pastoralism Hachid 2001; Gathier, Y. and C. 2004, 147; Amara IFRAO 2013 Albuquerque, New Mexico, USA 2 Session 1 is not devoid of matriarchal features, some of estudios iconograficos, junto a los datos arqueo- which are recognizable in Tuareg societies today. logicos y etnohistoricos, sugieren que se trato de Keywords: Rock Art, Gender, Pastoralism, Funer- un sitio de peregrinaje y practicas shamanicas, ary Monuments, Cosmology. que funciono como oraculo y espacio sagrado dedicado al culto de antepasados miticos fun- ROCK ART IN PORO PORO DE UDIMA: dadores de linajes, representados por una pareja MYTHICAL ANCESTORS AND LINEAGES, antropomorfa que inicia la secuencia de expre- SHAMANIC PRACTICES, PILGRIMAGE AND siones rupestres en el panel principal, orientado ORACLE IN A UNIQUE SITE hacia una catarata, considerada la pacarisca del María Susana Barrau grupo. [email protected] Daniel Castillo Benites Palabras clave: Arte rupestre - Poro Poro de [email protected] Udima - Peru - Iconografia - Mitologia This paper presents a new approach on the MYTHS ABOUT ROCK ART rock art of the archaeological site of Poro Poro Robert G. Bednarik de Udima, Catache district, Cajamarca, Peru. AURA, IFRAO Convener, Melbourne, Australia Systematic research conducted in 2011-12 ex- [email protected] tended the information available through the use of new technologies in digital photography Rather than addressing the myths or cosmolo- and imaging. Iconographic studies, together gies supposedly expressed in rock art, this paper with archaeological and ethnohistorical data explores some of the myths that have been and suggest that this was a site of pilgrimage and are still being created about rock art. We know shamanic practices, which functioned as an from the study of the last rock art-producing oracle and sacred space devoted to the worship peoples in the world that outsiders of their cul- of mythical ancestors founders of lineages, rep- tures cannot interpret their rock art correctly, or resented by an anthropomorphic couple which even understand their cosmologies adequately. initiates the rock art sequence in the main panel, This is not surprising, in view of the neuroscien- which faces a waterfall considered as the paca- tific understanding of the underlying differenc- risca of the group. es. In a sound hermeneutical system the norma- Keywords: Rock Art – Poro Poro de Udima – tive nature of interpretation must be recognized Perú – Iconography – Mythology and accounted for. The record shows that little hermeneutical restraint has been exercised in ARTE RUPESTRE EN PORO PORO DE rock art research, and that the discipline’s cred- UDIMA: ANCESTROS MÍTICOS Y LINAJES, ibility demands the expulsion of the extensive PRÁCTICAS CHAMÁNICAS, myths that have been created. Some of the most PEREGRINACIÓN Y ORÁCULO EN UN SITIO prominent of these falsities are presented to il- EXCEPCIONAL lustrate the point. Este trabajo presenta una nueva mirada sobre Keywords: Rock art – Interpretation – Cosmol- el arte rupestre del sitio arqueologico Poro Poro ogies – Neuroscience – Myths de Udima, distrito de Catache, Cajamarca, Peru. En 2011-12 realizamos investigaciones sistema- ticas que ampliaron la informacion conocida a traves del empleo de nuevas tecnologias en fotografia digital y tratamiento de imagenes. Los IFRAO 2013 Albuquerque, New Mexico, USA 3 SYMBOLS, MYTHS, AND COSMOLOGY Archaeological Material and Anthropological Meanings BISON EFFIGY STONES which included 400 boulders with engravings, Herman Bender associated with spatial forms and structures that Hanwakan Center, Fond du Lac, USA conformed ritual landscapes. The archaeological [email protected] and iconographic analysis, along with ethnohis- torical data on mythology and ritual, allow us Amongst the Plains Indian tribes, buffalo to support that the site was a pilgrimage center stones and/or bison effigy rocks were highly re- for coastal and highland groups, that on a regu- garded and revered. The buffalo was a symbolic lar basis worshiped cosmological entities and representation of wakan (a sacred presence). ancestors, in ceremonies related to rainfall and many times identified with the Sun. Along with river flows, abundance of animals and agricul- the sun during the day, the buffalo had its coun- tural calendar. terpart in the night sky. Meteors were sometimes looked upon as descending souls in the form ARTE RUPESTRE EN EL ALTO DE LA GUI- of buffalo calves and Lakota midwives honor TARRA: PARAISO DE CAZADORES, CALEN- Tayamni in the winter’s night sky as a bison cow DARIO AGRICOLA, MITOLOGIA Y RITUAL EN LA COSTA NORTE PERUANA on its haunches while calving. Always thought to be a Plains Indian tradition, a number of buf- Este trabajo presenta las investigaciones rea- falo or bison effigy rocks have been discovered lizadas en el sitio arqueologico Alto de la Gui- in southeastern Wisconsin. Some are ‘emerging’ tarra, ubicado en la divisoria de aguas de las (out of the earth), others seen in profile. What cuencas de los rios Moche y Viru. En 2010 finali- they all have in common is that they are either zamos el primer inventario de bienes culturales aligned to a cardinal direction (i.e. north, south, del sitio, que incluyo 400 soportes con grabados east or west) or the summer solstice sunrise or rupestres, asociados a formas espaciales y cons- sunset and its inverse, the winter solstice. Based trucciones, que conformaron paisajes rituales. on an astronomical attribute and their highly La informacion arqueologica y el analisis ico- weathered surfaces, the bison effigy rocks ap- nografico, junto a los datos etnohistoricos sobre pear to be quite ancient, likely placed and direc- mitologia y ritual, nos permiten sostener que tionally aligned thousands of years ago. se trato de un centro de peregrinaje de grupos costenos y serranos, que ciclicamente adoraron ROCK ART IN EL ALTO DE LA GUITARRA: a entidades cosmologicas y ancestros, en cere- HUNTERS PARADISE, AGRICULTURAL monias relacionadas con las lluvias y el caudal CALENDAR, MYTHOLOGY AND RITUAL IN de los rios, abundancia de animales y calendario
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