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Direct 14 C Dating of Early and Mid-Holocene Saharan Pottery Lamia Messili, Jean-François Saliège, Jean Broutin, Erwan Messager, Christine Hatté, Antoine Zazzo
Direct 14 C Dating of Early and Mid-Holocene Saharan Pottery Lamia Messili, Jean-François Saliège, Jean Broutin, Erwan Messager, Christine Hatté, Antoine Zazzo To cite this version: Lamia Messili, Jean-François Saliège, Jean Broutin, Erwan Messager, Christine Hatté, et al.. Direct 14 C Dating of Early and Mid-Holocene Saharan Pottery. Radiocarbon, University of Arizona, 2013, 55 (3), pp.1391-1402. 10.1017/S0033822200048323. hal-02351870 HAL Id: hal-02351870 https://hal.archives-ouvertes.fr/hal-02351870 Submitted on 30 Oct 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. DIRECT 14C DATING OF EARLY AND MID-HOLOCENE SAHARAN POTTERY Lamia Messili1 • Jean-François Saliège2,† • Jean Broutin3 • Erwan Messager4 • Christine Hatté5 • Antoine Zazzo2 ABSTRACT. The aim of this study is to directly radiocarbon date pottery from prehistoric rock-art shelters in the Tassili n’Ajjer (central Sahara). We used a combined geochemical and microscopic approach to determine plant material in the pot- tery prior to direct 14C dating. The ages obtained range from 5270 ± 35 BP (6276–5948 cal BP) to 8160 ± 45 BP (9190–9015 cal BP), and correlate with the chronology derived from pottery typology. -
Saharan Rock Art: an Archaeology of Relational Ontologies in North African Prehistory
Evans-Pritchard Lectures 2018 Dr Emmanuelle Honoré Marie Skłodowska-Curie Fellow - McDonald Institute for Archaeological Research, University of Cambridge Saharan Rock Art: An Archaeology of Relational Ontologies in North African Prehistory Archaeological data testify to the flourishing cultural development of Late Prehistoric communities during the last favourable interval in North Africa, before the large-scale desertification process that affected the Sahara around 3500 BC. This interval was also the moment for major transformations in the long-term history of Africa, with the adoption of pastoralism that made North African populations shift from a hunter-gatherer to a semi-nomadic pastoralist way of life. Based on the fieldwork I have conducted in the Eastern Sahara, this series of lectures aims to explore post- Pleistocene adaptations through the lens of transformations of the social world. How did the last hunters and the first pastoralists perceive and conceive the world and their relation to the world? What changes in their worldviews accompanied the development of the earliest African pastoralism? Wednesday, 2 May (Week 2) Changing Views of a Changing World: A Relation to Territories, Resources and Landscape in the Context of Holocene Environmental Changes Tuesday, 8 May (Week 3) Images of an Imagined World: The Complex Mythologies of the Last Hunter-Gatherers Tuesday, 15 May (Week 4) The Animal as Anima: The Role of Cattle in the Worldviews of Early African Pastoralist Societies Tuesday, 22 May (Week 5) Subsistence as Giving Some Substance: The Organization of Tasks and Social Relations amongst the Last Hunters and First Pastoralists Thursday, 24 May (Week 5) Towards a Palaeosociological Approach: Relational Ontologies and the Constitution of ‘Being in Society’ in North African late Prehistory All lectures take place at 5.00 pm in the Old Library, All Souls College Open to the public – all welcome . -
Humans and Water in Desert “Refugium” Areas: Palynological Evidence of Climate Oscillations and Cultural Developments in Early and Mid-Holocene Saharan Edges
Volume VI ● Issue 2/2015 ● Pages 151–160 INTERDISCIPLINARIA ARCHAEOLOGICA NATURAL SCIENCES IN ARCHAEOLOGY homepage: http://www.iansa.eu VI/2/2015 Humans and Water in Desert “Refugium” Areas: Palynological Evidence of Climate Oscillations and Cultural Developments in Early and Mid-Holocene Saharan Edges Anna Maria Mercuria, Assunta Florenzanoa*, Carlo Giraudib, Elena A. A. Garceac a Laboratorio di Palinologia e Paleobotanica, Dipartimento di Scienze della Vita, Università di Modena e Reggio Emilia, viale Caduti in Guerra 127, 41121 Modena, MO, Italy bENEA C. R. Saluggia, Strada per Crescentino 41, 13040 Saluggia, VC, Italy cDipartimento di Lettere e Filosofia, Università di Cassino e del Lazio Meridionale, via Zamosch 43, 03043 Cassino, FR, Italy ARTICLE INFO ABSTRACT Article history: Saharan anthropic deposits from archaeological sites, located along wadis or close to lakes, and Received: 30th April 2015 sedimentary sequences from permanent and dried basins demonstrate that water has always been Accepted: 21st December 2015 an attractive environmental feature, especially during periods of drought. This paper reports on two very different examples of Holocene sites where “humans and water” coexisted during dry periods, Key words: as observed by stratigraphic, archaeological and palynological evidence. Independent research was palaeoecology carried out on the Jefara Plain (Libya, 32°N) and the Gobero area (Niger, 17°N), at the extreme pollen northern and southern limits of the Sahara, respectively. wet habitats The histories of the Jefara and Gobero areas, as revealed by the archaeological and palaeoenvironmen- archaeology tal reconstructions, suggest that these areas were likely to have been visited and exploited for a long climate change time, acting as anthropic refugia, and therefore they have been profoundly transformed. -
Saharan Rock Art. Archaeology of Tassilian Pastoral Iconography. by Augustin F
BOOK REVIEW Saharan Rock Art. Archaeology of Tassilian Pastoral Iconography. By Augustin F. C. Holl. African Archaeology Series. AltaMira Press, Walnut Creek, 2004, 192 pages. ISBN Paperback 0-7591-0605-3. Price: UK£ 22.95. The rock art of the Sahara is world class, but it series of vignettes that correspond to the annual has tended to be ignored by rock art specialists out- rhythms of pastoral transhumant life. The two panels side Saharan studies. This was underlined by omission are suggested as a narrative in the form of an allegory of any mention of Saharan art in CHIPPINDALE & or play in six acts. Act I (or Composition I) has five TAÇONs (1998) edited volume on world rock art. The scenes that deal with arrival at a camp site, setting up reasons for this may be partially due to most Saharan camp and watering the animals. Act II has three scenes rock art researchers being either French or Italian, but that deal with transit to a new camp. Act III is the new more probably due to the history of work being limited camp site that anticipates some important event, which to dating sequences (MUZZOLINI 1993) and concentra- is suggested as being gift-giving and the birth of a tion on purely collecting data to contrast styles new child. Act IV is the continuation of camp life into (SANSONI 1994). This has meant that theoretical frame- the dry season, but is seen as a metaphor for life works have tended to be abstract and general, mostly events and the new generation. -
Rock Art of Africa Niger
ROCK ART OF AFRICA NIGER N IGE R www.africanrockart.org www.arcadiafund.org.uk www.britishmuseum.org Mammanet 4 007.............. 92 Djaba 001....................... 1 Mammanet 5 008.............. 92 Djado 002....................... 1 Mammanet 6 009.............. 93 Djado 003....................... 2 Black Mountains 010.......... 94 Djado 004....................... 3 Last Tassili 011.................. 99 Djado 005...................... 8 Dumbell Site 012............... 103 Djado 006...................... 9 Mythical Giraffe 013........... 105 Djado 007...................... 13 Tadek Well 014.................. 108 Djado 008...................... 14 Dabous 001...................... 109 Djado 009...................... 16 Kolo 002........................... 153 Easter Aiir Mountain 001... 18 Akbar Site 003.................. 154 Ankom Monoliths 003....... 31 Rock Arch Site 004............ 157 Iwellene 001................. 32 Akore Guelta 005....... 161 Northern Air Mountains 002 67 Egatairaghe 007................ 165 Tirreghamis rain queen 003 72 Telahlaghe 008.................. 168 Grebounni 004................ 88 Dinousour......................... 171 Mammanet 2 005............. 91 Iferouane 010................... 172 Mammanet 3 006............. 91 P.O. Box 24122, Nairobi 00502, Tel: +(254) 20 3884467/3883735, Fax: +(254) 20 883674, Email: [email protected], www.africanrockart.org ISBN 9966-7055-8-9 Photos © David Coulson / TARA unless credited otherwise. Design & Layout by Richard Wachara Rock Art of Africa NIGER DJABA 001 NIGDJD0010005 -
The Emergence, Spread, and Development of the Pastoral
Andrew B. Smith. African Herders: Emergence of Pastoral Traditions. Walnut Creek: Altamira Press, 2005. 251 pp. $88.00, cloth, ISBN 978-0-7591-0747-2. Reviewed by Michael Bollig Published on H-SAfrica (October, 2007) Andrew Smith has the great merit to bring to‐ olent and nonviolent intergroup relations. Gender gether archeological and ethnographic informa‐ and age in African pastoral communities are cur‐ tion on herding traditions in Africa. This is a great rently being recognized by anthropologists as key task as archeologists almost more than anthropol‐ categories for analysis. In some detail, Smith ogists stick to their excavations and their immedi‐ treats the relation between foragers and herders. ate surroundings so that a comprehensive idea on Are both lifestyles really antagonistic? Does forag‐ cultural developments does not easily arise from ing prepare for a pastoral lifestyle, or does it run their publications. Smith wants to summarize the against it? From here it is only a short distance to current state of the archeology of pastoral tradi‐ a central question that this small volume not only tions in Africa and at the end of his book gives a poses but also answers concisely: what is domesti‐ considered opinion on where research should cation and where does domestication start? move in the coming years. In chapter 2, Smith attempts to give a summa‐ Smith starts with deconstructing stereotypes ry of pastoral material culture, discussing shel‐ of African pastoralism. Leaning on an approach ters, containers, grinding equipment, and person‐ developed by Edward Said in his seminal decon‐ al attire in some detail and making use of numer‐ struction of Western notions of the Orient, Smith ous photographs. -
Mythology and Legend, by JEAN- LOIC LE QUELLEC, Transla
RockArt Research 2007 h,me 24, Nurnbcr 2, 261 RAR REVIEW Rock art in Africa: mythology and legend, by JEAN- basis in ethnology? LOIC LE QUELLEC, translated Paul Bahn. 2004. Le Quellcc's magisterial command of knowledge by in Editions Flammarion, Paris, 212 pages, 272 plates, about 'shn.in rock art is amply reflected the book's in colour, 30 x 24 cm, hardcover, first chaph'r. There is some over-interpretation of motifs mostly bibliography, where a liberal use of marks would have been of US$6500, ISBN 9-782080-304445. quotation benefit. For instance, the several superb lycanthropic (not of the Messak Peintures et d'avant les du Sahara 'lycaon-headed') images Libyan (pp. 26-29) gravures pharaons: may well have been intended to depict theriantropes with au Nil, by JEAN-1.0IC LE QUELLEC, PAULINE canine heads - or crocodilian, or whatever else - we DE FLERS and PHILIPPE DE FLERS. 2005. Libraire simply cannot know. Le Quellec quite rightly emphasises Arthème Fayard/ Editions Soleb, 382 pages, several the strong presence of sexual subject matters in the Sahara, hundred colour plates, bibliography, 36 x 28 cm, particularly in the petroglyphs, and he dismantles the hardcover, ¬100,00, ISBN 2-213-62488-7. popular interpretation of de Almásy's 'swimmers'. The section on the 'intertropical zone' focuses on spec Jean-Loïc Le Quellec's one dozen or so booksare among tacular painting sites in southern Mali, the apparently the most valuable additions to the study ofrock artin recent sparse rock art of Gabon, Zaire and Congo, and the pre decades, and also among the most handsome. -
Thematic Study on Rock Art Africa
Sub-Zone 1: Mauritania - Western Sahara Joaquim SOLER SUBILS Institut für Ur- und Frügeschichte und Archäologie des Mittelalters (Tübingen, Germany) 1. Profile of Zone: The archaeological context Although archaeological research in the Western Sahara has not been so long and intense as in the neighbouring countries of Morocco, Algeria and Mauritania, since the forties we know that the rock art heritage of this zone is huge and diverse. Rock art is more abundant in the eastern part of the country, whereas it disappears towards the coast (fig. 1). However the presence of some sites on the coast (in El Aaiún, for example) indicates that the reason of such gradual disappearance may be due to geological reasons. The Neogene coastal platform is a flatland constituted by fossiliferous limestone and dunes, without caves or rock-shelters of importance. That context is less prone to rock art production or preservation. The Western Saharan images belong to several different traditions, which at the moment we can poorly relate with each other. Some natural particularities explain a part of the regional diversity for the rock art in the Western Sahara. The rock-shelters of the Zemmur, for example, are favourable to paintings and not to engravings, whereas the thousands of fine dark horizontal slabs found in the north-east (a zone with scarce or inexistent rock-shelters) were engaging for the engravers. The differences in the styles and the subjects depicted, on the other hand is a result of social and ecological changes. Unfortunately at this moment we can only notice those historical and ecological changes in the rock art, but we are still unable to explain what produced such evolutions in the prehistory of the Western Sahara. -
Jass Cover Story
doi 10.4436/JASS.91024 Research news from ISItA members Journal of Anthropological Sciences Vol. 91 (2013), pp. 7-11 JASs cover cover story story A Cover Story for a Nature cover: milking in the prehistoric ‘Green Sahara’ Savino di Lernia Dipartimento di Scienze dell’Antichità, Sapienza Università di Roma, Via dei Volsci 122, 00185 Rome, Italy; School of Geography, Archaeology and Environmental Studies, University of the Witwatersrand, Private Bag 3, Johannesburg 2050, South Africa e-mail: [email protected], www.acacus.org Central Sahara is one of the African hotspots for the study of the emergence and development of pastoralism during the Early Holocene. Recent research carried out in the Tadrart Acacus (SW Libya) added significant information on the first appearance of domestic livestock in the area, the building of a pastoral identity and the development of a full pastoral economy, based on the exploitation of secondary products, including dairying. The chemical analyses of pottery residues excavated at Takarkori rock shelter together with rock art evidence of the region led us to date the earliest evidence of milking in Africa at the beginning of the Middle Pastoral, around 6100 uncalibrated years BP, shedding new light to the lifeways of these early Saharan herders. The first western travellers who explored the Central Sahara in the 19th century were astonished by the rock engravings on the banks of fossil rivers portraying hippos, crocodiles as well as domestic ani- mals – particularly cattle – in fact, they strongly contrasted with the surrounding environment (Barth, 1857-1858; Duveyrier, 1864). Since then, the idea of a “Green Sahara”, that could host large faunas and human communities, became quite common and several generations of researchers – especially from Europe – spent money and energies in the field (e.g. -
Rock Art When the Sahara Was Not a Desert
The Sahara, dispersal route and / or barrier to migrations: drawing on central Sahara (Algeria and Libya) rock art when the Sahara was not a desert. Miguel Caparros∗1 1Mus´eumNational d'Histoire Naturelle (MNHN) { D´epartement de Pr´ehistoire: Equipede Pal´eontologie Humaine, UMR 7194 CNRS { France R´esum´e The rock art paintings from the Tassili, Algeria, first inventoried and made famous by Henri Lhote in 1958, are testimony of a most striking feature of the African climate his- tory, namely the transformation of the increasingly arid Sahara during the Pleistocene into a humid and green landscape sprinkled of lakes during the Early-Middle Holocene (EMH, 11 to 5.5 ka BP). The " t^etesrondes" paintings are evidence of a Saharo-Sudanese neolithic culture contemporaneous with the onset of this humid period in the Sahara. This dramatic humid period in the Sahara is well documented by vatious paleoenvironment studies. We present here various rock art illustrations representative of the EMH in the central Sa- hara from six trips undertaken from 2006 to 2011 in Algeria (Tassili and Immidir) and Libya (Acacus, Tassili and Messak). On the basis of these trips and recent palaeoenvironment and prehistoric research by various workers, we raise the question: was the humidification and greening of the Sahara a unique event? It woul seem that the response is negative. Evidence of alternating wet and dry episodes in the Sahara and eastern Africa during at least the last 250 ka due principally to the northern migration of the summer ITCZ leads us to think that while the Sahara might have been an insurmountable ecological barrier during extreme arid conditions, probably preventing human dispersals from southern Africa during glacial periods, it became a natural migratory path during humid periods (coeval with northern hemisphere deglaciations) when the Sahara was covered of grasslands. -
Images Re-Vues, 14 | 2017 Kapwani Kiwanga’S Alien Speculations 2
Images Re-vues Histoire, anthropologie et théorie de l'art 14 | 2017 Extraterrestre Kapwani Kiwanga’s Alien Speculations Gavin Steingo Electronic version URL: http://journals.openedition.org/imagesrevues/4051 DOI: 10.4000/imagesrevues.4051 ISSN: 1778-3801 Publisher: Centre d’Histoire et Théorie des Arts, Groupe d’Anthropologie Historique de l’Occident Médiéval, Laboratoire d’Anthropologie Sociale, UMR 8210 Anthropologie et Histoire des Mondes Antiques Electronic reference Gavin Steingo, “Kapwani Kiwanga’s Alien Speculations”, Images Re-vues [Online], 14 | 2017, Online since 03 November 2017, connection on 30 January 2021. URL: http://journals.openedition.org/ imagesrevues/4051 ; DOI: https://doi.org/10.4000/imagesrevues.4051 This text was automatically generated on 30 January 2021. Images Re-vues est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale 4.0 International. Kapwani Kiwanga’s Alien Speculations 1 Kapwani Kiwanga’s Alien Speculations Gavin Steingo AUTHOR'S NOTE I would like to thank the editorial committee for excellent feedback on an earlier draft of this article. I am also grateful to Peter Szendy, Brent Hayes Edwards, and Jean-Loïc Le Quellec for helpful comments and discussions. Finally, I must offer a mighty thank you to Louise Hervé and Chloé Maillet for seeing this project through from beginning to end. Introduction Images Re-vues, 14 | 2017 Kapwani Kiwanga’s Alien Speculations 2 1 Between the mid-nineteenth and mid- twentieth centuries, many European authors invested considerable effort to illustrate that Africans are incapable of genius and civilization. Unable to fathom that an African society might have constructed what we today know as Great Zimbabwe, German geographer Karl Mauch (1837-1875) and British archaeologist James Theodore Bent (1852-1897) developed fanciful historical narratives. -
Musée De L'homme
LE NOUVEAU MUSÉE DE L’HOMME LE NOUVEAU MUSÉE DE L’HOMME MUSÉE LE NOUVEAU 9,50 € MUSEEDELHOMME-COUV-bonneimage.indd 1 13/11/2015 10:45 1878-1937-2015 LES TROIS RÉVOLUTIONS DU PALAIS DU TROCADÉRO Les mutations d’une icône architecturale BAT-12-11_10H00_HS MUSEE HOMME AS.indd 14 13/11/2015 08:49 UN SITE D’EXCEPTION Pour les touristes adeptes des bateaux- mouches, c’est évidemment l’une des plus belles perspectives de la capitale : d’un côté le palais de Chaillot avec dans le lointain la marque du XXIe siècle, La Défense ; de l’autre, le monument le plus symbolique de Paris (d’où est prise la photographie), la tour Eifel. BAT-12-11_10H00_HS MUSEE HOMME AS.indd 15 13/11/2015 08:49 LES TROIS RÉVOLUTIONS DU PALAIS DU TROCADÉRO 3 L’histoire de l’Homme méritait un palais : immense, il couvrit la colline du Trocadéro. Elle méritait aussi la 7 lisibilité, la lumière : toutes deux ont été les objectifs prioritaires des architectes. PAR CHRISTINE DESMOULINS 9 omment adapter un 4 bâtiment qui a connu C plusieurs vies à sa nou- velle mission ? Après une décennie d’études et de chan- tier, la nouvelle image du Musée de l’Homme apparaît enfn. Au sein du patchwork architectural de ce grand monument classé, où 5 le palais hispano-mauresque inau- guré en 1878 et son extension 9 néoclassique de 1937 s’entre- mêlent, les architectes Brochet- Lajus-Pueyo et Emmanuel Nebout ont écrit un nouveau palimpseste. 8 En colonisant la structure de l’édifce, ils la bouleversent avec respect.