The Harakbut Amana, the sacred ritual place of the 'Rostro'. Image GTEL-APAR 2015.

The Harakbut Amana, the sacred ritual place of the 'Rostro'. Image GTEL-APAR 2015.

Source publication
Article
Full-text available
This article focuses on the problem of how native Amazonian peoples perceive and construct visual imagery on geological landscape and theorise on its causes and origin. Many native theory-building strategies seem to intertwine anthropogenic markings on lithologi-cal surfaces with systems of knowledge regarding geological and biological phenomena as...

Contexts in source publication

Context 1
... non-anthropogenic material culture defined as ' "naturally occurring artefact" - i.e. the Makapansgat jasperite cobble; a found object which, although not in a strict sense an artefact, became one by virtue of perceptual projection which transformed the object into a semblance of a face!' This seems to be the case at the sacred place called Amana (Fig. 3) by the Harakbut people, an Arawakan group from the Madre de Dios River, Peruvian Amazonia (Echevarría López 2015). In this sacred place there is a sedimentary outcrop traditionally acknowledged as 'El Rostro' (The Face). This structure fulfils the myth that explains several other 'big heads' in the Harakbut territory, representing the ...
Context 2
... process of constructing awareness of the environment seems to result in 'virtual reality' reconstructions intertwined to several degrees of 'integration' between natural features and anthropogenic technical markings. These range from (I) the pure natural type, not technically reconstructed in any aspect (Figs 3, 9 and 10); passing through (II), partially reconstructed types also keeping visibility of natural features like hybrid shapes (Figs 6, 7 and 8); until almost entirely reconstructed ones (III), as plain virtual reality entities sometimes still keeping a less evident participation of geomorphic patterning (Figs 2, 4 and 5). ...

Similar publications

Preprint
Full-text available
This paper examines discarding practices at the Early Formative site of Tulán-54 (3360-2950 cal BP to 2410-2370 cal BP, located at the southeastern edge of the Salar de Atacama Basin (Northern Chile). A sunken temple structure identifi ed at the centre of a refuse mound found on site contained 27 human infant graves accompanied by offerings, rock a...
Article
Résumé L’attribution chronologique des gravures de Laghchiwat, nouveau site d’art rupestre majeur du Sahara occidental, n’est pas encore établie. À ces fins, nous nous interrogeons de façon inédite sur l’enchevêtrement dans les productions graphiques locales et préhistoriques en général. L’aptitude à réutiliser une même ligne en l’incorporant à dif...

Citations

... Such an approach has provided hypotheses that have been (Sakamoto, Pettitt, and Ontañon 2020;Meyering, Kentridge and Pettitt 2021), or are being, empirical tested (Wisher 2019), which demonstrates the utility of applying this line of research to palaeoart. The efficacy of the approach is underlined by the fact it has been instrumental in discovering and analysing rock art from other rock sites and eras (Valle et al. 2018;Wright-Carr 2018). Moreover, the application of perceptual psychology to palaeoart has led to the appearance of a new interdisciplinary subject known as 'visual palaeopsychology' (Pettitt, Meyering and Kentridge 2020). ...
Article
Perceptual psychology has provided a number of revealing insights into the phenomenon of palaeoart. The value of the discipline is underlined by the fact that it has provided new ways of exploring how Upper Palaeolithic cave art first arose, both on a theoretical and a practical level. Despite this, the approach has been accused of overstating the importance of perceptual factors to the detriment of cultural criteria. In this paper, I demonstrate how perceptual psychology can be exploited to provide useful hypotheses regarding the cultural issues associated with early parietal art.
... De certo modo, há vários esforços recentes que demonstram interesse na aproximação da arqueologia com conceitos e teorias indígenas, evidenciados pela etnologia amazônica (ver Barreto, 2009;Gomes, 2012;E. Oliveira, 2016;Valle et al., 2018;Polo, 2019). ...
Article
Full-text available
Resumo Na última década, uma série de escavações arqueológicas sistemáticas foi realizada pela equipe do Instituto de Pesquisas Científicas e Tecnológicas do Estado do Amapá, produzindo um acervo muito rico e diversificado, que tem sido estudado e discutido por várias pessoas da equipe. Neste artigo, vou tomar como foco uma estrutura funerária que contém um conjunto de cerâmicas indígenas, algumas antropomorfas, oriundas de contextos arqueológicos cuidadosamente registrados, buscando explorar suas capacidades agentivas, e articulando suas propriedades materiais, aspectos estéticos e os próprios contextos de deposição. Partindo de uma perspectiva alimentada pela etnologia indígena da Amazônia, que tem salientado a potência da materialidade na relação com diversas gentes, procuro tecer narrativas que evidenciam o lugar do cuidado estético na produção destas peças para atrair olhares e produzir relações com quem as encontra. Para além da beleza, no entanto, minha proposta é explorar de que modos estas vasilhas e os demais materiais com os quais se conectam podem nos apontar uma série de relações que as pessoas que as produziram e utilizaram estavam criando e como as estavam usando entre outras pessoas, lugares e seres.
... (Wylie 2010) The arbitrariness of, and the work done, in establishing the nature culture divide has long been the subject of analytical critique in science studies (Latour 1993). It has become profoundly problematic in the ecological recognition of the anthropogenic, culturally created, cognitive, landscapes most recently revealed in Amazonia (Heckenberger 2005(Heckenberger , 2006Valle et al. 2018). ...
Article
Full-text available
South American rock art and prehistory with all its controversies is a rich site for exploring the processes of territorialization through which humans shape their understanding of the world in their earliest movements through the environment, and also for examining how narratives of prehistory are woven. The paper examines the debate over the Cerutti Mastodon and why Serra da Capivara, one of the largest rock art complexes in the world, remains in analytic limbo. It suggests that rethinking these two examples may offer a possible way out of some of the analytic difficulties in South American prehistory through a decolonizing approach to understanding the reasons for the rejection of the Cerutti Mastodon, and the lack of recognition of Serra da Capivara’s most important site – Bocqueirã da Pedra Furada (PBF).
... Esta concepción se extiende a otros casos de pueblos de lengua Arawak del noroeste Amazónico (Xavier 2012). Aun cuando el mito de las 'piedras blandas' es pan-amazónico (Valle et al. 2018), es difícil rehuir la implicancia de que algunos de estos petroglifos podrían asociarse a la expansión de los grupos de esta familia lingüística, que en el noroeste Amazónico son canoeros, pescadores y horticultores por excelencia. La tarea de ampliar nuestra comprensión de la variabilidad regional y significado de estas manifestaciones, sin embargo, es una tarea futura. ...
Article
Full-text available
La arqueología del medio río Caquetá, en la Amazonía colombiana, se conoció recién en los 1970s a partir de los resultados de proyectos de investigación pioneros en Araracuara y La Pedrera. Estas investigaciones identificaron secuencias cerámicas diferentes en cada localidad, documentaron una gran cantidad de petroglifos y, por primera vez, registraron suelos antrópicos negros y pardos en el Noroeste Amazónico. Investigaciones posteriores enfatizaron el estudio de archivos ambientales (arqueobotánicos y geoarqueológicos) y registraron ocupaciones pre-cerámicas del Holoceno temprano y medio. Éstas son particularmente importantes debido a que los datos arqueobotánicos asociados sugieren que las poblaciones de la región cultivaron tempranamente una variedad de plantas comestibles, varias de ellas domesticadas en otras regiones. Sin embargo, la arqueología del medio río Caquetá todavía presenta una serie de interrogantes importantes respecto de las ocupaciones del pre-cerámico y de los extensos sitios de habitación de grupos alfareros. Con respecto a estos últimos, es particularmente importante evaluar hasta qué punto estas ocupaciones se pueden enmarcar en las grandes tradiciones cerámicas conocidas para la Amazonía y la cuenca del Orinoco. En este artículo resumimos la información existente sobre la arqueología del medio río Caquetá y presentamos nuevos datos preliminares producidos en los últimos años, ello con el objetivo de evaluar el estado de nuestros conocimientos y fomentar el desarrollo de futuras investigaciones arqueológicas en la región.
Article
Full-text available
Several research developments of recent years imply the possibility that knowledge about the original meaning, significance and production of rock art may be available from various parts of the world besides Australia. It has been well known since the 19th century that ethnographically accessible interpretation of rock art is often obtainable from Australian Aboriginal Elders. Here, possibilities are presented, in some cases credibly demonstrated, that such knowledge may have survived among traditional societies in various continents. Of particular relevance are such recent findings from Saudi Arabia. Another new development in the ethnography of rock art is the realisation of the possibility of accessing the motivation and cognitive world of rock art producers through the presence of accompanying rock inscriptions making direct reference to the rock art. Where these can be deciphered, they can become messages illuminating the world in which the rock artists existed. Such messages are up to a few millennia old, and they are as valuable to science as the accounts of living consultants. They provide a new form of access to the ethnographic interpretation of rock art not defined before.
Article
Full-text available
The area encompassed by the Orinoco river basin is home to some of the largest and most diverse rock art sites in lowland South America. In this paper, we aim to formally describe the spatial distribution and stylistic attributes of rock engravings and paintings on both banks of the Orinoco, centred on the Átures Rapids. Drawing on an exhaustive literature review and four years of field survey, we identify salient aspects of this corpus by investigating patterns of diversity and similarity. Based on a stylistic classification of Middle Orinoco rock art, this permits us to discuss potential links, as well as notable discontinuities, within the assemblage and possibly further afield. We consider the theoretical implications of our work for the study of pre-Columbian art and conclude with some suggestions for advances in methods for achieving the goal of deriving broader syntheses.