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Van Hoek, M. 2024. Commenting on Rozwadowski and Wołoszyn
Abstract
This paper reviews the publication by academic archaeologists, Andrzej Rozwadowski and Janusz Z. Wołoszyn, in which they suggest that zigzag petroglyphs at Toro Muerto in the Majes Valley of southern Peru - constituting the most important rock art site in the Desert Andes of South America - could be representations of songs. In my paper I question a number of their suggestions and statements by trying to put the whole issue in a more appropriate context. I cannot refute their theory, but my objections makes it unlikely (though not impossible) that Toro Muerto zigzags indeed represent songs.
ResearchGate has not been able to resolve any citations for this publication.
Southern Peru is home to one of the richest sites with rock art in South America—Toro Muerto. A unique aspect of the iconography of the petroglyphs of the site is the figures of dancing humans, the so-called danzantes , which are additionally frequently associated with geometric motifs, mostly variants of zigzag lines. Drawing upon intriguing data recorded during Reichel-Dolmatoff's research in Colombia related to the meaning of analogous motifs in Tukano art, as well as broader exploration of the sonic sphere in South American cultures and the thesis that Amazonian animism was a more archaic ontology over a broader area of South America, this paper suggests that the geometric patterns at Toro Muerto, with which the figures of danzantes are juxtaposed, may have been representations of songs. An extension of this hypothesis is the suggestion that some of the more complex compositions consisting of danzantes and linear geometric motifs were graphic metaphors of transfer to the other world.
En términos arqueológicos, los valles del departamento de Arequipa son pobremente conocidos en comparación con otras regiones del Perú y es de esperar que este artículo ayude a despertar interés por el tema. Se describirán dos nuevas culturas locales recientemente identificadas en Arequipa, sobre la base de artefactos recolectados en los valles de Sihuas y Vitor, así como la temprana presencia de Nasca en el valle de Sihuas. En el análisis y la discusión también se han utilizado artefactos de colecciones e ilustraciones publicadas. Siguas 1 florece durante el Horizonte Temprano y Siguas 3 durante el Periodo Intermedio Temprano. El énfasis de ambas culturas se sitúa más en la textilería que en la cerámica, posible razón de la omisión que han sufrido por parte de los investigadores, ya que las cronologías y seriaciones de los Andes Centrales se basan en la cerámica. Ciertos ceramios y textiles de estilo Nasca Temprano, provenientes de Arequipa, muestran diferencias características frente a piezas de la costa sur, lo cual es interpretado como manifestaciones de manufactura local. Este hecho supone alguna forma de interacción entre Arequipa y la costa sur. Resultados preliminares basados en el análisis tecnológico de los textiles indican que la costa del extremo sur del Perú habría influenciado a la costa sur durante el Horizonte Temprano. La tradición textil de Siguas 2 combina elementos de Nasca y de Siguas. Por otra parte, se describirán textiles relacionados con Pukara del Periodo Intermedio Temprano, sobre los cuales se afirma algunos provendrían de Arequipa. Estos textiles permiten seguir la huella del Tema de la Deidad Central a través del estilo Pukara Provincial hasta los ejemplares de Siguas 1. El análisis de la cabeza de la Deidad Central y su corona con apéndices sobre la base del material de diferentes tradiciones, sugiere que los temas de Tiwanaku y de Wari Época 1A en Conchopata derivan de diferentes tradiciones del estilo Pukara.
Musical performance and audience participation are important activities in both group celebrations and funerary practices. This paper considers the intersection of music and ritual in shifting local mortuary traditions during state expansion in the southern Peruvian Andes. It addresses musical activities and burial rites during the Middle Horizon (MH) (600-1000 CE), a period defined by social change, population expansion and greater influence of the Wari state. We present new evidence for shifting sound-making practices from the site of La Real in the Majes Valley of Arequipa. We mobilize morphological and acoustic analyses to determine the variation in instrument production and the likely idiosyncratic ways that participants played these objects. There is a musical tradition of manufacturing wind instruments from animal bone in the early MH (600-850 CE) followed by abandonment of these practices in the late MH (850-1000 CE). We suggest this shift correlates to a higher valuation of formalized acoustic aesthetics over collective instrument production and group musical performance. Instead of playing their own instruments at mortuary events, communities listened to music as spectators.
This study investigates the possibility whether rock art images in the Majes Valley of southern Peru indeed depict weapons or conflicts between humans. The bio-archaeological excavations and research at Uraca (Majes Valley) by Beth Scaffidi and Tiffiny Tung suggest that the rock art of especially neighbouring Toro Muerto conveys a preoccupation with violence (Scaffidi and Tung 2020). However, the current study demonstrates that there is not any proof or any convincing graphical context confirming “violent events in nearby petroglyphs”.
Van Hoek, M. 2013. The Carcancha and the Apu. Rock Art in the Death Valley of the Andes. Published via BLURB. Oisterwijk, The Netherlands.
This book discusses the relationship between the rock art site of Alto de Pitis in the Majes Valley of southern Peru and the Sacred Mountain of Nevado Coropuna, the highest volcano of Peru. At Alto de Pitis there is an overkill of petroglyphs of Skeleton-Anthropomorphs, also called “Carcanchas”, which are figures with an active, upright pose, yet showing ribs and skeletal joints. Those petroglyphs are the start of an invisible connection between the site and the Sacred Mountain, where the deceased travel to. The book also offers a chronology regarding the rock art layers of the Majes Valley, but that chronology is outdated. An update of Majes chronology is given in my other book (only available as PDF at ResearchGate): 2018. Formative Period Rock Art in Arequipa, Peru. An up-dated analysis of the rock art from Caravelí to Vítor.
In 2011 I published the printed version of my book commenting on the 1986-book by Núñez Jiménez about rock art in Peru. This book is called: Petroglyphs of Peru - Following the Footsteps of Antonio Núñez Jiménez. Later I created a er PDF e-version on the BLURB website. But a few years ago I deleted my BLURB account and my five printed books are no longer for sale. I now have the opportunity to give you access to my 2011-book about the 1986-work by Núñez Jiménez. It must be stressed (and I do so in my book as well) that I only comment on the 1986-work by Núñez Jiménez, not the person, nor the researcher. When I wrote the subtitle, I indeed clarified that I followed the footsteps that Núñez Jiménez made to admirably explore the petroglyphs of Peru, as I literally surveyed most of those sites myself.
The book exclusively describes and discusses rock art images from the Desert Andes (the deserts of western Peru and northern Chile) which are associated with life and death (sex and gender related imagery). The book has been lavishly decorated with 326 illustrations (many colour photos and numerous drawings)……. El libro exclusivamente trata las imagenes en el Arte Rupestre Andino (Desert Andes = el Perú desértico y el norte de Chile) que expresan figuras y escenas relacionado con la vida y la muerte. El libro ha sido espléndidamente decorado con 326 ilustraciones (muchas fotos en color y numerosos dibujos).
In 1936, Leonidas Bernedo Málaga reported the discovery of a large collection of petroglyphs near the village of Illomas. We present the results of a recent study of the site, describing both the rock art and the organization of its surrounding ceremonial complex in light of our broader understanding of the prehistory of what is now the Department of Arequipa. Used for almost three thousand years, Illomas changed in function as population significantly increased in the region by the end of the Middle Horizon. Illomas, as well as other petroglyph sites in this rock art-rich region, was an important locus of worship and aggregation that has been underexplored by the broader archaeological community.
The painted undulating lines surrounding and linking elephants in Western Cape rock art Iwve previously been identified as entoptic visions seen by shaman/painters while in altered states. We argue tluit relevant Kalalmri Ju/'hoansi ethnography, Karoo /Xam accounts, details of the painted compositions, and elephant wildlife observations combine to make these more likely depictions of elephant sounds. Rare depictions by San medicine men of themselves clearly identify undulations and zigzags in their drawings of their bodies as somatogenic feelings, not visual constructs, fu/'hoansi words like 'shivering', 'shuddering' and 'trembling' link the comments of these men with the notion of 'presentiments', as explained by the /Xam to Wilhelm Bleek and Lucy Lloyd, and with the rumblings and other vibrations associated with audible and idtrasonic communications of elephants. While somatogenic elements in altered state experiences have been recognised before, they have never been suggested as the source of the undulating imagery. © 2018 Croatian Academy for Medical Sciences. All rights reserved.
This book deals with a group of valleys in the Department of Arequipa: from Caravelí to Vítor. The book (156 pages in English with 105 numbered illustrations [and many more]) - called Formative Period Rock Art in Arequipa, Peru. An up-dated analysis of the rock art from Caravelí to Vítor - offers many, previously unpublished illustrations of rock art panels that prove beyond any doubt that there certainly is a much larger amount of Formative Period rock art imagery in this area than previously accepted, including more MSC-Style petroglyphs. The book also discusses and rejects the authority of the purported Siguas Culture, as I argue that this specific, individual culture never existed. An important but still modest role in the creation of the many rock art layers in the Study Area is by the Paracas Culture, while the Wari Culture has had only very, very little impact. Finally, the study offers a tentative, up-dated Time Scale for especially the rock art of the Majes Valley. I hope that this up-date will be useful to a large number of rock art researchers in Peru and outside Peru.
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Este libro trata de un grupo de valles en el Departamento de Arequipa: de Caravelí a Vítor. El libro (156 páginas en inglés con 105 ilustraciones numeradas [y muchas más]) - llamado Formative Period Rock Art in Arequipa, Peru. An up-dated analysis of the rock art from Caravelí to Vítor - ofrece muchas ilustraciones inéditas de paneles de arte rupestre que demuestran más allá de toda duda que ciertamente hay una cantidad mucho mayor de imágenes rupestres de Período Formativo en esta área que antes se aceptan, incluyendo más petroglifos al Estilo-MSC. El libro también discute y rechaza la autoridad de la supuesta Cultura Siguas, ya que sostengo que esta cultura individual específica nunca existió. Un papel importante pero aún modesto en la creación de las muchas manifestiones de arte rupestre en el área de estudio es por la Cultura Paracas, mientras que la Cultura Wari sólo ha tenido muy, muy poco impacto. Finalmente, el estudio ofrece una escala temporal tentativa y actualizada para especialmente el arte rupestre del Valle de Majes. Espero que esta actualización sea útil para un gran número de investigadores del arte rupestre en Perú y fuera del Perú.
The presence of two petroglyphs ascribed to Aguada iconography (north-west Argentina) identified in the Province of Choapa, central-northern Chile (31 degrees latitude South), is herein discussed. Through a formal comparison of the motifs of rock art and those recognised in the iconography of north-western Argentina, the homology of the representations is established. Specifically, the analysis allows identifying the presence of the feline motif, the main character of Aguada iconography, related to a particular symbolic system that expanded across the southern Andes about the middle of the first century of our era. With these antecedents, the implications of the presence of this motif in the area of study are discussed.
My interest in the valleys of Arequipa began in 1994. A curious set of textiles labeled Nasca was attributed to the "Sihuas" Valley, Nazca region, Peru, south coast." The iconography of these textiles was not Nasca but belonged to unidentified traditions. They most likely came from the Sihuas Valley in the department of Arequipa. In 1997 and 2000 I went to Arequipa to establish if their provenance indeed was the Sihuas Valley and other valleys in the department of Arequipa. This was confirmed in the field for the valleys of Sihuas and Vitor at four heavily looted cemeteries. In addition, early Nasca textile fragments and a fragmented Nasca 3 bowl were collected. Figure 1 shows the valleys of the department of Arequipa in relation to the cities of Lima and Arequipa, and the south coast that includes the Rio Grande the Nazca drainage, the Nasca heartland. Approximately 300 miles separate it from the valley of Sihuas.
Over several years 1 acquired a small archive of illustrations and photographs of the textiles in question in addition to those collected at the four cemeteries. I divided these textiles into seven groups based on a comparative analysis using differences in iconography, style, sequencing of colors and weaving techniques, where possible, as well as 34 Accelerator Mass Spectrometry radiocarbon dates. The temporal ranges of the identified traditions will be shown below in parenthesis. It will be followed by the number of dates available for each tradition. All dates presented in this article are corrected and at the 68% or 1 sigma confidence interval. Three of the groups are local traditions, named Siguas 1 (543 BC-AD 121; 10), Siguas 2 (AD 127-333; 2) and Siguas 3 (AD 144-775; 8). Early Nasca textiles from Arequipa (AD 55-428; 4) and provincial Pukara (AD 138-406; 3) form the fourth and fifth groups. The remaining two groups are proliferous early Nasca (AD 168-425; 2) allegedly from Arequipa and Siguas -3 Nasca (AD 405-541; 1). Siguas 1 has its beginnings in the Early Horizon (EH) and ends about AD 100, during the early Early Intermediate Period (EIP), with the almost simultaneous appearance of early Nasca, Siguas 2, Siguas 3, provincial Pukara and surprisingly proliferous early Nasca. Siguas 1 and 3 are local cultures and Siguas 2 may be a local reaction to early Nasca influence. Between AD 630-669 a Middle Horizon (MH) Wan tunic found its way to the site of Cornejo in the Sihuas Valley.
I was informed Siguas 1 textiles were found in the valleys of Sihuas, Quilca, Majes and Ocona. At the heavily looted cemetery 1 of La Chimba in the Sihuas Valley the author together with the archaeologists Romulo Pari Flores and Marko Lopez collected only fragments of Siguas 1 artifacts while cemetery 2 had Siguas 1, early Nasca and Siguas 3 remains. In the Majes Valley Siguas 1 is documented at Toro Muerto through illustrations of petroglyphs. In addition to the fragments collected at La Chimba, there is a significant body of Siguas 1 textiles in collections. In the absence of decorated pottery, the Siguas 1 culture is defined through textiles, engraved canes, pyroengraved gourds, copper pins in the shape of undulating snakes and petroglyphs.
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Capitulo VI. El descubrimiento para la ciencia de Toro Muerto
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The rock art of Toro Muerto
- M Van Hoek
Van Hoek, M. 2003. The rock art of Toro Muerto, Peru. Rock Art Research. Vol. 20-2; pp. 151 -170.
PDF (not of the original RAR issue) is available at Academia
- Melbourne
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Melbourne. Australia. PDF (not of the original RAR issue) is available at Academia.
Toro Muerto, Peru: Possible Prehistoric Deletion of Petroglyph Details
- M Van Hoek
Van Hoek, M. 2005. Toro Muerto, Peru: Possible Prehistoric Deletion of Petroglyph Details.
Biomorphs 'playing a wind instrument' in Andean rock art
- M Van Hoek
Van Hoek, M. 2005. Biomorphs 'playing a wind instrument' in Andean rock art. Rock Art Research.
Vol. 22-1; pp. 23 -34. Melbourne, Australia. PDF available at Academia.
Trophy' heads in the rock art of the Majes Valley, Perú: exploring their possible origin
- M Van Hoek
Van Hoek, M. 2010. 'Trophy' heads in the rock art of the Majes Valley, Perú: exploring their possible
origin. In: Rupestreweb.. PDF available at Academia.
Cerro Pano: A violated and endangered rock art site in Southern Perú
- M Van Hoek
Van Hoek, M. 2011. Cerro Pano: A violated and endangered rock art site in Southern Perú. In:
Rupestreweb. PDF available at Academia.
Un geoglifo nuevo (?) en el departamento de Arequipa
- M Van Hoek
Van Hoek, M. 2013. A new (?) geoglyph in the Department of Arequipa, Peru. Un geoglifo nuevo (?)
en el departamento de Arequipa, Peru. In: Rupestreweb.
The Horseman of Alto de Pitis, Peru: A Post-Columbian Outsider in a Pre-Columbian Landscape. Privately published as: Andean Rock Art Papers -Part 1 -Paper 1 (no longer available online, but PDF available at Academia). A video
- M Van Hoek
Van Hoek, M. 2013. The Horseman of Alto de Pitis, Peru: A Post-Columbian Outsider in a Pre-Columbian Landscape. Privately published as: Andean Rock Art Papers -Part 1 -Paper 1 (no longer
available online, but PDF available at Academia). A video related to this article is found on YouTube.
The shaman, the lord and the warrior: anthropomorphic petroglyphs at Chillihuay
- M Van Hoek
Van Hoek, M. 2014. The shaman, the lord and the warrior: anthropomorphic petroglyphs at
Chillihuay, Arequipa, Peru. In: Rupestreweb.
Ananta in Caravelí ? Polycephalic Snakes in Desert Andes Rock Art
- M Van Hoek
Van Hoek, M. 2015. Ananta in Caravelí ? Polycephalic Snakes in Desert Andes Rock Art. In:
Rupestreweb.
Rare Petroglyphs of Skeleton-Anthropomorphs in Caravelí
- M Van Hoek
Van Hoek, M. 2015. Rare Petroglyphs of Skeleton-Anthropomorphs in Caravelí, Arequipa, Peru.
Adoranten-2014. pp. 88 -96. Underslös, Sweden. PDF also available at Academia.
The Frontal Insignia-Tumi: A Rare High-Status Object in Desert Andes Rock Art
- M Van Hoek
Van Hoek, M. 2016. The Frontal Insignia-Tumi: A Rare High-Status Object in Desert Andes Rock
Art. In: TRACCE -On-line Rock Art Bulletin. Fully illustrated PDF available at Academia.
Una Petición Para Sólo Publicar Dibujos Que Son Científicamente Sólidos
- M Van Hoek
Van Hoek, M. 2016. Sobre Dibujos de Arte Rupestre (Andino). Una Petición Para Sólo Publicar
Dibujos Que Son Científicamente Sólidos. In: TRACCE -Online Rock Art Bulletin, Italy.
Dotted Zoomorphs in Andean Rock Art
- M Van Hoek
Van Hoek, M. 2016. Dotted Zoomorphs in Andean Rock Art. In: Rupestreweb.
Los Petroglifos de Tintín
- M Van Hoek
Van Hoek, M. 2017. Los Petroglifos de Tintín, Sihuas, Arequipa, Perú. In: TRACCE -Online Rock
Art Bulletin, Italy. PDF available at Academia.
- M Van Hoek
Van Hoek, M. 2017. Petroglifos en Yarabamba, Arequipa, Perú: ¿Aplacandos los Apus? In: TRACCE -On-Line Rock Art Bulletin. PDF available at Academia.
The Pipette-Design in Desert Andes Rock Art
- M Van Hoek
Van Hoek, M. 2017. The Pipette-Design in Desert Andes Rock Art. In: Adoranten -the Journal of The
Scandinavian Prehistoric Society. Vol. 2017; pp. 103 -115. Underslös, Sweden.
The Supernatural Flight of the 'Trophy-Bird' of Alto de Pitis
- M Van Hoek
Van Hoek, M. 2018. The Supernatural Flight of the 'Trophy-Bird' of Alto de Pitis, Majes Valley, Peru.
In: TRACCE -On-Line Rock Art Bulletin, Italy.
The Book of Bones -'Carcanchas' in Global Rock Art. Oisterwijk, Holland. Book only available as PDF at ResearchGate
- M Van Hoek
Van Hoek, M. 2019. The Book of Bones -'Carcanchas' in Global Rock Art. Oisterwijk, Holland.
Book only available as PDF at ResearchGate.
The Book of Janus. Polycephalic Creatures in Rock Art. Oisterwijk, Holland. Available only as PDF at ResearchGate
- M Van Hoek
Van Hoek, M. 2020. The Book of Janus. Polycephalic Creatures in Rock Art. Oisterwijk, Holland.
Available only as PDF at ResearchGate.
Enfrentando los dibujos… ¡otra vez! (Perú)
- M Van Hoek
Van Hoek, M. 2020. Enfrentando los dibujos… ¡otra vez! (Perú);
New "Carcancha" Petroglyphs in Arequipa, Peru. Illustrating the "Road to Coropuna
- M Van Hoek
Van Hoek M. 2020. New "Carcancha" Petroglyphs in Arequipa, Peru. Illustrating the "Road to
Coropuna". In: TRACCE -Online Rock Art Bulletin, Italy.
False Information Concerning Majes Rock Art
- M Van Hoek
Van Hoek, M. 2020-2023. False Information Concerning Majes Rock Art, Peru. In: TRACCE -Online
Rock Art Bulletin, Italy.
The Enigma of the "Feathered Homunculus" in the Rock Art of the Majes Valley
- M Van Hoek
Van Hoek, M. 2021. The Enigma of the "Feathered Homunculus" in the Rock Art of the Majes Valley,
Peru. In: TRACCE -Online Rock Art Bulletin, Italy.
Accessing the Inaccessible. Rock Art of Quilcapampa
- M Van Hoek
Van Hoek, M. 2021. Accessing the Inaccessible. Rock Art of Quilcapampa, southern Peru.
Oisterwijk, the Netherlands. Book only available at ResearchGate.
The Cíceras "Carcancha-Bird" Petroglyphs, Majes, Peru
- M Van Hoek
Van Hoek, M. 2021. The Cíceras "Carcancha-Bird" Petroglyphs, Majes, Peru. In: TRACCE -Online