Noticias / Publicación
Editado por Paul Bahn, Natalie R. Franklin y Matthias Strecker
ISBN: 9781842174821 / Publicado por: Oxbow Books / Año: 2012 | / Idioma: Inglés / Tamaño: A4, ilustraciones en
blanco y un inserto a color/406 páginas /
Este libro es la cuarta entrega de la serie quinquenal que esboza un panorama sobre lo que está ocurriendo en los estudios de arte rupestre de todo el mundo. El objetivo es presentar una síntesis del estado de la investigación del arte rupestre en las diferentes regiones del mundo, brindando información sobre los últimos proyectos, publicaciones, objetivos y métodos de investigación. Los textos reflejan algo de las grandes diferencias en el enfoque y en el énfasis que existen en las diferentes regiones, presentando ejemplos de Europa, Asia, África y el Nuevo Mundo. No todas las áreas de arte rupestre están representadas, pero se han cubierto algunos de los vacíos de los volúmenes anteriores. Los artículos conciernen a la distribución de los sitios, la cronología, la interpretación, los nuevos estudios y publicaciones, la gestión y conservación de los sitios. Los estudios de arte rupestre están pasando por un período de desarrollo científico y tecnológico que tendrá un enorme impacto en la calidad de la documentación, registro y difusión. Al mismo tiempo, muchos autores se preocupan por los problemas de la conservación y el vandalismo, y ponen de relieve la importancia crucial de la educación de la población local y los jóvenes, sobre la importancia de este patrimonio frágil y finito. Este aspecto también tendrá una importancia creciente en los próximos años. (Traducido al español y adaptado de: http://www.oxbowbooks.com)
Representación de América Latina En esta importante compilación aparece representada nuestra región de América Latina a través de 10 artículos que refieren al estado de las investigaciones en México (Viramontes, Murray, Gutiérrez y Mendiola), Centroamérica (Kunne, Pérez de Batres y Costa), la región Caribe (Cinquino y Hayward), Colombia (Arguello y Martínez Celis), Venezuela (Tarble de Scaramelli y Scaramelli), Brasil (Isnardis y Prous), Bolivia (Strecker), Perú (Strecker), Argentina (Fiore) y Chile (Sepúlveda y Valenzuela). Presencia de Rupestreweb en la bibliografía citada: Para Rupestreweb es grato advertir que en las bibliografías de referencia que acompañan estos artículos latinoamericanos, son citadas 37 referencias directas a igual número de artículos que hemos publicado a través de nuestra web, principalmente de Venezuela, Colombia, Perú, el Caribe y Argentina. Teniendo en cuenta que esta publicación compila las investigaciones de, en promedio, los últimos 5 años, consideramos que, ante el crecimiento de las contribuciones que nutren a Rupestewb, a futuro esta cifra crecerá, confirmando que poco a poco nos vamos consolidando como un espacio de obligatoria consulta y divulgación de las investigaciones de arte rupestre en nuestra región.
Con el fin de brindar un atisbo a
esta obra de ineludible consulta e interés mundial, y como una manera de apoyar
su promoción en nuestra región, a continuación transcribimos las primeras
líneas de cada una de estas contribuciones:
México Continuing progress in Mexican rock art research: 2005–2009 Carlos Viramontes, William Breen Murray, María de la Luz Gutiérrez and Francisco Mendiola “During the first years of the new millennium, it appears that rock art research has at last found a relevant place in the broad mosaic of Mexican archaeology. Although the heightened interest in this type of archaeological evidence was already noted in our summary for rock art Studies: news of the World III during the last five years, not only have Publications multiplied but both the quality of the documentation and the approaches used have become more rigorous and moved into more innovative channels”. (pág. 264)
Cetroamérica Recent rock art studies in eastern Mesoamerica and lower central America, 2005–2009 Martin Künne, Lucrecia Pérez de Batres and Philippe Costa “Eastern mesoamerica and lower central america represent a small but highly interesting region. With its wide variety of natural environments and ancient cultures, it ranges from the bridge of Tehuantepes (mexico) in the northwest to the rio Atrato (Colombia) in the southeast. Although separated by the Motagua-polochic fault into a Northern and southern geomorphological zone, the whole region can be as a cultural interaction sphere. Whereas the Northern zone down to the rio lempa rio ulua drainage was dominated by urban maya polities starting around AD 250, the southern Misumalpa and Chibchan territorios were characterised by village-based societies and more horizontal forms of social segmentation. nevertheless, both culture areas were closely interlinked by long-distance trade Systems and several waves of migration. As a result of these intensive cultural contacts vast zones emerged which were possibly inhabited by transcultural ethnic groups. Their settlements werw particulary scattered to the pacific coastlands and central mountains, including the Eastern zone of present-day El Salvador, the western and southern parts of Honduras, the pacific territories of Nicaragua as well as the peninsula of Nicoya in Costa Rica”. (pág. 288)
El Caribe Rock art of the Caribbean, 1990s–2009 Michael a. Cinquino and Michele H. Hayward “Carved and painted images are found on various cave, open-air , waterway and ball court rock surfaces throughout the Caribbean island arc and near-shore South American islands. Until recently much of the interest and information concerning the region´s rock art has attracted and maintained an insular focus. This is changing as researches take advantages of growing opportunities in tradicional and electronic publishing outlets, as well as participation in worldwide web-provided exchange formats”. (pág. 310)
Colombia Rock art research in Colombia Pedro María Argüello García and Diego Martínez Celis “During the last few years a considerable amount of new information about prehistoric rock art has been collected and published in Colombia. This information is extremely diverse as a consequence of the different objectives underlying rock art research, as well as the duration of such studies. But perhaps the factor that has generated most variation in the way rock art research has been carried out in Colombia is the wide range of theoretical perspectives, intimately related to the field of inquiry the researchers come from. These include: Anthropology (Pradilla and Ortiz 2002; Romero 2003; Flórez 2009); Archaeology (Hernández 1998; Castano and Van der Hammen 2006; Pino and Forero 2008; Alzate and Osorio 2009; Arguello 2009); Linguistics (Moreno 2009; Delgado and Mercado 2010), Archaeoastronomy (Quijano 2007); Mathematics (Quijano 2010); Mythology (Romero 2003); Iconography (López and Velásquez 2009; Martínez 2006; 2008b); Cultural Heritage (Botiva 2000; Martínez and Botiva 2004; Gómez and Barona 2007; Martínez 2008a; 2010a; 2010b); and Conservation (Bateman and Martínez 2001; Álvarez and Martínez 2004). As a result, it is possible to find a broad variety of literature about rock art sites ranging from casual references to single sites – most of them consisting only of photos in archaeological reports (e.g. Mora 2003, 85) – to the extensive documentation of tens or hundreds of sites (Hernández 1998; Martínez 2005a; Martínez and Hernández 2006; Secretaría de Cultura de Norte de Santander 2007; Navas and Angulo 2010; Pradilla and Villate 2010), either in sporadic newspaper articles or as part of Cultural Resource Management (CRM) projects, unpublished theses, and scientific journals and books.
This is not the place to carry out a comprehensive evaluation of the quality or validity of the postulates outlined in the cited studies. We just intend to give a brief introduction showing the dynamic that rock art research has acquired during the last few years in Colombia Among the above-mentioned topics that have undergone some development in recent years in Colombia, three deserve closer examination, either because they are at the centre of current worldwide debates or because they are challenging matters that extend beyond the basic postulates of traditional rock art research. These topics are: the archaeological analysis of rock art; concerns relating to education, presentation and protection of rock art sites from a Cultural Heritage perspective; and the meaning of rock art sites”. (pág. 319)
Venezuela Recent rock art research in Venezuela Kay Tarble de Scaramelli and Franz Scaramelli “Following decades of relative neglect, rock art research in Venezuela is enjoying something of a renaissance. The past five years (2005-2009) have been witness to renewed interest in field research, Publications, and the inclusion of topics related to rock art in university currícula. At the same time, the creation in 2004 of SEMARVE (sociedad para el estudio de manifestaciones rupestres de Venezuela) has served s a venue for interaction among professional and amateur investigators throughout the country, and has provided guidelines for the systematic study and conservation of sites. An important aspect of this growing interest in rock art has been the recognition of the role of local communities in both the detection and protection of sites. This is utmost importance in the face of a growing eco-tourism industry that has included many manifestations in their itineraries. In the following sections we will discuss the recent fieldwork carried out in different parts of the country, trends in rock art research in Venezuela with emphasis on theoretical and methodological issues, rock art education and outreach programmes, and problems related to the protection and conservation of rock art sites”. (pág. 329)
Brasil Rock art studies in Brazil (2005–2009) Andrei Isnardis and André Prous “In this presentation of the research carried out in Brazil during the pass few years, we should first note that rock art Studies, which were very numerous in the 1980s and the early 1990s, have become much rarer, despite the exponential growth in the Lumber of archaeologist Turing the last decade. In fact they have increasingly devoted themselves to programmed research linked to the requirements of large-scale infrastructure Works. On the one hand, this has made it possible to reach new regions that were hitherto unknown archaeologically; but rock art sites, which are often located in regions of difficult terrain, far from zones liable to flooding and main roads, are Only rarely touched or taken into account. Nevertheless a few discoveries have been made, and some new regions have oponed up to exploration, such as central and western amazonia. Even in central and northeast Brazil, wich one might have thought to be well known, one is now verifing the existance of some new assemblages. On the other hand, young researchers are revisiting sites that have long been know and are applying new perspectivas to them”. (pág. 338)
Bolivia Recent rock art studies in Bolivia Matthias Strecker “Investigations of Bolivian rock art are mainly due to activities by members of a private independent institution, the Bolivian Rock Art Research Society SIARB. In this review I will summarise work carried out between 2005 and 2009, with particular emphasis on new regional surveys and recording, chronology ans preservation”. (pág. 349)
Perú Recent rock art studies in Perú Matthias Strecker “Rock art research in Peru is in a dynamic phase of development. Following the first nacional rock art simposium, organised by Rainer Hostnig in Cusco in 2004 (Hostnig and Strecker 2004) This initiative to present new investigations from different parts of the country was continued by the second, third and fourth sympsia held in Trujillo. The first comprehensive nacional rock art register (Hostnig 2003) lists some 900 sites. The author estimates that at the end of 2010 some 1500 sites had been registered in Peru”. (pág. 355)
Argentina Images made on stone: Argentina 2005–2009 Dánae Fiore “This chapter covers the advances of rock art research in Argentina from 2005 to 2009. It follows the structure of a previous review of the 2000-2004 period and thus includes published information about new discoveries, analyses, interpretations and Management of rock art sites in three broad areas already described in this chapter: 1 Northwest and west centre 2 Pampa 3 Patagonia A fourth section summarises information about: a) Rock art papers in Argentinean congresses proceedings and edited books b) papers published by Argentinean authors which deal theoretical and methodological issues and/or with the history of rock art research in the country. c) Finally, the conclusions section outlines the major trends followed by researchers in the Management of rock art in Argentina and provides a list of criteria, variables and methods which are currently being used”. (pág. 364)
Chile Rock art in Chile (2005–2009) Marcela Sepúlveda R. and Daniela Valenzuela “This article summarises the principal progress made in rock art research in Chile, concerning engravings paintings and geoglyphs, in the course of the last five years. Our review expands the account presented by Gallardo et al in 2006. Based on the work carried out between 2005 and 2009, we provide synthesis of the principal subjects / themes, problems and theorical and methodological models applied to the archaeological study of rock art in Chile. We applied to the principal geographical regions of the country presented from north to south: Norte grande, Norte chico, central-south and extreme south. The results of our Survey show that the majority of rock art Studies have dealt with manifestations in the Northern region (norte grande and, to a lesser extent, Norte chico). which in a way continues what we know from research carried out over the last sixty years. However, we note that regions in central Chile which historically were studied on a minor scale have now received more attention. On the other hand, large areas of the Chilean territory in the south and extreme south are still unexplored or have only recently begun to be studied”. (pág. 386).
Tabla general de contenido del libro
Preface
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