Indigenous Heritage and Rock Art

Contents

Préface / Preface ;
Nécrologie / Necrology - Daniel Arsenault ( 1957–2016 ) ;
Daniel Arsenault : The scholarly legacy gone but not forgotten ;
Dancing in the dark with firelight: the power of shaded paintings in the uKhahlamba-Drakensberg and surrounding areas, southeastern Africa – Aron Mazel ;
Contextualising megalithic rock art on Neolithic chambered tombs: A Welsh perspective – George Nash ;
Understanding landscape composition without rock art: A study of panel/canvas behaviour in the Valcamonica, Lombardy, Northern Italy – George Nash ;
Prehistory of central Portugal: brief panoramic of rock art and archaeometry studies – Sara Garcês, Hugo Gomes, Luiz Oosterbeek, Pierluigi Rosina ;
Pleistocene Art at the Beginnings of the Twentieth-First Century: Rethinking the place of Europe in a Globalised Context – Oscar Moro Abadía and Bryn Tapper ;
A multifaceted approach for contextualising the rock art of the Algonquian First Nations in the Canadian Shield – Daniel Arsenault ;
E=mc0, an equation for studying the timeframes of world rock art – Daniel Arsenault ;
Des images dans la pierre. Une exposition virtuelle en héritage – M. Jean Tanguay ;
Geochemical characterization and direct dating of rock art using radiocarbon and optically stimulated luminescence: the study case of southern Africa and the Canadian Shield – Adelphine Bonneau and Michel Lamothe ;
Rock art and spiritual beliefs among non-literate societies: Astronomical representations, indigenous beliefs and superstition – Fernando Augusto Coimbra ;
Canadian rock paintings: shamanic or sacred? – Serge Lemaitre ;
Northeast Indigenous Iconography from the Canadian subarctic area – Carole Charette ;
Pacific worlds: Evolution of a methodology for documenting place-based cultural heritage – RDK Herman ;
On The Limitations Of The Notion of Prehistoric ‘Art’: The Case of The Cucuteni-Trypillia Culture of Eastern Europe From Neo-Chalcolithic – Florence Bouvry

About the Author

Carole Charette holds a PhD in art education and design at Concordia University, Quebec; an MFA in stylistic interpretations in typography and a degree in graphic design at Université Laval, Quebec; a certificate in multimedia at Sheridan College, Ontario; and a diploma in exhibition design at Collège du Vieux-Montréal, Quebec. She was an assistant professor at MacEwan University in Edmonton (2014–2018) and has also been a creative director and editor of several publications about design.

Aron Mazel is a Reader in Heritage Studies in Media, Culture, and Heritage at Newcastle University and a Research Associate in the School of Geography, Archaeology and Environmental Sciences at the University of the Witwatersrand.

George Nash is employed at the Museum of Prehistoric Art (Quaternary and Prehistory Geosciences Centre, Maçao, Portugal [IPT]).

Reviews

Overall, this volume provides plenty of informative articles that prominently feature Canadian rock art and ethnographic studies supplemented with research from other countries around the world. It is a fitting tribute to the work and legacy of Daniel Arsenault with its highlight being the offering of one of his previously unpublished papers.