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In this paper we demonstrate how a concentrated mound of 8622 stone artefacts excavated at Walanjiwurru 1 rockshelter in Marra Country, northern Australia, reflects the emotional and spiritual dimensions of sweeping, and moral obligations to maintain Country. While archaeological studies have previously documented sweeping as part of site formation, and the social significance of stone in Australia is well established, few studies have examined how these practices intersect with Indigenous understandings of maintaining Country. Through analysis of stone artefacts combined with Marra knowledge, we demonstrate how sweeping activities 2500–300 cal. bp created a unique expression of ongoing relationships between people, materials and Country, maintained through the practice of sweeping. The mound’s composition shows distinctive patterns in both size distribution and stone type representation, most notably in the concentration of yellow quartzite—a stone type with particular cultural power due to its ancestral connections. These findings contribute to broader discussions about the integration of Indigenous and archaeological knowledge systems, while demonstrating how stone artefacts and sweeping practices remain active participants in maintaining relationships between Country, people and ancestors.
Native American worldviews suggest that humans create the world through story; storytelling is central in oral societies. Storytelling was embodied in artworks made at and disseminated from Cahokia, and it was also embodied in the landscape. Cosmological, goddess, and hero stories were told, but heroes depicted in Braden-style artworks found far from Cahokia suggest that the story of a Birdman wearing human-head earrings and braid was a charter myth at Cahokia. As the foundation of ideology and ritual, stories drew people to Cahokia, but the heroic epic was a new type of story critical to the spread of Cahokian ideologies.
The display of ancestral human remains in museums is a contentious ethical issue, raising concerns around the dignity and respect for ancestral lived lives versus the role of remains for education and scientific enquiry. Against the backdrop of recent debates sparked by the deinstallation of ancestral remains at several museums (e.g., the removal of the Shuar tsantsas at the Pitt Rivers Museum) and revisions of national and international ethics codes, this essay explores the role of two methodologies – a trial and interactive workshop – in producing inclusive spaces to support ethical decision making and practice. Digital participation technologies were used to support an accessible mode of participation that was anonymous – allowing attendees to express opinions about emotive and challenging subjects, such as ancestral human remains. For both examples, attendees and participants identified key priority and action areas for the sector and within their places of work. The activities will contribute to a wider research project that is investigating value and ethical disagreements and polarization within museums.
This Element explores the textile crafts and cloth cultures of the Aegean Bronze Age, focusing on two categories of archaeological evidence: excavated textiles (or their imprints) and tools used for yarn production and weaving. Together, these types of material testimonies offer complementary perspectives on a textile history that spans 2,000 years. A gro wing body of evidence suggests that the Aegean was home to communities of skilled textile craftspeople who produced cloth ranging from plain and coarse to fine and elaborate. As regional connectivity increased throughout the Bronze Age, interactions in textile craft flourished. In time, textile production became central to the political economies that emerged in the Aegean region. The expertise of Bronze Age Aegean spinners and weavers is vividly illustrated through the material record of their tools, while even the smallest excavated cloth fragments stand as fragile, yet enduring testaments to textile craftsmanship.
Debates concerning the roles of sensory perceptions and responses in past societies are increasingly gaining traction in the archaeological discipline, but European medieval archaeology has only recently begun to engage with them. Moving beyond previous approaches in medieval studies that focused on the five physical senses, this article investigates material culture through the conceptual lens of sensory regimes. Drawing on case studies from the sixth to seventeenth centuries and examining diverse archaeological evidence—including artefacts, burial practices and urban environments—the author argues that material culture can facilitate or oppose social, political and religious regimes through sensory practices.
This project investigates archaeological material collected from north-west China in the 1920s and housed at the Museum of Far Eastern Antiquities, Stockholm. Finds and archival materials are examined and catalogued to learn about prehistoric cultural interactions and to reconnect discoveries with the original excavation contexts and excavators.
An archaeological survey of Kitsissut, a remote island cluster in the High Arctic of Kalaallit Nunaat (Greenland), has revealed a human presence almost 4500 years ago, during the formation of a vital marine environment—Pikialasorsuaq polynya. Kitsissut is accessible only by a difficult open-water journey, and repeated occupation thus permits inferences on the sophistication of watercraft technology and navigational skill. Here, the authors argue that this demonstrable reach of Early Paleo-Inuit communities across marine and terrestrial ecosystems enhances our understanding of their lifeways and environmental legacy, raising critical new questions about Indigenous agency in shaping emerging Arctic ecosystems.
Between 2012 and 2014, a crew from the Pacbitun Regional Archaeological Project (PRAP) excavated a small mound located on the western periphery of the Pacbitun site, a medium-sized ancient Maya center located in west-central Belize. That mound consisted of a thick deposit of granite sand and debitage, revealing a record of the production of several thousand granite tools dating to the Late Classic period. Since those excavations, a total of 22 similar mounds have been recorded, with 11 tested. All tested mounds reveal a similar material record representing periodically used working platforms where granite tools were shaped and finished during the Late Classic period. The recorded granite debris mounds are distributed over an area of 1 km2 some 500 m from Pacbitun’s core, an area that we suggest represents a community of attached, part-time specialists making granite tools on a seasonal basis. Given the scale of granite tool production, we suspect this community made tools not just for local consumption, but also for consumption outside of Pacbitun as part of a strategy to navigate the dynamic political Late Classic landscape of the Belize River Valley.
Regional survey of the Mountain Pine Ridge Forest Reserve, Cayo, Belize by the Rio Frio Regional Archaeological Project has revealed an expansive, ancient Maya granitic-rock extraction and ground stone tool crafting industry distributed across an 11 km2 region. To date, 16 extraction-workshop sites of varying size and compositional complexity totaling 100 ha or 1 km2 have been identified through a combination of ground-based reconnaissance and aerial LiDAR survey. This article introduces the two largest recorded to date, Buffalo Hill Quarries and Moshy’s Hill. Discussing them, we present an overview of the common attributes of the Mountain Pine Ridge quarry workshops including types of extraction sites (quarry pits, strip mines, and cut faces), structural components (bedrock pits and erected blocks), cached tools (hammerstones and pics), and discarded products (half-loaf and full-loaf forms and metates) found at them. As the type of sites presented here are new to archaeology, the article concludes with a series of questions to guide future work.
While ethnographic observation has revealed nuances of ground stone production techniques and practical uses, there has been little theorizing about the archaeological exchange and movement of these goods or their deeper social meanings. In previous research, we obtained secure geochemical signatures for an ancient Maya ground stone tool assemblage by sourcing granite outcrops in Belize, enabling us to trace the provenience of certain archaeological assemblages. To understand the exchange mechanisms by which ground stone tools moved around the landscape, we explore three non-mutually exclusive models. We outline our expectations of material correlates for the archaeological record based on these exchange hypotheses and evaluate our assemblages against these expectations. This work helps broaden understandings of the organizational importance of ground stone tool production, exchange, and usage within ancient Maya society, critical first steps for investigating the socioeconomic dimensions of these tools.
This article outlines our research into granite use by the ancient Maya of the Alabama Townsite—a Late to Terminal Classic (ca. a.d. 700–900) rapid-growth community in East-Central Belize, part of the Eastern Maya Lowlands. One of our initial hypotheses regarding the seemingly sudden appearance of the town toward the end of the Late Classic period focused on granite as a staple resource exploited by its residents. We highlight current results of local geological surveys and related spatial, geochemical, and petrographic studies; preliminary analyses of surface-collected and excavated archaeological assemblages and architectural elements; and attempts at community-engaged experimental archaeology. We conclude that while ancient Alabamans did not extract granite as a staple resource for export, which could have fueled the community’s growth, they nonetheless valued granite in many ways, which we highlight in our discussion.
Research on ground stone tools has expanded exponentially over the years. Here, I present the context of the initial work on granite sourcing that connected archaeological sites in Guatemala to sources in Belize. I also attempt to put into perspective the subsequent research that has been carried out, much of which is reported and elaborated in this Compact Section.
Archaeological interest in analyses of ground stone tools (GST) was minimal until fairly recent times. Often these typically heavy artifacts were noted, but not collected as parts of archaeological assemblages. Most archaeologists did not recognize that GST were sometimes manufactured and could be considered in light of chaîne-opératoire lithic theory, in the same manner as their flaked-stone counterparts. The articles in this Compact Section are focused on a newly discovered granite ground stone quarry and manufacturing area in Belize. The subject is exceptional for two reasons: (1) granite ground stone quarries have not yet been studied elsewhere and (2) this is the first ground stone quarry to be discovered in Belize. The Mountain Pine Ridge batholith quarries are compared with previous quarry studies in the U.S. Southwest, Mexico, and Guatemala and suggestions made for future avenues of research in Belize.
Used for common daily tasks, ground stone tools were vital to the functioning of pre-Columbian Maya households. Yet as an artifact class, ground stone has historically received little archaeological attention. Throughout the Eastern Maya Lowlands, ground stone tools were made of a variety of materials although granite was a preferred raw material. Granite is geographically restricted to three plutons, making it a prime candidate for geochemical sourcing studies. Fueled in part by advances in compositional techniques, as well as by new finds from traditional field archaeology, interest in the topic has blossomed over the past decade. This Compact Section explores many facets of the pre-Columbian Maya granite ground stone economy, from raw material acquisition to end of life discard, with the goal of disseminating the work of ongoing research projects. Ultimately, we aim to encourage more research on ground stone tools in general and granite in particular in Maya archaeology. Like other sister categories of artifacts, ground stone deserves requisite research attention to answer questions about where and how raw materials were acquired, how these objects were crafted, what distribution networks looked like, how they signify broader social meanings, and beyond.
This book considers ancient Egypt and its relics as depicted in literature across the Victorian era, addressing themes such as reanimated mummies and ancient Egyptian mythology, as well as contemporary consumer culture across a range of literary modes, from literary realism to Gothic fiction, from burlesque satire to historical novels, and from popular culture to the elite productions of the aesthetes and decadents. In doing so, it is the first multi-authored study to scrutinise ancient Egypt in nineteenth-century literature, bringing together a variety of literary methodologies to probe ancient Egypt’s complex connotations across this era. This collection scrutinises and illuminates the ways in which ancient Egypt was harnessed to question notions of race, imperialism, religion, gender, sexuality and the fluidity of literary genre. Collectively, the chapters demonstrate the pervasiveness of contemporary interest in ancient Egypt through the consideration of narratives and authors held as canonical in the nineteenth century, bringing these into conversation with new sources brought to light by the authors of these chapters. Discussing the works of major figures in nineteenth-century culture including Edgar Allan Poe, Charles Baudelaire, George Eliot, H. Rider Haggard, Bram Stoker and Oscar Wilde, this collection extends beyond British writing, to European and American literature. It weaves discussions of understudied figures – such as Charles Wells, Louisa Stuart Costello and Guy Boothby – into this analysis. Overall, it establishes the richness of a literary culture developing across the century often held to have ‘birthed’ the discipline of Egyptology, the scholarly means by which we might comprehend ancient Egyptian culture.
This chapter turns to ancient Egypt in the literature of the aesthetic and decadent movements, exploring how this differs from the so-called classical ‘ideal’ of Greece and Rome. Beginning with Baudelaire’s influential use of ancient Egypt in the ‘Spleen’ poems of Les Fleurs du mal (1857), it locates three interrelated, but also competing and seemingly contradictory, discursive deployments of ancient Egypt in literature of the period: firstly, in an argument derived from Hegel’s Aesthetics (1818–29), Egypt as ‘Symbolic’ mystery, whose art is underdeveloped by comparison to the ‘Classical Ideal’, waiting for the day of the ‘Greek spirit … with its power of speech’; secondly, Egypt as a site of ennui, where the ‘symbolic’ dimensions are linked intrinsically to a melancholic decadence and to death; and thirdly, Egypt as exoticism, and Orientalist sensuality, linking also to the significance of contemporary fin-de-siècle Egypt in homosexual culture. This chapter examines Walter Pater’s essay on ‘Winckelmann’ from The Renaissance (1873), and Oscar Wilde’s poem The Sphinx (1894) amongst other materials to argue that ancient Egypt was a marginal but nevertheless significant subject for the aesthetes and decadents.