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The theft of Saharan rock-art

Published online by Cambridge University Press:  02 January 2015

Jeremy Keenan*
Affiliation:
Department of Social Anthropology, University of Cambridge, New Museums Site, Free School Lane, Cambridge CB2 3RF, England jeremykeenan@hotmail.com

Extract

'The Greatest Museum of Prehistoric Art in thewhole World'. Such was the description HenriLhote gave to the rock paintings of the Tassili-n-Ajjer , the massif (a designated World Heritage Site)that lies to the northeast of Ahaggar in the AlgerianCentral Sahara. His expedition spent 16months in the Tassili in 1956-7 making 'discoveryafter discovery' and copying 'hundreds uponhundreds of painted walls'.Lhote's work is now recognized for its denigrationof almost all and sundry. He likened thelocal people, the Tuareg, who made many of his'discoveries', to wolves and living by the laws ofthe jungle. Significantly, he made no referencein his 'discovery claims' to Yolande Tschudi, theSwiss ethnologist, whose work preceded his own.Worse still, he undertook what might be regardedtoday as the systematic vandalism of the sites,not only by liberally washing the paintings torestore their colour, but by collecting and removingcopious quantities of material artefacts fromthe area.

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Type
News and notes
Copyright
Copyright © Antiquity Publications Ltd. 2000

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References

Hachid, M. 1998. Le Tassili Des Ajjer. Algiers & Paris-Méditerannée: Edif 2000.Google Scholar
Lhote, H. 1958 (trans 1959). The search for the Tassili frescoes. London: Hutchinson.Google Scholar
Tschudi, Y. 1956. Les Peintures rupestres du Tassili-N-Ajjer. Neuchâtel: A la Baconnière.Google Scholar