Hidden Sites, Hidden Images, Hidden Meanings: Does the Location and Visibility of Motifsand Sites Correlate to Restricte
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Hidden Sites, Hidden Images, Hidden Meanings: Does the Location and Visibility of Motifs and Sites Correlate to Restricted or Open Access? Inés Domingo 1
& Claire
Smith 2
& Gary
Jackson 2
& Didac
Roman 3
# The Author(s) 2020
Abstract Using an ethnographic approach, this research assesses common assumptions in rock art research in terms of their validity for Aboriginal rock art sites in the Barunga region of the Northern Territory, Australia. In particular, we assess the potential and limits of the commonly held assumption that open or restricted access to sites and/or the meaning of motifs can be assessed by determining the visibility of the site or image within the landscape. This research calls into question some assumptions that are core to contemporary archaeological method and theory. Our results challenge the notion that a secluded location, or difficulty of access, is needed to restrict access to a site. “Hidden” sites do not need to be hidden, as site access is controlled by a plethora of cultural rules. Moreover, sites that appear to be hidden within the landscape may be open access sites, although access may be restricted for periods of time. Conversely, sites that are visible and accessible from a landscape perspective can be subject to restricted access, regulated through social rules. In addition, the results question the notion that the control of secret information in rock art sites is determined by the visibility and location of motifs and sites. Hidden meanings are not necessarily related to hidden locations or the low visibility of the art, since cultures can have many other ways of hiding meaning. Finally, the results of this study challenge the commonly held dichotomy between sacred/restricted access and secular/open access. Keywords Ethnoarchaeology . Rock art . Theory and method . Semiotics . Aboriginal .
Indigenous . Cultural landscapes
* Inés Domingo [email protected] Extended author information available on the last page of the article
Domingo et al.
Introduction In the last few decades, western landscape approaches to rock art have expanded our understanding of this means of visual communication. Along with more traditional analysis of the art (motif and panel description and classification), used to classify and order the artistic record, landscape approaches are providing a more global picture of this heritage by analyzing contextual data beyond the art. These includes physical features from both the natural and the cultural contexts of rock art (see for example Nash and Chippindale 2001; Bradley 2000). Today it is widely accepted that the location and distribution of rock art sites across the landscapes are not at random. While it could be primarily influenced by environmental constraints (availability of caves, rock shelters or other media used as rock art canvas), it is agreed that the main factor in determining rock art location are cultural choices and territorial organization, both shaped by cultural and social traditions and by the function of the art (see discussio
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