Indigenous heritage and rock art : worldwide research in memory of Daniel Arsenault

Professor Daniel Arsenault, along with his wife, Nadine Desbiens, and stepson, Jacob Desbiens-Doyle, were sadly taken from this world in 2016 following a tragic car accident. Daniel was the leading exponent in Canadian Shield rock art. Working in the northern part of Quebec, Daniel explored many hundreds of square kilometres of this vast area for rock art. Working with ethnographers and First Nation people, Daniel became a formidable force in promoting this little known assemblage, lecturing all over the world and stimulating audiences wherever he went. Complementing his knowledge of rock art, Daniel also had a deep understanding of the heritage of the people whose ancestors made the images. Shortly before his death, Daniel was made an Erasmus Mundus Professor at Polytechnic Institute of Tomar in Portugal. Here, he was due to share his wealth of knowledge and enthusiasm about rock art and cultural heritage to an attentive audience. Daniel clearly had much more to offer, and this book is an extension of his ways of thinking. He has left an important legacy that has touched the lives of many, including people who contributed to this volume. The book has 14 thought-provoking chapters and deals with Daniel’s first love - the archaeology of artistic endeavour. It gathers together both academic colleagues and family who share with the reader elements of Daniel’s life. The book is also a serious academic volume, providing the reader with new ideas about the interpretation and dating of rock art, ethnography, heritage and material culture. Table of 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 Professor Daniel Arsenault, along with his wife, Nadine Desbiens, and stepson, Jacob Desbiens-Doyle, were sadly taken from this world in 2016 following a tragic car accident. Daniel was the leading exponent in Canadian Shield rock art. Working in the northern part of Quebec, Daniel explored many hundreds of square kilometres of this vast area for rock art. Working with ethnographers and First Nation people, Daniel became a formidable force in promoting this little known assemblage, lecturing all over the world and stimulating audiences wherever he went. Complementing his knowledge of rock art, Daniel also had a deep understanding of the heritage of the people whose ancestors made the images. Shortly before his death, Daniel was made an Erasmus Mundus Professor at Polytechnic Institute of Tomar in Portugal. Here, he was due to share his wealth of knowledge and enthusiasm about rock art and cultural heritage to an attentive audience. Daniel clearly had much more to offer, and this book is an extension of his ways of thinking. He has left an important legacy that has touched the lives of many, including people who contributed to this volume. The book has 14 thought-provoking chapters and deals with Daniel’s first love - the archaeology of artistic endeavour. It gathers together both academic colleagues and family who share with the reader elements of Daniel’s life. The book is also a serious academic volume, providing the reader with new ideas about the interpretation and dating of rock art, ethnography, heritage and material culture. 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]). George has been an academic and professional archaeologist for the past 35 years and has undertaken extensive fieldwork on prehistoric rock-art in Indonesia, Malaysia, Norway, Sardinia, Spain, Sweden, and more recently, the Negev (Israel). Title Page 3 Copyright page 4 Contents Page 5 Nécrologie 10 Necrology 11 Nécrologie 10 Necrology 11 Remerciements - Acknowledgments 7 Préface 8 Preface 9 Nécrologie 10 Obituary 11 Daniel Arsenault : The scholarly legacy gone but not forgotten 12 1. Dancing in the dark with firelight: the power of shaded paintings in the uKhahlamba-Drakensberg and surrounding areas, southeastern Africa 17 Aron Mazel 17 2. Contextualising megalithic rock art on Neolithic chambered tombs: A Welsh perspective 30 George Nash 30 3. Understanding landscape composition without rock art: A study of panel/canvas behaviour in the Valcamonica, Lombardy, Northern Italy 48 George Nash 48 4. Prehistory of central Portugal: brief panoramic of rock art and archaeometry studies 59 Sara Garcês, Hugo Gomes, Luiz Oosterbeek, Pierluigi Rosina 59 5. Pleistocene Art at the Beginnings of the Twentieth-First Century:Rethinking the place of Europe in a Globalised Context 77 Oscar Moro Abadía and Bryn Tapper 77 6. A multifaceted approach for contextualising the rock art of the Algonquian First Nations in the Canadian Shield1 89 Daniel Arsenault 89 7. E=mc0, an equation for studying the timeframes of world rock art1 98 Daniel Arsenault 98 8a. Des images dans la pierre 112 Une exposition virtuelle en héritage 112 Jean Tanguay 112 8b. Images on Stone 115 A virtual heritage exhibition 115 Jean Tanguay 115 9. Geochemical characterization and direct dating of rock art using radiocarbon and optically stimulated luminescence: the study case of southern Africa and the Canadian Shield 117 Adelphine Bonneau and Michel Lamothe 117 10. Rock art and spiritual beliefs among non-literate societies: 142 Astronomical representations, indigenous beliefs and superstition 142 Fernando Augusto Coimbra 142 11. Canadian rock paintings: shamanic or sacred? 154 Serge Lemaitre 154 Northeast Indigenous Iconography from the Canadian subarctic area 167 Carole Charette 167 13. Pacific worlds: Evolution of a methodology for documenting place-based cultural heritage 184 RDK Herman 184 14. On The Limitations Of The Notion of Prehistoric ‘Art’: The Case of The Cucuteni-Trypillia Culture of Eastern Europe From Neo-Chalcolithic 199 Florence Bouvry 199 Biographies 209 _GoBack 28 _GoBack 72 _GoBack 85 _GoBack 95 _Hlk34811172 113 _Hlk34811172 115 _Hlk33360298 120 _Ref29983330 122 _Ref30772032 136 _GoBack 151 _GoBack 186 _GoBack 207 Professor Daniel Arsenault, along with his wife, Nadine Desbiens, and stepson, Jacob Desbiens-Doyle, were sadly taken from this world in 2016 following a tragic car accident. Daniel was the leading exponent in Canadian Shield rock art. Working in the northern part of Quebec, Daniel explored many hundreds of square kilometres of this vast area for rock art. Working with ethnographers and First Nation people, Daniel became a formidable force in promoting this little known assemblage, lecturing all over the world and stimulating audiences wherever he went. Complementing his knowledge of rock art, Daniel also had a deep understanding of the heritage of the people whose ancestors made the images. Shortly before his death, Daniel was made an Erasmus Mundus Professor at Polytechnic Institute of Tomar in Portugal. Here, he was due to share his wealth of knowledge and enthusiasm about rock art and cultural heritage to an attentive audience.0Daniel clearly had much more to offer, and this book is an extension of his ways of thinking. He has left an important legacy that has touched the lives of many, including people who contributed to this volume.0The book has 14 thought-provoking chapters and deals with Daniel's first love - the archaeology of artistic endeavour. It gathers together both academic colleagues and family who share with the reader elements of Daniel's life. The book is also a serious academic volume, providing the reader with new ideas about the interpretation and dating of rock art, ethnography, heritage and material culture Prof. Daniel Arsenault, a leading exponent of Canadian Shield rock art, sadly passed away in 2016. This book contains 14 thought-provoking chapters dealing with Daniel’s first love—the archaeology of artistic endeavour. It provides the reader with new ideas about the interpretation and dating of rock art, ethnography, heritage and material culture.