Click the star to add/remove an item to/from your individual schedule.
You need to be logged in to avail of this functionality.
Log in
- Convenors:
-
Chris Kerns
(University of Bristol)
Ruth Briggs
- Discussant:
-
Stephanie Koerner
(Liverpool University )
- Location:
- Wills 3.30
- Start time:
- 19 December, 2010 at
Time zone: Europe/London
- Session slots:
- 1
Short Abstract:
Sponsored by the University of Bristol Archaeology and Anthropology Society and the University of Bristol Speleological Society, this session aims to explore both the theoretical and the scientific boundaries encountered in cave archaeology.
Long Abstract:
In the past caves have acted as a powerful cultural threshold, however today they can act as a threshold for both archaeological science and theory. Caves and similar natural and man-made environments such as rock shelters, mines and catacombs, present unique challenges for archaeologists both methodologically and theoretically. Understanding the material recovered from them can be a daunting task, not least because we are often confronted with the remains of practices that defy obvious analogy (e.g. European Palaeolithic cave art). However caves often have high levels of preservation and present a rare opportunity for understanding past cultural practices not evident in other environments. Caves should push the limits of and encourage the development of new theoretical approaches and scientific techniques.
This session aims to explore both the theoretical and the scientific boundaries encountered in cave archaeology. Topics which are likely to be explored during this session include caves and interpretive analogy, a consideration of how caves may have engendered unique forms of practice, mythology, ritual practice, cave art, settlement, human development, deposition, methodology and the scientific techniques that can shed new light on these themes.
Accepted papers:
Session 1Paper short abstract:
The Hell-Fire Caves of West Wycombe were one of many construction projects initiated by Sir Francis Dashwood in the mid 18th Century. This paper will assess the phases of development of the cave complex and its symbolism, with reference to the archaeological landscape of the region.
Paper long abstract:
Sir Francis Dashwood formed a notorious club in the mid Eighteenth century, known by its members as the Medmenham Friars or the Knights of St. Francis, and only later known as the Hell-Fire Clubs. The Hell-Fire Caves were one of many construction projects initiated by Dashwood in the region of West Wycombe. To date, no archaeological assessment of the cave structure has taken place. Compelling evidence suggests that the caves of West Wycombe functioned as a secretive meeting place for Dashwood and his friends, who were among some of the most famous and influential aristocrats of the time.
This paper will assess the phases of development of the cave complex, including its initial function as a chalk mine and later reconstruction work. Emphasis will be placed on deciphering the layout of the cave structure and claims that it was a purposeful physical manifestation of pagan or satanic symbolism. How the caves served as an autonomous meeting space will be reviewed with reference to its context within the surrounding landscape shaped by Dashwood. Within this framework, theories of liminality, space and symbolism will be addressed. A proposal for future archaeological research is presented at the conclusion.
Paper short abstract:
This paper explores the theoretical anthropological relationship between the graffiti produced by WW1 soldiers and the subterranean environments in which the graffiti was produced.
Paper long abstract:
The Great War witnessed the use of mining and tunnelling on an unparalleled scale in support of surface operations, particularly on the Western Front. However, the subject of subterranean warfare remains relatively sparsely documented and its integration with, and importance to, surface operations poorly understood. Much of the infrastructure associated with mining and tunnelling remains lost from sight beneath the ground with access rarely gained. However, The Durand Group's work at Vimy Ridge over the past decade has resulted in access being gained into a number of deep level defensive mining systems, higher level subways and other associated subterranean features where extensive caches of military graffiti have been discovered and are being recorded.
This paper will examine the anthropological interpretation of the graffiti within the context of the differing subterranean environments in which it was left. A theoretical interpretation of the inter-relationship between the materials used to make the graffiti, the locations of the graffiti within the environments and the contents of the graffiti itself can potentially tell us much about the mindset of the soldiers who made it and their cultural practises within this unique subterranean world.
Paper short abstract:
Short Abstract: This work aims to reveal the interrelationship of local geology, microclimate at the site introduced and altered by several anthropogenic activities and the present day conditioning of the pleistocene art that defines the taphonomy of the rock art on the weathered and relatively fresh Sandstone, distributed in several rock art clusters of Central India.
Paper long abstract:
Long Abstract: The rock art sites of central India is rich in its thematic content showing intricate patterning. The importance of local geology and environment, in other words the nature of sandstone, monsoon and drainage pattern play a crucial role in the alteration of rock surface and rock art overtime. Understanding the superimposition of colour, theme and style along with different techniques depicted in the Central Indian Rock Art Groups at different elevations become difficult when the taphonomy of rock art pose a serious challenge to the documentation and sampling activity for absolute dating. The rock art panels are sometimes exposed to direct sunlight, rain and flowing water. Moreover most of the sites are unprotected and within the easy access of the local people, who unknowingly disturb the archaeological context of the rock art sites by illegal digging and wine preparation in the vicinity of the sites. This alters the chemistry of the rock art and insitu nature of the sediment and archaeological deposit. Naturally the site becomes barren archaeologically leaving no scope for scientific excavation or AMS dating. Evidently what we see today in Indian rock art is by and large a remnant of the total dataset. The weathering of the sandstone is very high in some regions, that makes the recording of the motifs very difficult. We try to address these complicated relationships in the rock shelters of Central India and establish a constructive methodology to carry out further research work in the proposed region.
Paper short abstract:
This paper argues that cave space is heterotopic: caves represent, contest and reverse the relations constitutive of cultures. Human experience in caves reveals that such relations are imposed on the world and because of this the cave enables the creative opening of worlds through art.
Paper long abstract:
Shortly after their appearance in Europe modern humans entered deep caves and produced art. They did so for around 20,000-25,000 years. This long period of human prehistory that is marked by the steady cultural appropriation of caves is unique: outside Europe caves were mostly avoided while in Europe the few painted caves seem to have been visited only on rare occasions. This prompts two questions: what is it about a cave that makes it significant for human beings? And further, what do caves do in order to enable their appropriation in art? My paper will explore these questions. I will argue that cave space is heterotopic: cave space is central to a culture but such space represents, contests and reverses the relations constitutive of the culture itself (Foucault). Caves are uncanny, numinous spaces; because of this they enable human beings to produce art as a world opening event (Heidegger). Human experience of the uncanny reveals that we are 'not at home in the world' (Heidegger): because of this we are bidden to create human cultural worlds. In essence, I will argue that because the cave is heterotopic it enables the production of world defining art: the cave enables art to occur as a bringing forth of worlds. In conclusion, I will suggest that it is because caves are heterotopic and their art world-forming that they can be considered 'sacred spaces': that is, the art on the cave wall puts up for decision the highest values of the group (Heidegger).
Paper short abstract:
The paper aims to discuss the interpretation of caves as mythological places and arenas for ritual activities, focusing on cave paintings in Norway. Theoretical and methodological issues will be addressed, in order to understand why caves were chosen for ritual activities.
Paper long abstract:
The paper aims to discuss the interpretation of caves as mythological places and arenas for ritual activities, focusing on cave paintings in northern Norway. The paintings are considered to be part of the North-Scandinavian rock art tradition, mainly associated with hunter-gather communities, and are dated to the interval 2000-120 BC. The caves have been dealt with rather sparsely within Scandinavian research, and the paintings have mainly been interpreted as expression of ritual activities connected with mythological beliefs, were caves are regarded as liminal places between the living and the spiritual world. The question why caves in particular were thought to have these qualities are left unanswered, or at least the reason for this is pre-supposed. There seems to be a methodological gap between the interpretation of the caves as sacred places of liminality and the prehistoric processes that constituted that particular meaning. Therefore, I will try to discuss some theoretical and methodological tools which could be helpful when trying to understand why caves were chosen for ritual activities and how this could be connected to the paintings. The main focus will be on the embodied interaction with caves, connected to the materiality of the cave itself and the relationship between nature and culture. Defining how the physicality of the cave was important must be regarded essential if any form of place specific meaning is to be discussed.
Paper short abstract:
Recent excavations at Read's Cavern have raised questions about the cave's use. Reassessment of the fourteen Iron Age cave sites in Somerset will look at varied use between sites and periods. This will draw on results from Read's Cavern, focusing on evidence of fire, to reexamine this archaeology.
Paper long abstract:
Recent excavations at Read's Cavern have raised questions about the cave's use. Excavations of the cave in the 1920's suggested a number of possible uses including periodical occupation and manufacturing. Evidence from recent work at the cave, in particular the somewhat anomalous deposition of burnt material, disproves these possibilities, but leaves the actual use of the cave in question.
There are fifteen caves within Somerset that contain Iron Age material. Most of these have not been extensively excavated and only show fragmentary evidence. The material from these cave sites would suggest random deposition, however, we know that in Read's Cavern and a few others this is not the case. At least six of these cave sites show evidence that indicates intentional use. Drawing from the recent excavation of Read's Cavern this paper will begin to reexamine the use of these Mendip caves during the Iron Age. The limitations of the information collected during previous excavations will be examined, and the relationship between the caves and contemporaneous surface sites will be highlighted.
The region that Read's Cavern and these other Iron Age cave sites are located within is the boundary between the Durotriges and Dubunni tribes. It is littered with springs and pock-marked with caves and swallets. The recent excavation at Read's Cavern allows us to begin reexamining the use of the caves within this potentially tense and meaningful landscape. This reexamination will explore the role of Read's Cavern in comparison to the other Iron Age cave sites, and the possibility that the use of Read's Cavern is directly related to the performance of order and control of relationships within this space.
Paper short abstract:
Caves are distinctive contexts and the relationships between place, architecture, practice and materials will have played out in a unique way. This paper aims to highlight some of the ways in which materials were deployed within caves across the Mesolithic - Neolithic transition in Britain.
Paper long abstract:
As noted in the abstract for this session caves are distinctive contexts and the relationships between place, architecture, practice and materials will have played out in a unique way. This paper aims to highlight some of the ways in which materials were deployed within caves across the Mesolithic - Neolithic transition in Britain and identify elements of continuity or change across this period.
This is drawn from ongoing research into how materials were used and understood across this transition. It is particularly concerned with considering the movement and social significance of materials such as earth, water and stone. Within this wider research caves feature prominently as locations where materials are brought together, used and deposited. This paper aims to consider how this compares with activities at other locations and how the presence of materials in the form of architecture may have contributed to unique practices.
Paper short abstract:
Origin or foundation myths are an important part of both past and present cosmologies in cultures around the world. Through examining modern origin myths specifically associated with caves, this paper aims to add insights into Neolithic origin mythology and the use of caves and tombs.
Paper long abstract:
Neolithic megalithic mortuary monuments have been a major focus of archaeological research throughout the history of archaeology as a discipline. These monuments represent a foundation for the modern understanding of the Neolithic period, despite significant research into other forms of Neolithic material culture. Numerous archaeologists have attempted to move beyond understanding these monuments as vaults or ossuaries for the dead by focusing on the social role of the monuments and their associations with transformative processes. However, the prominent association these monuments have with death, the dead and ancestors is difficult - both practically and theoretically - to deny, question or even to consider secondary to other possible Neolithic cultural, cosmological and ontological concerns.
This paper examines how caves and then chambered tombs could be a physical manifestation of Neolithic origin mythology and its implications for the archaeological material recovered from these contexts. As a manifestation of origin mythology, tombs and caves can be understood as a physical and cosmological center on the landscape. At the same time such an understanding allows for tombs to be symbolic replicas/representations of caves or other locations on a mythological landscape - a recreation of creation mythology.
The alternative focus on origin/creation mythology instead of on death/ancestors as a framework for the interpretation of these monuments allows for similar discussions on social constructions such as community, identity and memory. These discussions differ only slightly, yet may still offer alternative approaches to the burial practices recorded at these sites as well as other material culture found in these locations.
Paper short abstract:
This paper outlines the burial practices found in two of the Mendip caves by different cultural groups, the Mesolithic and Neolithic. The continuing focus of caves being used for burial suggests a commonality in ritual, but this does not necessarily prove a smooth and connected transition. This paper will look at the skeletal and material culture remains from both caves and will suggest that although there appears to be a continuity of sense of place, the ‘funeral teas’ laid on by each group would have been very specific to their cultural needs.