Explores representations of the dynamic between ourselves and birds of prey, evidenced diversely in the anthropology of art, the art history and archaeology of the earliest falconry, and visual representations of raptors in museums, heritage and tourism.
Birds of prey are depicted as powerful beings in the visual art of indigenous communities, their body part are dynamic agents in material religion, their faunal remains are found intentionally deposited in the archaeological record, their preserved bodies are displayed in museums, and falconry is marketed as intangible cultural heritage. This session invites scholars from across the disciplines of anthropology, archaeology, art history, human-animal studies, and museum, heritage and tourism studies to explore representations of the dynamic between ourselves and birds of prey. Contributions are welcome on such topics as raptor-kin in indigenous image-making traditions, the earliest evidence for hawking in art history and archaeology, and the roles of birds of prey in the visual cultures of tourism, heritage and museums. Those papers which theorise how the art, materiality and representation of human-raptor relations can be approached without recourse to a culture-nature dichotomy, in the light of the ontological turn and other post-humanist thinking, are particularly welcome.