Our fourth Lascaux

James, N.

doi:10.15184/aqy.2017.145

Cited by 5 publications

(2 citation statements)

References 7 publications

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“…Cachat et al 2012;Malgat et al 2012 ;Malgat et al 2015 ;Duval et al 2019b. See also James 2016James , 2017 Other than the reproductions of the Altamira ceiling, which take centre stage in the gardens of the National Archaeological Museum in Madrid and the Deutsches Museum in Munich, and correspond more to mobile archaeological artefacts, the facsimiles are located in immediate proximity to the decorated caves that they represent. The persons in charge of these projects justify this concern for location by the argument of landscape coherence, which corresponds to current scientific hypotheses concerning rock art: the environmental context of the caves partly explaining why prehistoric groups decided to produce their art in these locations, it is necessary to enable the visitors to perceive and understand the landscape environment.…”

Section: Site Closed With 'Compensatory' Public Outreach Tools (Categmentioning

confidence: 99%

The Janus-faced Dilemma of Rock Art Heritage Management in Europe: A Double Dialectic Process between Conservation and Public Outreach, Transmission and Exclusion

Duval

Gauchon

2019

Conservation and Management of Archaeological Sites

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In this paper, we discuss the management strategies applied to rock art in western cultural contexts. How do the persons responsible for rock art sites manage the tension between the two opposing imperatives of, on one side, their conservation and long-term transmission, and the other, their opening to the public to enable their heritage value to be shared and transmitted in the present? What forms do the articulation of conservation and public access take? Drawing on a typology of the many possible configurations, we discuss the choices made by the actors in charge of decorated sites, as well as the variability of some of the criteria considered, such as the 'carrying capacity' of a site, to define visit protocols. We thus demonstrate that the implementation of quotas depends not only on climatic and biochemical factors but on the priorities of the decision-makers and their interpretation of the preservation of a decorated site as well. Finally, our empirical approach leads to a discussion of the accessibility of rock art sites from the angle of heritage access rights and the heritage-making process. What meaning do we ascribe to sites that remain closed and thus cannot be experienced by the public? To what degree are they (still?) heritage sites and for whom? Through an empirical and comparative approach, we address these questions based on an analysis of case studies in France and northern Spain.

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Section: Site Closed With 'Compensatory' Public Outreach Tools (Categmentioning

confidence: 99%

The Janus-faced Dilemma of Rock Art Heritage Management in Europe: A Double Dialectic Process between Conservation and Public Outreach, Transmission and Exclusion

Duval

Gauchon

2019

Conservation and Management of Archaeological Sites

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“…Since December 2016, visitors can now visit yet another location (Lascaux IV) which represents the most compete replica of Lascaux (James 2017;Leresche 2019). Besides Lascaux II, the international travelling exhibition of Lascaux III, and the technologically advanced Lascaux IV, tourists can also visit other locations within the Dordogne region to learn more about the famous Lascaux imagery.…”

Section: Lascauxmentioning

confidence: 99%

Debating Access to Internationally Acclaimed Rock Art Sites: Has the ‘Future Generation’ Been Born?

Ndlovu

2019

Conservation and Management of Archaeological Sites

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Rock art is one of the most attractive heritage resources. Yet, some of these sites are either closed from the public or were never officially opened in the first place. Based on them being inaccessible to the public, various replicas have been built to allow tourists to still see their images. While these sites are inaccessible to the general public, they are not spared from natural and human induced damage. Informed by the three issues I discuss in this paper, namely: (1) the idea of selecting identified heritage resources as being important, (2) critiquing the concept of managing heritage resources for future generations, and (3) debating the question of who are we managing rock art for, I conclude that rock art should not be closed to the public. Such an approach promotes a view that such valuable spaces are preserved only for the privileged few.

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Cultures of Appropriation: Rock Art Ownership, Indigenous Intellectual Property, and Decolonisation

Hampson,

Challis

2024

Interdisciplinary Contributions to Archaeology

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Both on and off the rocks, it is clear that many pictographs and petroglyphs are powerful cultural and social ‘tools’ as well as sacred beings. Indeed, in certain regions of many countries, cultural and socio-political identity is shaped, manipulated, and presented through rock paintings and engravings. In this chapter, we focus on re-contextualised and appropriated Indigenous heritage and rock art motifs, in commercial settings, in sports team mascots, and as integral components of political and national symbols—there are illuminating similarities (as well as differences) that span the globe. Case studies include instances where descendants of the original artists have re-imagined and adapted the meanings and uses of motifs, and also where non-Indigenous/non-descendant groups have appropriated rock art imagery—often without consultation with or permission from Traditional Owners and heritage managers. We offer results from fieldwork and study in North America, northern Australia, and southern Africa.

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Our fourth Lascaux

Abstract: World's most famous archaeological replica, Lascaux II was replaced in December 2016 by Lascaux IV. IV deserves to inherit the reputation, but it is already struggling to cope as it seeks to outdo II's tally of visitors. The ironies are manifold.

Cited by 5 publications

References 7 publications

The Janus-faced Dilemma of Rock Art Heritage Management in Europe: A Double Dialectic Process between Conservation and Public Outreach, Transmission and Exclusion

The Janus-faced Dilemma of Rock Art Heritage Management in Europe: A Double Dialectic Process between Conservation and Public Outreach, Transmission and Exclusion

Debating Access to Internationally Acclaimed Rock Art Sites: Has the ‘Future Generation’ Been Born?

Cultures of Appropriation: Rock Art Ownership, Indigenous Intellectual Property, and Decolonisation

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