ORIGINS Centre

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One example of the rock art in the Wits University collection, which is probably the largest in the world (Image: Origins Centre)

From the City of Johannesburg comes this exciting news for archaeology and anthropology fans like me: Origins Centre traces history of mankind, written by Ndaba Dlamini.

My summary: On March 7th, 2006 President Thabo Mbeki officially opened the University of the Witwatersrand’s Origins Centre, the world’s only museum dedicated to exploring and celebrating the history of modern humankind. The first phase of the museum showcases the origins of humankind as well as an extensive collection of rock art from the Wits Art Research Institute. Many of the diverse exhibits bring to life the heritage of the San, whose DNA contains the earliest genetic print, linking this hunter-gatherer to the Homo sapiens who lived 160,000 years ago. For the first time in South Africa, archaeology had been brought to people to appreciate and no longer would people regard rock art as “crude”, Mbeki said.

Very unique is that the Origins Centre is inviting South Africans and international tourists to have their DNA tested to determine their ancestry – and have the results exhibited alongside those of Nelson Mandela. Read more about it in Are you related to Mandela? Fascinating!

If I was traveling to South Africa, the Origins Centre would be on top of the list of places to visit. Their website appears to be still under development, but there is more at South Africa Info including great links including the fabulous Rock Art Gallery.

More related links and images:
Rock Art Research Institute
Bradshaw Foundation
my earlier page on South African rock art
Met Museum

more Petra

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Petra, Jordan, 1998 Photograph by Annie Griffiths Belt

Reclining on a rooftop carved two millennia ago, a Bedouin surveys the realm of the Nabataeans, whose ancient capital beckons from the sands of southern Jordan. Forgotten for centuries, Petra still echoes with mysteries of the past; this immense building, Al Deir (the Monastery), was probably a Nabataean shrine. –From “Petra: Ancient City of Stone,” December 1998, National Geographic magazine

In September 2004 I first mentioned my great interest in Petra especially when I found out about the exhibition at the Cincinnati Art Museum exhibition Petra: Lost City of Stone (and it’s still online!).

It was later to be presented at the Glenbow Museum in Calgary, Alberta but I forgot to post about it. The exhibition ended last month:

Widely recognized as the backdrop in the 1989 film, Indiana Jones and the Last Crusade, the city of Petra was carved from the red sandstone in the harsh desert cliffs of southern Jordan over two thousand years ago. Petra was the trade crossroads from the 2nd century B.C. through the 3rd century A.D., linking the great civilizations at that time – Greek, Roman, Near Eastern and Egyptian. Located south of the Dead Sea, Petra was unmarked on modern maps until it was rediscovered in 1812. Premiering in Canada at Glenbow Museum in October 2005, Petra: Lost City of Stone was one of only two Canadian venues for this groundbreaking exhibition. Bringing together over 200 objects, including colossal stone sculptures and architectural elements travelling from Jordan for the first time, visitors were able to examine the history and culture of Petra in the most comprehensive exhibition ever presented on this ancient city.

I was reminded of this when mirabilis recently had a great post on Petra, with many exciting new links to explore. If you haven’t already seen them, do go look! Isn’t it great how all this is available to us online?

a batik exhibition

This little news item in Stone Pages caught my eye and really piqued my interest:

Exhibition: Spirits of the Stones
“A touring exhibition by Annabel Carey of batiks featuring stone circles in England, Scotland and Wales, which began at the Marischal Museum, Aberdeen in November 2003 reaches the Royal Cornwall Museum, Truro (England) for an exhibition running until May 13.

     The work shown here is the result of a 20-year project, Spirit of the Stones. This has resulted in more than 50 batiks celebrating prehistoric stone circles and tombs of the British Isles, many of which are here in Cornwall. Annabel said of her work: “I used the medium of batik as it seemed to offer me a wide range of expression to capture the essence of each monument. By exhibiting batiks from all regions together I hope to inspire and encourage other people to visit these monuments, some more than 5000 years old, and reflect on our ancient spiritual heritage.”

In the hopes of finding some images of Carey’s batiks, I did some searching and found the website for Royal Cornwall Museum but I’m disappointed that there’s only one small image shown. A couple of media statements at U of Aberdeen and in This is Cornwall give just a bit more information about the artist. Maybe some of my readers in the UK might have seen or will see this exhibition. If so, let me know what you think of it and if you find some images to share!

Now why did this pique my interest, you ask? Well, because of my interest in prehistoric stone circles, as most regular readers know, but also because I used to make batiks too.

Long ago when I was a high school art teacher and had just moved to a new job in northern British Columbia I learned that batiking was one of the optional art mediums in the program. I was unfamiliar with this but I was very lucky that my new friend and colleague, the textiles-home economics teacher in the classroom next to mine, knew the process and gave me a few lessons. I really enjoyed working together with the students, learning right along with them.

After my teaching years I continued to explore many media, especially batiking, trying to develop this craft into a serious art form. I stopped when I came back to printmaking. I still have some batik supplies stored away; now and then, like when reading about this exhibition, I get a little urge to do some again.

The image below is a detail of a lovely batik that our eldest daughter bought for us during a trip in Indonesia, where the technique originated. For information on batiking, visit Wikipedia for lots of good links to explore.

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UPDATE March 7th: Following up on a suggestion in the comments below, I emailed Valeri of dyeing 2 sew, because she lives in Cornwall. I told her about this show and expressed a hope that she might visit it and perhaps post some pictures on her blog. Valeri kindly did go see it, even took photos and blogged about her impressions along with several photos here plus more here. Go have a look! A big thank you, Valeri!!

thank you

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On the occasion of the second anniversary of this blog I offer all my dear readers this virtual bouquet of thanks for your wonderful friendship! What an amazing network around the world has opened up with this blogging phenomena. I love hearing from so many of you! Yet there are so many quiet and shy readers too that I think about and wonder – who are you? where are you? what are your thoughts?

I look forward to a third year of connecting and I hope you do too! As I’ve mentioned before, I keep looking back at my posts of a year earlier, such as this first anniversary post. This year, you might enjoy these stone labyrinths – they make me think of connections.

Avebury

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I’ve been wandering in the past again, looking at a marvelous site on Avebury. It contains comprehensive information about the amazing Neolithic standing stones in southern England, including plans, maps, panoramic views, history and links to explore further.

Whereas Stonehenge has long been one of Britain’s most famous pre-historic sites, Avebury has been relatively unknown until recent times [because] much of the monument we see today had disappeared until Alexander Keiller resurrected it from the obscurity into which time and human behaviour had driven it. Stonehenge has stood upon Salisbury Plain always obvious to the eye and defiant of the weather but Avebury’s magnificence lay hidden, vandalised and ignored.” Now it is “one of the most important ancient sites in the British Isles. I’m amazed to learn that It is estimated that the henge and avenues originally contained in excess of 600 stones. So many have been destroyed that only 76 of them are now visible. Excavations and surveys in recent years have revealed that at least 20 others remain buried.

Besides the excellent research information, I enjoyed the personal notes by the author (name unknown), such as the story of his first encounter with the stones and his comments on the theories about Avebury. He writes that Avebury

in common with all of the many megaliths of the neolithic period, is something that lies outside of our experience, its purpose still demanding an explanation by our modern, scientific minds. These days my personal attitude towards it is merely one of delight that it exists. I’m certain that the people who built it had a perception of life and sensitivity to nature that is now quite alien to us. I like to imagine that they were also very altruistic, a trait that the love of money has largely eradicated from our modern world. Considering these points I now accept that the 4,500 years of history since has probably rendered us incapable of finding a path that would lead us to the correct explanation of Avebury’s many enigmas.

There are even “wallpapers” to download, one of which I chose to put above as a small illustration. (Thanks to plep for the link.)

You may find it interesting to compare Avebury’s standing stones to the ones in Sweden.

Addendum Dec.3.2005: I forgot to point out the page called plain stones where the author compares Avebury to other neolithic sites that have petroglyphs (carvings) and pictographs (paintings). Why were Avebury and Stonehenge left unadorned?

humour

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© Bizarro.com – scanned from Vancouver Sun Nov.26.2005
A little message to yours truly and her obsession with rock art?

Carnac megaliths

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A “marking” on stone, Carnac. Photograph by Stephen Miller.

Stephen Miller’s dramatic photos of Megaliths in the Carnac region of France capture a certain kind of spell over the whole area, hard to pin down, maybe like an echo remaining from a time we have no ‘memory’ of.

Miller writes Carnac: eleven rows of standing stones stretching for 12 kilometers. Date and origin, unknown. And for scores of miles in all directions, scattered throughout the forests, in the fields, in the midst of human settlement, the dolmens, menhirs, circles, and alignments of an unknown age before history.
Here and there, inside a dolmen, a carving on a wall stone. A torso or womb shape? Some emblematic, some, like the walls of Gavrinis, shamanic, and some like the first glimmer of pictographic writing.

Carnac: In Egypt there is a Karnak too, the ‘temple of the sun’. In India, there is Koranak, a temple of the sun, home of the universal calendrical stone featured on the old Indian 10 rupee note. And I remember that the spaceship in Gurdjieff’s enigmatic “Beelzebub’s Tales To His Grandson” was also named Karnak. Local mythologies surrounding the stones abound. These are said to walk to the water sometimes, those to move or dance under the moonlight. They are almost always associated with fertility and enchantment.

These black and white photos remind me very much of Ismo Luukkonen’s photos of Swedish standing stones, as I wrote about last February.

There is more on Carnac at Vicki Sherwood’s The Megaliths of Carnac.

(Thanks to wood s lot)

Zimbabwe rock art

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I’ve recently discovered Mayday 34°35’S 150°36’E, a “Finnish-Australian blog about survival in rural New South Wales”, Australia. Anni Heimo writes her posts in both Finnish and English.

The other day, I was pleasantly surprised to read: “Somewhere in 1990s, I was lucky enough to make a special trip, driving from Mozambique through South Africa to Zimbabwe to see, among other things, the rock paintings in the Matobo National Park.” Read about her experience and enjoy the lovely photos! I’m a bit envious, but inspired to learn a bit more about Zimbabwe’s rock art.

The beautiful Matobo Hills are steeped in the country’s history, and hold the highest density of San (Bushman) rock paintings in Africa. Matobo Hills was named world heritage site by UNESCO.

The area exhibits a profusion of distinctive rock landforms rising above the granite shield that covers much of Zimbabwe”. According to Wikipedia, “San (Bushmen) lived in the hills about 2,000 years ago, leaving a rich heritage in hundreds of rock paintings. In the many crevices and caves, clay ovens and other historic artefacts have been found…The hills are regarded as sacred by the Shona and many other peoples of Southern Africa. Many rituals and other religious activities are performed in the hills.

The wikipedia site has a few photos of the cave paintings and some unusual standing stones.

And of course the excellent Bradshaw Foundation pages (that I’ve mentioned several times in the past) include this site amongst the many in Africa, with a couple of gorgeous photos of the cave paintings, one of which is above.

Writing-on-Stone

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Petroglyph: The Hunt – Photograph by Ray Rasmussen

On my daily rounds of the blogs today, I was thrilled to discover at wood s lot a photo and link to the site of some wonderful photographs taken by several photographers in Writing-on-Stone Provincial Park in Alberta.

Why thrilled? Some readers may recall that I wrote about our plans to visit Writing-on-Stone earlier this year, which got cancelled because of heavy rains and floods. (I also wrote about the source of the word hoodoos.) Access to the Archaeological Preserve and majority of rock art is limited to guided tours (mid-May to early September only). We weren’t able to make it for September, but there’s next year.

Anyway, back to this excellent site. I really enjoyed the slideshow of the uniquely eroded sandstone and of the petroglyphs, the best pictures amongst the few I have found on the web. At the end is a list of links to additional great photographs of rock erosion including hoodoos, at Dry Island Buffalo Jump, a Provincial Park located in the Red Deer River Badlands. The site also has a good information on visiting the sites.

Noticing that Ray Rasmussen has taken most of the photos and is the web designer, I found that he has his own photography and Haiku web site that I shall be exploring further.

By the way, there are also a couple of images of works by Antoni Tàpies on the wood s lot page. It suddenly struck me how they resemble the petroglyphs in some way – the way he scrapes marks out of his textured surfaces. These made me recall how excited I was to see a large exhibition of Tàpies’ work in a museum in Germany several years ago.

Wolf Cave

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Here’s an interesting find, not rock art this time, but archaeology. Susiluola or Wolf Cave is northern Europe’s oldest known human dwelling site. In most places the last ice age destroyed evidence from the warmer interglacial periods of previous ice ages. Wolf Cave is like a small pocket that succeeded in avoiding the destruction. Because of this the cave is an exceptionally valuable research site. In the sediment levels of Wolf Cave have been found evidence of human habitation that includes stone tools, stone chips left from the making of such tools and old hearth remains. These artefacts are estimated to be 120,000 years old, which means that Neanderthals must have dwelt in the cave prior to the last ice age.

Wolf Cave is located in western Finland. Study of the cave and surroundings is ongoing and causing a rewriting of the history of habitation in the Nordic countries. Though tourists cannot enter the cave, they can visit the Tourist Centre and view the exhibition showcasing Wolf Cave’s archaeology and the many artefacts that have been found there as well as Wolf Cave’s geology and the geological development of the area and its plant and animal life since the ice age. There is a 15-minute video presentation about excavations at Wolf Cave and a multimedia production that describes the role the ice age played in the development of the cave. Next time I’m in Finland….