Rock Paintings in the “Wilderness” – “Savaged and Shared”
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Internationale Zeitschrift für Völker- und Sprachenkunde
Volume 120 (2025), Edition 1
- Authors:
- , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
- Publisher
- Nomos, Baden-Baden
- Publication year
- 2025
- ISSN-Online
- 2942-3139
- ISSN-Print
- 0257-9774
Chapter information
Volume 120 (2025), Edition 1
Rock Paintings in the “Wilderness” – “Savaged and Shared”
- Authors:
- ISSN-Print
- 0257-9774
- ISSN-Online
- 2942-3139
- Preview:
The contrast between the experiences of those who are not indigenous but live in Canada and the Indigenous experiences is often missing from the literature on pictograph sites, red ochre images, found throughout the Boreal Forest, in the Precambrian Shield. These places, when one reads the academic literature predominately written by those who are not Indigenous, appear “stuck in time,” in voids of their own: impassive witnesses to the transformation of a landscape. Archaeologists, usually with a Western European worldview, working with rock paintings, pictographs are on the horns of a dilemma. At least two or more world views are in operation. This landscape, the Boreal Forest, has at least two different groups of meanings: to largely former European settlers, and to the Indigenous peoples, hunter-gatherers/foragers.
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