Pastoralist appropriation of landscape by means of rock art in Ennedi Highlands, Chad

Research into the Saharan rock art has from the very first day been linked to the question of how the people of the past managed to live in this environment. It was about the enigma of climatic conditions and cattle herders who obviously once inhabited regions that meanwhile have become uninhabitabl...

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Autor principal:	Tilman Lenssen-Erz
Formato:	article
Lenguaje:	EN FR
Publicado:	OpenEdition 2012
Materias:	rock art landscape appropriation pastoralism cattle Archaeology CC1-960 History of the arts NX440-632
Acceso en línea:	https://doaj.org/article/e94d70e043e2495aad522a5b45c858d7
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spelling	oai:doaj.org-article:e94d70e043e2495aad522a5b45c858d72021-12-02T10:48:04ZPastoralist appropriation of landscape by means of rock art in Ennedi Highlands, Chad2431-204510.4000/aaa.414https://doaj.org/article/e94d70e043e2495aad522a5b45c858d72012-09-01T00:00:00Zhttp://journals.openedition.org/aaa/414https://doaj.org/toc/2431-2045Research into the Saharan rock art has from the very first day been linked to the question of how the people of the past managed to live in this environment. It was about the enigma of climatic conditions and cattle herders who obviously once inhabited regions that meanwhile have become uninhabitable desert. The first rock picture discovered by a European researcher was the “Apollon Garamante” showing two masked persons on the side of cattle (Barth 1857: 210). This made the discoverer Heinrich Barth wonder about the possibilities of keeping cattle in this region, the Libyan Messak Settafet, and the necessarily more advantageous former climate (ibid.: 215-218). At this juncture, it is worth noting that there is ubiquity of cattle in Saharan rock art on the one hand, but, on the other hand, that the “green Sahara” never was anything like the deep green meadows of Europe. Accordingly this land never sustained permanent habitation that could settle in a certain place for centuries (except for the oases), even if the economic system would not have necessitated mobility such as in a hunter-gatherer economy. Therefore this paper seeks to elucidate the hypothesis that the appropriation of the land and the advertisement of identities by prehistoric Saharan pastoralists of the Ennedi Highlands were not effectuated by settlements and built structures but through rock art in various expressive forms.Tilman Lenssen-ErzOpenEditionarticlerock artlandscape appropriationpastoralismcattleArchaeologyCC1-960History of the artsNX440-632ENFRAfrique Archéologie Arts, Vol 8, Pp 27-43 (2012)
institution	DOAJ
collection	DOAJ
language	EN FR
topic	rock art landscape appropriation pastoralism cattle Archaeology CC1-960 History of the arts NX440-632
spellingShingle	rock art landscape appropriation pastoralism cattle Archaeology CC1-960 History of the arts NX440-632 Tilman Lenssen-Erz Pastoralist appropriation of landscape by means of rock art in Ennedi Highlands, Chad
description	Research into the Saharan rock art has from the very first day been linked to the question of how the people of the past managed to live in this environment. It was about the enigma of climatic conditions and cattle herders who obviously once inhabited regions that meanwhile have become uninhabitable desert. The first rock picture discovered by a European researcher was the “Apollon Garamante” showing two masked persons on the side of cattle (Barth 1857: 210). This made the discoverer Heinrich Barth wonder about the possibilities of keeping cattle in this region, the Libyan Messak Settafet, and the necessarily more advantageous former climate (ibid.: 215-218). At this juncture, it is worth noting that there is ubiquity of cattle in Saharan rock art on the one hand, but, on the other hand, that the “green Sahara” never was anything like the deep green meadows of Europe. Accordingly this land never sustained permanent habitation that could settle in a certain place for centuries (except for the oases), even if the economic system would not have necessitated mobility such as in a hunter-gatherer economy. Therefore this paper seeks to elucidate the hypothesis that the appropriation of the land and the advertisement of identities by prehistoric Saharan pastoralists of the Ennedi Highlands were not effectuated by settlements and built structures but through rock art in various expressive forms.
format	article
author	Tilman Lenssen-Erz
author_facet	Tilman Lenssen-Erz
author_sort	Tilman Lenssen-Erz
title	Pastoralist appropriation of landscape by means of rock art in Ennedi Highlands, Chad
title_short	Pastoralist appropriation of landscape by means of rock art in Ennedi Highlands, Chad
title_full	Pastoralist appropriation of landscape by means of rock art in Ennedi Highlands, Chad
title_fullStr	Pastoralist appropriation of landscape by means of rock art in Ennedi Highlands, Chad
title_full_unstemmed	Pastoralist appropriation of landscape by means of rock art in Ennedi Highlands, Chad
title_sort	pastoralist appropriation of landscape by means of rock art in ennedi highlands, chad
publisher	OpenEdition
publishDate	2012
url	https://doaj.org/article/e94d70e043e2495aad522a5b45c858d7
work_keys_str_mv	AT tilmanlenssenerz pastoralistappropriationoflandscapebymeansofrockartinennedihighlandschad
_version_	1718396681801695232

Pastoralist appropriation of landscape by means of rock art in Ennedi Highlands, Chad

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