The pitfalls of studying material outcomes of cultural contact as ‘hybrids’ have been well mapped, from essentialism to the echoes of eugenics. In archaeological research, attention to ‘hybrid’ products of cultural contact through assiduous tracing of ‘foreign’ elements to their points of origin has often yielded dubious claims regarding the nature of the interaction. For objects excavated in the Period IVb (1050–800 bc) level at Hasanlu, this approach has led to assertions of ‘Assyrianization’, proclaiming the site the example par excellence of the response to Assyrian cultural hegemony in the periphery. Through exploration of armoured sheet-metal belts found at Hasanlu, an artefact type introduced from the South Caucasus region and then produced locally, this paper considers the interpretive utility of the concept of ‘hybridization’—the transformative processes by which disparate visual elements, materials and ideas about the world react to and perturb each in a particular environment. We argue that through these processes, relocated exogenous objects and their endogenous counterparts communicate using multiple, even divergent, voices. This very multivocality, or heteroglossia, is instrumental in forging new social relationships and meanings.

This paper examines a central concern in archaeological research: the interplay between technological and social flux over the longue durée. This is done by describing ceramic technological continuity and change, and its correspondence with broader social processes, on the northeast coast of New Guinea in the recent past. It presents new ethnographic information from Madang, Papua New Guinea, involving Bilbil and Yabob potters, to outline the chaîne opératoire of pottery production at present. Comparisons with ethnohistorical texts then allow us to model technological change over a longer period of c. 150 years, following the direct historical approach. This shows distinct continuity, but also substantial modification throughout the nineteenth–twenty-first centuries, as the potters negotiated major social upheavals during the colonial and post-independence periods, such as forcible relocation from their offshore islands onto the mainland. This expands our understanding of how social and technological change can take place amongst small-scale, part-time pottery specialists over the longue durée and how this change is reflected in the finished products and raw materials.

This paper addresses the motivations for producing the rare object stencils found in the rock art of western Arnhem Land. We present evidence for 84 stencils recorded as part of the Mirarr Gunwarddebim project in western Arnhem Land, northern Australia. Ranging from boomerangs to dilly bags, armlets and spearthrowers, this assemblage suggests something other than a common or ongoing culture practice of stencilling objects used in everyday life. Instead, we suggest that these stencils represent an entirely different function in rock art through a process of memorialization that was rare, opportunistic and highly selective.

Defensive and fortified settlements are often places of relatively dense nucleation by people with few viable alternatives, resulting in the imperative need to establish consensual rules for living together. What behaviours and attitudes were adopted in defensively nucleated places? Recent investigations at Ayawiri (Machu Llaqta), a densely settled hillfort town of the western Titicaca Basin of Peru inhabited c. ad 1300–1450, shed light on the nature of social life within the defensive community and the workings of social distinction, priority in settlement, conformity and publicity. I draw on the evidence from Ayawiri to discuss how defensive settlements create and reinforce certain ways of living by reformulating the basic logics of sociality and the material and spatial realms through which they work.

Western Zhou archaeology (1046–771 bc) is dominated by cemetery- and mortuary-related data. To date most studies have relied on later historical narratives and focused on the investigation of elites and their mortuary practices. This paper sets out to provide a renewed approach to the study of Western Zhou cemeteries by looking at the graveyard as a whole and with it the relationship between the commoners and nobles who were buried in them. Its case study is the important site of Tianma-Qucun, located in modern-day Shanxi province, the residential site and burial ground of the Jin state during the Western Zhou period. We provide a community-focused study of mortuary practices aimed at uncovering local-specific shared ways of doings things. This approach not only affords a refined vision of Western Zhou mortuary ritual and practice, but also one where local variation and appropriations can be appreciated as well. Thus, while common Zhou mortuary traditions should be understood to have been of greater import to Zhou elites, their impact on the lower echelons of society remains less clear. By examining the mortuary practices of individual communities, we aim to uncover these site-specific manifestations in their larger contexts.

In this paper, I critically examine contemporary commemorative forms and practices known as ‘counter-monuments’ from an archaeological standpoint, in the process interrogating the conceptual underpinnings of the monument taxon as it is currently understood. Drawing on Tim Ingold's notion of perdurance, and through an exploration of counter-monumental concerns with form, siting and proxemics, I argue that memorialization can be seen as relationally emergent in the experiences of particular places. This claim is advanced through a discussion of the Cedar Creek Earthworks, a Woodland Period (c. 1–1550 ad) enclosure near Windsor, Canada, whose status as a monument can be understood, not as an ostentatious appeal to past events, but as a magnet for drawing out and assembling human and non-human relations in place.

Together, the concepts of heterarchy and collective action offer potential explanations for how early state societies may have established high degrees of civic coordination and sophisticated craft industries in the absence of exclusionary political strategies or dominant centralized political hierarchies. The Indus civilization (c. 2600–1900 bc) appears to have been heterarchical, which raises critical questions about how its infrastructure facilitated collective action. Digital re-visitation of early excavation reports provides a powerful means of re-examining the nuances of the resulting datasets and the old interpretations offered to explain them. In an early report on excavations at Mohenjo-daro, the Indus civilization's largest city, Ernest Mackay described a pair of small non-residential structures at a major street intersection as a ‘hostel’ and ‘office’ for the ‘city fathers’. In this article, Mackay's interpretation that these structures had a public orientation is tested using a geographical information systems approach (GIS) and 3D models derived from plans and descriptions in his report. In addition to supporting aspects of Mackay's interpretation, the resulting analysis indicates that Mohenjo-daro's architecture changed through time, increasingly favouring smaller houses and public structures. Close examination of these small public structures also suggests that they may at times have been part of a single complex.

This paper explores how people within Neolithic villages were connected to co-resident multi-family households, and considers the potential material footprint of multi-family households within Neolithic villages. Drawing upon data from Çatalhöyük, I suggest that Neolithic communities were organized around multiple competing and cooperating Houses, similar to House Societies, where house members resided in clusters of abutting buildings, all largely the same size and with similar internal organization. These space were deeply connected to telling the generative narratives of the House as a historical and genealogical social unit, including the lives and actions of the ancestors, and in some cases embedding them physically within the fabric of the building. Çatalhöyük multi-family House members decorated some important rooms with display elaboration that focused on the past, the future and the family, while the dead from the households, who in many ways were still alive and part of the ancestral House, lived beneath the floor. This study underlines that researchers need to consider social scales beyond the single-family household and consider how the multi-family House existed as an organizational foundation within Neolithic villages.

In southern Africa, there has been a long-standing but unsubstantiated assumption that the site of Khami evolved out of Great Zimbabwe's demise around ad 1450. The study of local ceramics from the two sites indicate that the respective ceramic traditions are clearly different across the entire sequence, pointing towards different cultural affiliations in their origins. Furthermore, there are tangible typological differences between and within their related dry-stone architecture. Finally, absolute and relative chronologies of the two sites suggest that Khami flourished as a major centre from the late fourteenth/early fifteenth century, long before Great Zimbabwe's decline. Great Zimbabwe also continued to be occupied into the late seventeenth and perhaps eighteenth centuries, after the decline of Khami. Consequently, the combined significance of these observations contradicts the parent-offspring relationship implied in traditional frameworks. Instead, as chronologically overlapping entities, the relationship between Khami and Great Zimbabwe, was heterarchical. However, within the individual polities, malleable hierarchies of control and situational heterarchies were a common feature. This is in tune with historically documented political relations in related pre-colonial southern Zambezian states, and motivates for contextual approaches to imagining power relations in pre-colonial African contexts.

Painted rock art occurs throughout the islands of the Western Pacific and has previously been argued to have motif and design elements in common, indicating that it was created within the context of a shared symbolic system. Here we report five new painted rock-art sites from Kisar Island in eastern Indonesia and investigate the commonalities between this art and the painted art corpus in Timor-Leste, the independent nation that forms the eastern part of the neighbouring island of Timor. We examine the motifs in the Kisar art and suggest that, rather than being Neolithic in age, some of the figurative motifs more likely have a Metal Age origin, which in this region places them within the last 2500 years.

The Aboriginal cultural traditions of Australia, their histories, philosophies and characteristics, have fascinated and intrigued European observers and scholars for a very long time. This paper explores some implications of recent ethnographic information and engagements related to the themes of Indigenous rock art, knowledge and the understanding of Country in the Kimberley region, Western Australia, for the interpretation of archaeological evidence. It is argued that the Aboriginal understanding of cultural features and practices, rock art and the natural environment is best described within a framework of relational ontology. This orientation has important consequences for the conceptualization of a range of interrelated key themes, most importantly ‘space and place’, ‘story and narrative’ and ‘knowledge and representation’. Thus, the paper calls for the development of opportunities of intellectual engagement and exchange as well as collaborative and creative responses, which should also include new forms of expression in academic contexts that themselves reflexively engage with the limitations of writing and representation.

Archaeologists have struggled for more than a century to explain why the first representational art of the Upper Palaeolithic arose and the reason for its precocious naturalism. Thanks to new data from various sites across Europe and further afield, as well as crucial insights from visual science, we may now be on the brink of bringing some clarity to this issue. In this paper, we assert that the main precursors of the first figurative art consisted of hand prints/stencils (among the Neanderthals and early Homo sapiens) and a corpus of geometric marks as well as a hunting lifestyle and highly charged visual system for detecting animals in evocative environments. Unlike many foregoing arguments, the present one is falsifiable in that five critical, but verifiable, points are delineated.

Images of the human form can be analysed for what they reveal about social roles, hierarchy, and other identities, as well as culturally determined perceptions about humanity's relationships to the natural environment and supernatural realm. It is proposed that the portrayal of the multitudinous human subjects related to religious ideology and practice in Rio Grande Tradition and Navajo rock art focuses on the interconnectedness of all things, deflecting meaning away from human beings as prime subjects as seen in Western religious art. Rather, informed by ethnographic data, the Native American abstracted, costumed forms, along with conflated human/animal subjects, define humanity's intimate link to the cosmos, and their added attributes evoke the supernatural strengths of other living beings, along with animated entities such as rain-clouds and the sun. These images themselves are perceived as active agents, attracting the pictured forces, sanctifying place and facilitating communication with resident spirits. What is pictured on stone extends to the performative dimensions of ethnographic contexts, thereby blurring the boundaries between the ceremonial participants, the representations and the animistic cosmos.

New developments in the natural sciences are contributing to new thinking on the nature of matter, materiality and being. Such re-visioning of the natural world is, in part, responsible for ‘the ontological turn’, a trend clearly visible in recent archaeological discourse. In combination with evolving relational and symmetrical approaches to investigating the constitution of ‘the social’, the door is open for exploring logics, taxonomies and understandings of reality different from our own in studies of the past. Applying these ideas to the investigation of early imperialism, this paper offers an analysis of a key element in the repertoire of Inca material culture that forwards the importance of human–thing relations in the context of early state politics. Working from the basis of the imperial Inca ceramic assemblage, the study examines how these objects were deployed in the task of empire-building and what insights they provide into Andean ontological commitments during the late pre-Columbian period. An argument is developed that imperial pots were construed as animate beings and agents of the State. The study brings to the fore the mutually constituted nature of the imperial Inca project and suggests new avenues for future research that highlight the matter of early empires.

Early depictions of anthropomorphs in rock art provide unique insights into life during the deep past. This includes human engagements with the environment, socio-cultural practices, gender and uses of material culture. In Australia, the Dynamic Figure rock paintings of Arnhem Land are recognized as the earliest style in the region where humans are explicitly depicted. Important questions, such as the nature and significance of body adornment in rock art and society, can be explored, given the detailed nature of the human figurative art and the sheer number of scenes depicted. In this paper, we make a case for Dynamic Figure rock art having some of the earliest and most extensive depictions of complex anthropomorph scenes found anywhere in the world.

The unknown and exotic North fascinated European minds in the early modern period. A land of natural and supernatural wonders, and of the indigenous Sámi people, the northern margins of Europe stirred up imagination and a plethora of cultural fantasies, which also affected early antiquarian research and the period understanding of the past. This article employs an alleged runestone discovered in northernmost Sweden in the seventeenth century to explore how ancient times and northern margins of the continent were understood in early modern Europe. We examine how the peculiar monument of the Vinsavaara stone was perceived and signified in relation to its materiality, landscape setting, and the cultural-cosmological context of the Renaissance–Baroque world. On a more general level, we use the Vinsavaara stone to assess the nature and character of early modern antiquarianism in relation to the period's nationalism, colonialism and classicism.

The stone of Saint-Samson is a Neolithic stele of 70 tons and 10 m of probable length. Its intriguing leaning position and its very regular morphology have aroused curiosity since medieval times. Three of its four faces—oriented towards the cardinal points—display engravings that were discovered in the 1970s. Now, a new recording protocol has combined 2D techniques for emphasizing the contrast of the engravings (oblique rotating lights) and 3D methods for restoring the volumes of the support (photogrammetry, structured-light scanner). The results obtained have made it possible to implement the first structural analysis of the stone. The north and west faces show an opposition between domestic (cattle, goats) and wild animals (suidae, cervidae, birds, cetaceans), depicted confronted and with their horns or tusks clearly visible. The south face was reserved for the human figure and for iconic artefacts (polished axe, throwing stick, ring disk, steering oar). The four faces have in common the presence of boats. The relationship linking the monument to waterways and the sea is approached by analysing both local legends and the phenomenon of the tidal wave.

This paper presents an experiment. Can a typologically inarticulate assemblage be accounted for by other means? What might such an articulation look like? What prospects would it offer? Focusing on three small late Pottery Neolithic assemblages from the southern Levant, the paper argues that they are typologically inarticulate, primarily because they possess considerable morphological fluidity that is at odds with the segmented structure demanded by this mode of classification. The paper presents an attempt to formulate an account of these assemblages that incorporates their morphological fluidity and ambiguity. Allowing for differential quantitative emphases across the assemblage, it is suggested that certain forms may be specified as types. In turn, the relations among these types are shown to constitute a structural order. Yet the assemblages are also fundamentally ambivalent, both constituting and de-constituting their order and logic. For the types are constituted in relative (rather than absolute) terms and the orderly structures are accompanied by elements that are incommensurable with it. Acknowledging these conflicting qualities, it is proposed that they are multiple, that the one assemblage is several. Finally, the paper explores some implications this understanding of the ceramic assemblages might have for the discussion of temporal development.

Education is notoriously difficult to identify archaeologically, but crucial for understanding the inner workings of any society. Strikingly, in Mesoamerican archaeology, more seems to be known about the transmission of crafting skills than about practices of statecraft. Elsewhere in the ancient world, much evidence speaks to various social and institutional contexts in which specialized knowledge of histories, literacies, civics, and sciences was generated and taught as vital to state-making projects. Yet these same contexts among the Classic Period Maya (ad 200–900) remain poorly understood and under-theorized. Pulling from comparative research alongside recent work at the site of Xultun, Guatemala, this article explores how educational systems may have worked in Classic-era Maya polities—assessing evidence for educational loci, the different forms that education might assume, and the varied curricula that likely existed across different cities and particular demographics. Through this discussion, I seek to shed some light on the actors, gendered exclusions and diverse arrangements of pedagogy in Maya society, and grant further insight into how specialized bodies of knowledge (transmitted within formal educational institutions) were built into the very fabric of the Classic Maya states of which they were part.

Serpent Mound, in northern Adams County, Ohio, USA, is one of the most iconic symbols of ancient America and yet there is no widely agreed upon date for the age of its original construction. Some archaeologists consider it to have been built by the Adena culture around 300 bc, while others contend it was built by the Fort Ancient culture around ad 1100. There have been three attempts to obtain radiometric ages for the effigy, but they have yielded inconclusive results. The iconography of the earthwork offers an alternative means of placing the mound in its cultural context. Serpent imagery is abundant in the Fort Ancient culture as well as in the more encompassing Mississippian Ideological Interaction Sphere. Pictographs from Picture Cave in Missouri include a serpent, a humanoid female and a vulvoid in close association. We interpret these elements, in the light of Siouan oral traditions, as First Woman and her consort the Great Serpent. The Picture Cave imagery dates to between ad 950 and 1025. We argue that these same three elements are represented in the original configuration of Serpent Mound and therefore situate its design and original construction in the Early Fort Ancient period.