TRACCE no. 12 – by Jeffery R. Hanson
The University of Texas-Arlingtonis pleased to announce it’s 5th annual rock art field school in Dry Fork Canyon, Utah. Students participate in an intense archaeological and ethnographic experience, experiencing a Native American perspective through the eyes of Eastern Shoshone spiritual practitioners.
TRACCE no. 10 – by M. Leigh Marymor
Looking Back at Four Years of Advocacy for the Ring Mountain Petroglyphs – California (USA).
In the Fall of 1993, the Bay Area Rock Art Research Association (BARARA) began an effort to insure protections for the Ring Mountain petroglyphs in Tiburon (Marin County), California .
TRACCE no. 10 – by Jeffery R. Hanson
The Trowel and the Drum: contrastive Approaches to Rock Art.
Located on the McKonkie Ranch in the Dry Fork Canyon near the town of Vernal, canyon walls contain some of the most spectacular examples of prehistoric petroglyphs…
TRACCE no. 9 – by Robert Alan Clouse
2nd International Congress of Rupestrian Archaeology
2-5 October 1997 DARFO BOARIO TERME
Pattern and Function at Jeffers Petroglyphs, Minnesota, USA.
The Jeffers Petroglyphs site in the Midwestern United States contains over 2,000 recorded carvings, some of which likely date to 5,000 B.P.
TRACCE no. 8 – by Jack Steinbring
1999 International Rock Art Congress
IFRAO-ARARA-MAGF
at Ripon College
Ripon, Wisconsin, U.S.A., MAY 23 – 31
TRACCE no. 5 – by Petroglyph Monument Protection Coalition
Petroglyph National Monument in New Mexico imperiled by Road Plans
National Monument comprises more than 7,200 acres along Albuquerque’s scenic West Mesa Escarpment and was established by Congress in 1990.
TRACCE no.3 – by Paul G. Bahn, Robert G. Bednarik, Jack Steinbring
We would like to draw the attention of Tracce readers to our recent illustrated paper in Rock Art Research in which we reveal for the first time…
TRACCE no. 2 – by Carol Diaz-Granados
In 1993, a two-volume dissertation was completed entitled: The Petroglyphs and Pictographs of Missouri: A distributional, stylistic, contextual, temporal, and functional analysis of the state’s rock graphics.
TRACCE no. 2 – by Kevin L. Callahan
Ethnohistorical sources regarding the creation of rock art around the world frequently make reference to “little people” as the makers of rock art. As David Whitley (1991) has noted, this may be due to a taboo against talking about a dead shaman and not verbally distinguishing the shaman’s spirit helper or tutelary spirit from the deceased shaman
