This paper addresses the tension between élite-sponsored rituals in the context of state expansion and the persistence of rituals involving hallucinogens among communities that met with state colonists. It focuses on the consumption of hallucinogens inducing altered states of consciousness during the Peruvian Middle Horizon (ad 600–1000), a period characterized by the expansion of the Wari state, known for large state-sanctioned feasts during which élites distributed corn beer and reaffirmed their power. This paper presents new evidence for the ingestion of hallucinogens from the site of Ak'awillay in the Cusco region, focusing on paraphernalia and ritual spaces recovered in large horizontal excavations. Results indicate that the people of Ak'awillay were able to maintain practices that were fundamentally different from those of Wari élites and retained access to low-altitude areas lying outside Wari control for the procurement of hallucinogens and esoteric knowledge. The paper concludes that at least some people at Ak'awillay operated outside the Wari state, thereby maintaining local power over the religious realm despite Wari presence in the region.

The establishment and use of space is a culturally constructed dimension of the human experience that is figurative, metaphorical, and analogical in nature. Such phenomena are mapped and encoded in people's spatial and cultural cognition and they are constituted and reconstituted during moments of migration onto new lands. In this paper it is argued that analysing the spatial dimensions that are enacted by a social group during its migration offers scholars a means to ascertain the metaphorical meaning of the lives of its members. Examining such processes also enables archaeologists to identify and interpret the nature of cultural continuity during such movements. The paper presents the results of examining the nature of cultural continuity in the configurations and patterns of ancient house structures and settlements that were established and then abandoned by the Kaushi, a Paiwan group in southern Taiwan, as they migrated and colonized and created a new cultural landscape.

Throughout Mesoamerica, corporal animal forms (a term encompassing living animals, animal-derived by-products and artifacts made from animal bodies) have long played essential roles in state-level ritualized activities. This paper focuses on three zooarchaeological assemblages from the Classic Period Maya kingdom of Copan, Honduras (ad 426–822), to describe how corporal animal forms were implemented to mediate power, express social identities and encapsulate contemporary socio-political circumstances. Two of these fundamental assemblages relate to world-creation myths associated with the Starry Deer-Crocodile, a mythological entity prominent in both contexts which was materialized into the ritual arena through a formalized process of commingling and translating animal body elements. The third context was deposited some three centuries later during the reign of Yax Pasaj, the last ruler of the Copan dynasty. This assemblage, extravagant with powerful felids conjuring the authority of the royal dynasty, reflects a period of acute socio-political struggle faced by the Copan dynasty. Detailed zooarchaeological analysis of corporal animal forms at Copan facilitates a more comprehensive reconstruction of some of the socio-political power negotiations in play.

A massacre took place inside the Sandby borg ringfort, southeast Sweden, at the end of the fifth century. The victims were not buried, but left where they died. In order to understand why the corpses were left unburied, and how they were perceived following the violent event, a theoretical framework is developed and integrated with the results of osteological analysis. I discuss the contemporary normative treatment of the dead, social response to death and postmortem agency with emphasis on intergroup conflict and ‘bad death’. The treatment of the dead in Sandby borg deviates from known contemporary practices. I am proposing that leaving the bodies unburied might be viewed as an aggressive social action. The corpses exerted postmortem agency to the benefit of the perpetrators, at the expense of the victims and their sympathizers. The gain for the perpetrators was likely political power through redrawing the victim's biographies, spatial memory and the social and territorial landscape. The denial of a proper death likely led to shame, hindering of regeneration and an eternal state of limbo.

The contents of a pit located in the centre of a large communal structure at Asiab in the central Zagros mountains provides rare evidence for ritual food practices during the Early Neolithic (~9660–9300 cal. bc). This pit contained the skulls of at least 19 wild boars carefully placed inside and subsequently sealed. Antler from red deer and the skull of a brown bear were also concealed within the pit. The boars included both male and female animals varying in age and some of the larger canines were deliberately removed. Such a unique collection of remains is unlikely to be the result of day-to-day activities; instead, this represents a group of ritually interred bones. This new evidence strengthens views that activities reinforcing social cohesion were important as human society was approaching a juncture leading towards agricultural subsistence strategies.

This contribution explores modes of human–animal interactions in hunter-gatherer communities in near-contemporary eastern Siberia and the Mesolithic of northwest Europe. By discussing notions of care and control and drawing on syntheses of Russian-language ethnographic data from eastern Siberia, this paper explores the diversity and nuances of hunter-gatherers’ interactions with animals. While some contexts may reveal respectful yet diverse treatments of the hunted animals, others suggest that hunter-gatherers also might have interacted with animals kept as pets, captives or companions, thus implicating relations in which notions of care and control seem to be tightly bound.

Rock-art researchers have long acknowledged the importance of discerning superimposition sequences as a means for exploring chronology. Despite their potential for reconstructing painting events and thus informing on a site's production sequences, the social significance of superimpositions and their associated meanings have been little explored. In the Kimberley Region of northwestern Australia, interpretations of superimpositions as an analytical lens have often lingered on the ‘negative’ connotations of this practice (e.g. to destroy supernatural power embedded in previous paintings and/or to show cultural dominance). As a result, it has been proposed that the overpainting of previous images was tantamount to defacing, leading to the proposition that new images constituted a form of vandalism of older art. In this paper, a sample of rock-art sites from the northwestern and northeastern Kimberley is analysed with the aim of grounding the study of superimpositions in more nuanced practices, leading researchers to contemplate the role they played among populations within the same area. It is argued here that superimpositions brought together past and present experiences that served to reinforce the links between contemporary art production and the inherited landscape.

In Europe, Scandinavia holds the largest concentration of rock art (i.e. petroglyphs), created c. 5000–first century bc, many of them showing figurative and seemingly narrative representations. In this paper, we will discuss possible narratological approaches applied to these images. We might reasonably distinguish between three levels of pictorial narrativity: representations of (i) single events, understood as the transition from one state of affairs to another, usually involving (groups of) agents interacting; (ii) stories, e.g. particular sequences of related events that are situated in the past and retold for e.g. ideological or religious purposes; and (iii) by implication, master-narratives deeply embedded in a culture, which provide and consolidate cosmological explanations and social structures. Some concrete examples of petroglyphs will be presented and analysed from narratological and iconographical perspectives. We will as a point of departure focus on (i), i.e. single events, though we shall also further consider the possibility of narrative interpretations according to (ii) and (iii).

Presented here is a meal from a simple cooking vessel, excavated from the Late Moche (AD 600–850) site of Wasi Huachuma on the north coast of Peru. This meal, cooked in a whole, plain vessel and spilled beneath the floor of a domestic structure, was unambiguously marked by a large stone embedded in the floor. It contained diverse plant and animal materials associated with the sea, the coastal plains, the highlands and the jungle. Via its contents and placement, this meal embodies the ways in which the domestic world of exchange and interaction was deeply entangled with the spiritual and political. All at once, this meal was utilitarian, domestic, industrial, ritually charged and politically embedded. Within it, the fruits of communities, geographical regions and ideas were assembled together to be realized as a dedicatory offering within, and potentially to, this domestic structure. I argue that this meal both contains and is contained by a milieu that is eminently local and mundane as well as worldly and supernatural.