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by Dr. George Nash - Department of Archaeology and Anthropology, University of Bristol
Of course, dating the art is extremely difficult given the total absence of organic pigmentation that might be C-14 dated. However, there are a small number of sites that are giving-up their secrets through good systematic excavation. Thus, at Toca do Boqueirao da Pedra Furada, rock-art researcher and founder of FUMDHAM Níéde Guidon, managed to obtain a number of dates. In a deep area of excavation, she located fallen painted rock fragments, which she contextually dates to at least 36,000 years ago. Along with the painted fragments, crude stone tools were found made from locally formed quartz pebble conglomerates. Also surviving the harsh acidic soils were coprolites (fossilised human faeces). When analysed, these only revealed dates of between 6,500 and 5,000 BC.
Serra da Capivara Rock Art Brazil Serra da Capivara Rock Art Brazil Serra da Capivara Rock Art Brazil
A possible vulture painted on the Toca da Entrada do Pajaú rock art shelter (left). A fragmented painted panel section at the Toca do Paraguaio rock art shelter (centre). Dancing human figure from the Toca do Paraguaio rock art shelter (right).
Nonetheless, this is not the only site to provide early dating evidence of the likelihood that the people were in Brazil far earlier than previously thought: other sites such as Tocada Entrada do Pajaú and Toca do Paraguaio, both in the Serra da Capivara National Park; Cueva de las Manos (Cave of Hands) in Patagonia, Argentina ; and the hearths near the Monte Verde sites in Los Lagos in Chile, have all yielded ancient datable deposits that greatly predate 10,000 BC- the assumed date that people first moved into North America.
At Toca do Boqueirao da Pedra Furada, in 1973, Níéde Guidon revealed a remarkable set of images painted in a variety of colour pigments.The rock art is located underneath a cathedral-like 150m cliff. A series of excavations between1978 and 1987 and extending some 5m below the surrounding floor level obtained over 60 dates from mainly undisturbed archaeological horizons; several of these datable deposits actually covered rock art, abutting the rock-shelter wall. Among the finds were around 7,000 lithic artefacts, 600 of which were made from quartz and were relatively dated to the Pleistocene era. Also discovered were a series of datable hearths, the earliest dated to 46,000 BC, arguably the oldest dates for human habitation in the Americas.
Serra da Capivara Rock Art Brazil
Dancing male human figures over a red deer at the Toca do Paraguaio rock art shelter
Serra da Capivara Rock Art Brazil
View of the narrow valley that houses the Toca do Paraguaio rock art shelter
However, these conclusions are not without controversy. Critics, mainly from North America, have suggested that the hearths may in fact be a natural phenomenon, the result of seasonal brushwood fires. Several North American researchers have gone further and suggested that the rock-art from this site is no earlier than 3730+90 years BP (before present), based on the results of limited radiocarbon dating.
Equally compelling are several dates that have been obtained from calcite formations, which have covered the rock art from the Toca da Bastianna rock shelter. The sampling of this deposit using thermoluminescence (TL dating) revealed an astonishing date of 34,000 years BC. It is more than likely that these painted fragments are much earlier, thereby further reinforcing the possibility of a pre-Clovis (pre-c.10,000 BC) tradition in South America.
Adding further fuel to the debate is the fact that the artists tended not to draw over old motifs (as often occurs with rock art), which makes it hard to work out the relative chronology of the images or styles. However, the diversity of imagery and the narrative the paintings create from each of the many sites within the National Park suggests different artists were probably making their art at different times, and potentially using each site, over many thousands of years.


Serra da Capivara Rock Art Brazil
The inner section of the painted ceiling at Toca da Entrada do Pajaú rock art shelter
Serra da Capivara Rock Art Brazil
The large red deer partly superimposed by acrobats at Toca da Entrada do Pajaú
With fierce debates raging over the dating, where these artists originate from is also still very much open to speculation. The traditional view (namely the Clovis First Theory) is that pioneering settlers, crossed the Bering Straits from Siberia to Alaska at around 10,000 BC and spread southwards into Central and South America. But this rather simplistic explanation ignores all the aforementioned early dating evidence from the South American rock art sites. In a revised scenario, some palaeo-anthro-pologists are now suggesting that modern humans may have migrated from Africa using the strong currents of the Atlantic Ocean some 60,000 years or more ago, while others suggest a more improbable colonisation coming from the Pacific Ocean.
Yet, while either hypothesis is plausible, we have still not found any supporting archaeological evidence between the South American coastline and the interior. Rather, based on the evidence from Brazil, it seems possible that there were a number of waves of human colonisation of the Americas occurring possibly over, say, a 60,000-100,000 year period, roughly commencing sometime after modern humans started to colonise the earth; again probably using the Bering Straits as a land-bridge to cross into the Americas. Despite the compelling evidence from South America, it stands alone: the earliest secure human evidence yet found in North America only dates to 12,300 years BC (namely from the recent excavations at Paisley Caves in southern Oregon that have uncovered lithics and coprolites of that date).
So this is a fierce debate that is likely to go on for many more years. However, the splendid rock art and its allied archaeology of northeast Brazil, described here, is playing a huge and significant role in the discussion. This art - from the ochre-red deer to the ‘children around the maypole’ - is tantalisingly poised to redraw the very picture of our human story.
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