In order to address long-standing questions in the field of Pacific Island archaeology regarding the extent, timing, and causes of human-induced environmental change, as well as the deep history of the development of distinct regional agricultural and arboricultural adaptations, this study presents and discusses taxonomic identification data for 15 wood charcoal samples recovered from archaeological excavations in the Hatiheu Valley, Nuku Hiva, Marquesas Islands. This is some of the first archaeobotanical data collected and analyzed from this archipelago, and the only direct evidence of past distributions of economic and indigenous tree and shrub taxa in specific temporal and spatial contexts. The 14 native and Polynesian-introduced tree and shrub taxa identified are analyzed in view of their archaeobotanical and more modern distributions, as well as in consideration of radiocarbon dates obtained from five of the charcoal samples. Finally, these results are evaluated in regard to the degree to which they can provide useful cultural and environmental information relating to existing models of prehistoric Marquesan and broader Pacific Island settlement, economy, and environmental change over time.
Until recently, Fijian rock art has been poorly known. Most research was limited to the depictions described in a few old and sketchy publications (Hill 1956;O'Reilly 1954;Paine 1929;Palmer & Clunie 1970;Parke 1960;Phillipps 1951;Snow 1950;Vogan 1937). Except for Ewins' (1995) work on Vatulele, there is no global account or in-depth analysis on any of the sites. But a thorough investigation of rock art in Fiji is important for more than merely filling in a gap in the archaeological record. Fiji is an "in between" archipelago, "situated geographically closer to Western Polynesia . . . yet usually classified as a 'Melanesian' culture" (Kirch 2002: 155). Therefore it is particularly relevant when tracing Oceanic cultural manifestations back to their origins. Given that rock art is abundant throughout most of Oceania, the dearth of a similar tradition of rock art making in Fiji should be explained, rather than assumed.Our first approach to the topic was to produce comprehensive surveys, since neither surveys nor site excavations with a focus on rock art had previously been performed in Fiji. This is an archipelago located in the South-Central Pacific, composed of over 300 islands scattered over 18300 km Due to the extent and difficulty of accessing most Fijian islands, we developed different strategies to study the rock art: (a) We collected published or oral references of all real or potential rock art sites in Fiji. (b) We revisited and re-recorded known sites, exploring the surroundings in order to test the accuracy of the available information. It is questionable whether some of the sites mentioned in the bibliography exist or whether some marks were mistaken as rock art. In other cases, some confusion may exist as to the location of some of the figures and what they depict. (c) We developed an intensive survey on Moturiki Island, in order to test different hypotheses related to rock art. We intended to understand how landscape and rock art are linked, and how the underlying processes of increasing social complexity might have played a role in the making of rock art in Fiji.The results are summarised in Tables 1-3. Table 1 presents the sites that we recorded through forms, pictures and tracings, including three boulders with polishing grooves (one in Uluibau, unnamed; Menawai; and one in Rukuruku Bay, unnamed) that we do not include in our count of rock art sites (for the distribution of the sites, see Figure 1). Table 2 synthesises the iconographic information from the sites that we recorded. Table 3 collects all references to real or potential rock art sites in Fiji. Of these, we only deal with Tavoro waterfall, Bukusía, Koroiemalu, a cave in north-east Vanua Levu, Moala, Vatulele, Sawa-i-Lau, Waiboteigau and Vanua Lailai, since there is no information whatsoever that can be used to acknowledge the rest of the references as real rock art sites. Therefore, the count of rock art sites amounts to 23. Figure 1 shows
Marquesan prehistoric rock art, occurring throughout the island group, has not been systematically documented nor studied in detail. I discuss here the results of survey‐generated data in the archipelago compiled between 1984 and 1989, and my recent work in Hatiheu Valley, located on the north coast of Nuku Hiva. Classification system, method of manufacture, geographic distribution, architectural context and placement of motifs are described. Some broad conclusions are drawn as to the images' cultural significance.
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