2022
DOI: 10.1080/1751696x.2022.2098047
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Mesolithic shadow play? Exploring the performative attributes of a zoomorphic wild reindeer (Rangifer tarandus) antler artefact from Finland

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Cited by 6 publications
(3 citation statements)
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“…Thus, the nocturnal selective landscape is also relevant to the evolution of other forms of performing arts and performative entertainment using voice, such as humor, drama, and storytelling ( Putilov, 2014 ; Wiessner, 2014 ; Lauer, 2022 ), including those forms focused on night-time horror/thriller stories ( Clasen, 2012 ). Because of the firelight, visual arts by the fire ( Needham et al, 2022 ) or in places with extraordinary acoustic properties ( Waller, 2002 ; Reznikoff, 2008 ), including ‘shadow play’ storytelling ( Ahola and Lassila, 2022 ) and fire-walking rituals ( Xygalatas, 2015 ), are expected to be included in the scope of the Nocturnal Evolution of Human Musicality and Performativity Theory . This multimodal inclusive theoretical extension of the nocturnal theory might also help explain and integrate aspects of the proposed adaptive functions for visual arts ( Power, 1999 ; Coe, 2003 ), literary arts and fiction ( Gottschall, 2012 ; Smith et al, 2017 ; Dubourg and Baumard, 2022 ), language ( Dunbar, 2004 ; Masataka, 2009 ; Dunbar and Gowlett, 2014 ), religiosity ( Bulbulia, 2004 ; Sterelny, 2018 ), and popular culture ( Salmon, 2018 ).…”
Section: Discussionmentioning
confidence: 99%
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“…Thus, the nocturnal selective landscape is also relevant to the evolution of other forms of performing arts and performative entertainment using voice, such as humor, drama, and storytelling ( Putilov, 2014 ; Wiessner, 2014 ; Lauer, 2022 ), including those forms focused on night-time horror/thriller stories ( Clasen, 2012 ). Because of the firelight, visual arts by the fire ( Needham et al, 2022 ) or in places with extraordinary acoustic properties ( Waller, 2002 ; Reznikoff, 2008 ), including ‘shadow play’ storytelling ( Ahola and Lassila, 2022 ) and fire-walking rituals ( Xygalatas, 2015 ), are expected to be included in the scope of the Nocturnal Evolution of Human Musicality and Performativity Theory . This multimodal inclusive theoretical extension of the nocturnal theory might also help explain and integrate aspects of the proposed adaptive functions for visual arts ( Power, 1999 ; Coe, 2003 ), literary arts and fiction ( Gottschall, 2012 ; Smith et al, 2017 ; Dubourg and Baumard, 2022 ), language ( Dunbar, 2004 ; Masataka, 2009 ; Dunbar and Gowlett, 2014 ), religiosity ( Bulbulia, 2004 ; Sterelny, 2018 ), and popular culture ( Salmon, 2018 ).…”
Section: Discussionmentioning
confidence: 99%
“…In traditional society, there is the highest frequency of storytelling in the evening (81% vs. 6% of day conversations) with background music around the campfire ( Wiessner, 2014 ). Even some recent prehistoric findings support the nocturnal theory, such as some esthetically engraved plaquettes from 23 to 14 ka ago, which were likely appreciated by early humans close to the night-time firelight ( Needham et al, 2022 ), and possible ‘shadow play’ storytelling 6.8–5.2 ka ago ( Ahola and Lassila, 2022 ).…”
Section: Introductionmentioning
confidence: 99%
“…Shadow play, an ancient form of storytelling and entertainment, has evolved and found new applications in the modern world of animation. Work 7 explores the concept of shadow play in the context of prehistoric storytelling practices. By examining a zoomorphic wild reindeer antler artifact from Finland, the authors suggest that Mesolithic storytelling might have been entangled with ritual practices and accompanied by performances resembling traditional shadow theatre.…”
Section: Historical Overview Of Animationmentioning
confidence: 99%