[et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n
By Margarita D\u00edaz-Andreu<\/a>, Principal Investigator Artsounscapes and Neemias Santos da Rosa<\/a>, Junior Postdoctoral Researcher.\u00a0<\/strong><\/p>\n The Artsoundscapes Project was out in the field again from 5 to 13 October, albeit in this case it with only two members of the team, Principal Investigator Margarita D\u00edaz-Andreu and postdoctoral researcher Neemias Santos da Rosa. It was a tight schedule that had taken weeks of preparation, as we were planning to visit a large number of sites in four different autonomous communities in Spain: Valencia, Castilla-La Mancha, Murcia and Andaluc\u00eda. The purpose of this fieldwork was to identify and take some basic notes on various Levantine rock art sites in preparation for future acoustic tests once the necessary permits have been obtained. In this post, we will include some of the information already provided on our Facebook page<\/a> at the time and also add some new details.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/01-preparados-partir-ok.jpg\u00bb alt=\u00bbReady to depart\u00bb title_text=\u00bbReady to depart\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Ready to depart<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/02-ruta-ok.jpg\u00bb alt=\u00bbOur intended route\u00bb title_text=\u00bbOur intended route\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Our intended route<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n Our trip began in Valencia, a city we reached by train. From there we drove to the Caroig mountains where we met rock art specialist Ximo Martorell. At the Abrigo de Voro site we were impressed by the large number of finely traced figures, including many female motifs and a group of four warriors that has been interpreted as representing a collective male dance. Some one hundred metres to the north we also visited Cuevecicas del Esti\u00e9rcol, a very long but narrow shelter with two small female figures. On the other side of the river we found El Garrofero, an easy-to-access shelter with the remains of a large female figure, possibly dated to the earliest period of the Levantine rock art tradition.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/03-abrigo-del-voro-ok.jpg\u00bb alt=\u00bbAbrigo de Voro.\u00bb title_text=\u00bbAbrigo de Voro.\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Abrigo de Voro<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/05-baile-colectivo-voro-ok.jpg\u00bb alt=\u00bbScene interpreted as a collective dance at Voro\u00bb title_text=\u00bbScene interpreted as a collective dance at Voro\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Scene interpreted as a collective dance at Voro<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/04-figura-femenina-voro-ok.jpg\u00bb alt=\u00bbFemale figure at Voro\u00bb title_text=\u00bbFemale figure at Voro\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Female figure at Voro<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/06-ximo-martorell-ok.jpg\u00bb alt=\u00bbXimo Martorell showing Marga rita D\u00edaz-Andreu some of the figures he has documented\u00bb title_text=\u00bbXimo Martorell showing Marga rita D\u00edaz-Andreu some of the figures he has documented\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Ximo Martorell showing Marga rita D\u00edaz-Andreu some of the figures he has documented<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n Moving to the southeast, we crossed the border between the Valencian Country and Castilla-La Mancha autonomous communities en route to some of the best-known Levantine rock art sites. These shelters are at the eastern end of the province of Albacete and were discovered around a hundred years ago. The large number of painted figures in them inevitably drew the attention of the locals, who mentioned them to inquisitive archaeologists. Our visit included the Cueva de la Vieja in Alpera and the Abrigo Grande in Minateda, situated about a hundred kilometres apart. They have recently been re-examined by Anna Alonso, Alexandre Grimal and Juan Francisco Ruiz L\u00f3pez. Both sites are in spectacular landscapes with magnificent views of the facing plain. They have an impressive thematic variability of images painted with remarkable technical skill. It was very interesting to note the local people’s pride in the paintings, which have been reproduced on a wall alongside one of the main roads in the village of Alpera. This pride is also found in other less politically correct places such as the toilets of the villages municipal cultural department headquarters, where primitive male and female figures indicate the \u201cLadies and Gents\u201d. We found out later that the same resource had also been used at the Rock Art Interpretation Centre in Moratalla<\/a> and in the local bar of Za\u00e9n de Arriba.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/07-cueva-de-la-vieja-ok.jpg\u00bb alt=\u00bbViews from the Cueva de la Vieja rock art shelter\u00bb title_text=\u00bbViews from the Cueva de la Vieja rock art shelter\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Views from the Cueva de la Vieja rock art shelter<\/p>\n [\/et_pb_text][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n The Cueva de la Vieja in Alpera and the Abrigo Grande in Minateda are not the only rock shelters in the area. Not far from the former, we went to see some smaller sites with the architect Chimo Garc\u00eda and one of his relatives. These are considered minor sites because they have fewer figures and usually \u2013 although not always \u2013 have limited visibility.<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/10-grupo-visita-abrigook.jpg\u00bb alt=\u00bbThe group visiting the Abrigo Grande of Minateda\u00bb title_text=\u00bbThe group visiting the Abrigo Grande of Minateda\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n The group visiting the Abrigo Grande of Minateda<\/p>\n [\/et_pb_text][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n The\u00a0Abrigo\u00a0Grande is close to the hamlet of\u00a0Minateda.\u00a0In addition to the authors of this blog,\u00a0the group visiting the site comprised\u00a0local guide Gemma Ortiz and our friends from neighbouring\u00a0Jumilla, Emiliano Hern\u00e1ndez and Myriam Ruiz L\u00f3pez.<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/12-paisaje-circundante-ok.jpg\u00bb alt=\u00bbView across the landscape\u00bb title_text=\u00bbView across the landscape\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n View across the landscape<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/14-figura-femenina-nino-ok.jpg\u00bb alt=\u00bbFemale figure with child\u00bb title_text=\u00bbFemale figure with child\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Female figure with child<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/08-panel-cueva-de-la-viejaok.jpg\u00bb alt=\u00bbThe Cueva de la Vieja panel as reproduced in the village of Alpera\u00bb title_text=\u00bbThe Cueva de la Vieja panel as reproduced in the village of Alpera\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n The Cueva de la Vieja panel as reproduced in the village of Alpera<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/09-neemias-santosok.jpg\u00bb alt=\u00bbNeemias Santos da Rosa checking what has been published at one of the smaller sites. Chimo Garc\u00eda is to the left of the photograph\u00bb title_text=\u00bbNeemias Santos da Rosa checking what has been published at one of the smaller sites. Chimo Garc\u00eda is to the left of the photograph\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Neemias Santos da Rosa checking what has been published at one of the smaller sites. Chimo Garc\u00eda is to the left of the photograph<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/13-arte-de-minatedaok.jpg\u00bb alt=\u00bbAdmiring the rock art at Minateda\u00bb title_text=\u00bbAdmiring the rock art at Minateda\u00bb align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Admiring the rock art at Minateda<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/11-abrigo-grande-ok.jpg\u00bb alt=\u00bbA view of the impressive Abrigo Grande of Minateda\u00bb title_text=\u00bbA view of the impressive Abrigo Grande of Minateda\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n A view of the impressive Abrigo Grande of Minateda<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n We\u00a0often\u00a0think we are going to remember how to reach a site.\u00a0However, ten years after one of us had visited the\u00a0Barranco\u00a0de\u00a0Los\u00a0Grajos, it did not help\u00a0that,\u00a0unlike\u00a0all the\u00a0other\u00a0municipalities\u00a0we contacted in the four provinces, this was the only one\u00a0that did\u00a0not\u00a0offer\u00a0us\u00a0any\u00a0assistance. Unfortunately for us, the road that once approached the site was\u00a0badly\u00a0damaged and,\u00a0rather than\u00a0risk\u00a0our\u00a0lives\u00a0trying to drive up it,\u00a0we\u00a0left our\u00a0car in what we thought\u00a0was an area\u00a0near\u00a0the sites.\u00a0Now we laugh about\u00a0our\u00a0adventure\u00a0on that day,\u00a0but\u00a0when we finally reached the small gorge, we\u00a0were\u00a0exhausted, hungry and thirsty. Sometimes, however, it is worth experiencing the terrain the way we did on that fateful day.\u00a0The\u00a0sites were as impressive as\u00a0ever\u00a0and\u00a0through the fence\u00a0we were able to see the dance scene\u00a0at Los\u00a0Grajos.\u00a0Confusingly, while the shelter with the dance scene has traditionally been known as Los\u00a0Grajos\u00a0I (including\u00a0in\u00a0Alonso and Grimal 1997,\u00a0Dams 1984: 162,\u00a0Jord\u00e1n 1995-96, Mart\u00ednez S\u00e1nchez 1996,\u00a0Montes\u00a0&\u00a0Cabrera 1991-92,\u00a0Walker 2019), some archaeologists designate\u00a0it as Los\u00a0Grajos\u00a0II\u00a0(Lomba\u00a0&\u00a0Salmer\u00f3n 1995, Lomba Maurandi 2018).\u00a0We spent\u00a0hours\u00a0going through\u00a0the\u00a0bibliography\u00a0before we\u00a0realised\u00a0this confusion.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-15-barranco-de-los-grajos.jpg\u00bb alt=\u00bbView of the Grajos gorge with Shelters I and II\u00bb title_text=\u00bbView of the Grajos gorge with Shelters I and II\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n View of the Grajos gorge with Shelters I and II<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-16-danza-de-los-grajos.jpg\u00bb alt=\u00bbDance scene at Los Grajos I\u00bb title_text=\u00bbDance scene at Los Grajos I\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Dance scene at Los Grajos I<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n After Alpera, Minateda and Cieza we spent two days based in the village of Moratalla. On 8 October our guide was Esteban Silicia from Moratalla Town Council. We first drove to the hamlet (pedan\u00eda<\/em>) of Benizar (if we can call a place with almost a thousand inhabitants a hamlet!). Not far away is the attractive Rinc\u00f3n de las Cuevas, where the rock art is indeed very difficult to see. However, the spiritual significance of the place can still be seen in a modern altar probably used for the romer\u00eda<\/em> (a sort of annual Christian pilgrimage common to most villages in Spain).<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-17-cuevas-de-benizar.jpg\u00bb alt=\u00bbRinc\u00f3n de las Cuevas at Benizar\u00bb title_text=\u00bbRinc\u00f3n de las Cuevas at Benizar\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Rinc\u00f3n de las Cuevas at Benizar<\/p>\n [\/et_pb_text][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n We rounded off the morning by inspecting the sites of Molino de Bagil and the impressive shelters of Fuensanta before having a very late lunch with Enem\u00e9rito Mu\u00f1iz on the terrace of the local bar in Za\u00e9n de Arriba.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-18-altar-rincon-de-las-cuevas.jpg\u00bb alt=\u00bbThe modern altar at the site\u00bb title_text=\u00bbThe modern altar at the site\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n The modern altar at the site<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-19-fuensanta.jpg\u00bb alt=\u00bbAbrigos de Fuensanta\u00bb title_text=\u00bbAbrigos de Fuensanta\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n We ended the day with visits to the Abrigo de Capel and, practically in the last light of the day, the fantastic group of La Risca sites, where we wanted to see the well-known female representations. These are two large, elongated female figures, the longest about twice the height of the one to its right, that can be seen in a niche three metres from the floor level. It is not that unusual to find representations of women in pairs, but the size of these is unique! The bibliography repeatedly mentions that they could be dancing and their similar postures may indeed indicate this.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-20-autores-salvador-ludena.jpg\u00bb alt=\u00bbWith Salvador Lude\u00f1a in the area of the Abrigo de Capel\u00bb title_text=\u00bbWith Salvador Lude\u00f1a in the area of the Abrigo de Capel\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n With Salvador Lude\u00f1a in the area of the Abrigo de Capel<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-21-mujer-en-la-risca.jpg\u00bb alt=\u00bbRepresentaciones de mujeres en La Risca I, seg\u00fan Mateo Saura (1999: 96)\u00bb title_text=\u00bbRepresentaciones de mujeres en La Risca I, seg\u00fan Mateo Saura (1999: 96)\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n October 9 has been designated as European Day of Rock Art. It was on such a day in 1902 that \u00c9mile Cartailhac sent Marcelino Sanz de Sautuola\u2019s daughter, Mar\u00eda, a letter acknowledging his error when he had refused to accept the authenticity of the Altamira rock art paintings discovered by her late father. There were several celebrations in the six autonomous regions in the Levantine territory, including Murcia<\/a>. These major celebrations were multiplied by events organised on a municipal level, such as in Moratalla. At 10 am, taking advantage of the short delay, we first briefly paid a visit to the tourist information office, where the female figures from La Risca I rock art shelter have been included in its logo. Soon after we were in front of the Town Hall where the mayor, surrounded by several councillors and the director of the Rock Art Interpretation Centre<\/a>, gave a short speech in front of the cameras. We were later also interviewed and our presence was then noted in the local press: in newspapers \u2013 in El Diario<\/a> and La Opini\u00f3n<\/a>\u00a0 \u2013; and on the radio on Onda Regional<\/a>.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-22-informacion-turistica-moratalla.jpg\u00bb alt=\u00bbTourist Information Office at Moratalla\u00bb title_text=\u00bbTourist Information Office at Moratalla\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Tourist Information Office at Moratalla<\/p>\n [\/et_pb_text][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n We were glad to see that the Rock Art Interpretation Centre<\/a>\u00a0was finally open after having been closed for years. It looked really great! We were shown round by its director, Salvador Lude\u00f1a, who also guides groups of tourists to visit the rock paintings<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-23-dia-europeo-arte-rupestre.jpg\u00bb alt=\u00bbEvent to celebrate the European Day of Rock Art\u00bb title_text=\u00bbEvent to celebrate the European Day of Rock Art\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Event to celebrate the European Day of Rock Art<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-24-centro-interpretacion-moratalla.jpg\u00bb alt=\u00bbAt the Casa de Cristo Rock Art Interpretation Centre in Moratalla\u00bb title_text=\u00bbAt the Casa de Cristo Rock Art Interpretation Centre in Moratalla\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n At the Casa de Cristo Rock Art Interpretation Centre in Moratalla<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n After this stopover at the\u00a0interpretation\u00a0centre, we visited many sites and observed scenes, superimpositions, colours,\u00a0and so many other details that make Levantine paintings so intriguing. Sites such as the group at Fuente\u00a0del\u00a0Sabuco\u00a0and\u00a0Ca\u00f1aica\u00a0del\u00a0Calar\u00a0were on our list\u00a0for\u00a0that day,\u00a0which\u00a0finished in the peaceful, quasi-oasis-like hotel of Casa\u00a0Pern\u00edas\u00a0in the Campo de San Juan\u00a0area.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-25-canaica-del-calar.jpg\u00bb alt=\u00bbNeemias Santos da Rosa taking notes at Ca\u00f1aica del Calar\u00bb title_text=\u00bbNeemias Santos da Rosa taking notes at Ca\u00f1aica del Calar\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Neemias Santos da Rosa taking notes at Ca\u00f1aica del Calar<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-26-casa-pernias.jpg\u00bb alt=\u00bbCasa Pern\u00edas\u00bb title_text=\u00bbCasa Pern\u00edas\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Casa Pern\u00edas<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n On 10 October we returned to the province of Albacete, this time to its southern end, to visit the grandiose rock art sites of Solana de las Covachas, Torcal de las Bojadillas and other lesser sites in the municipality of Nerpio. In the first two, together with N\u00faria \u00c1lvarez \u2013 our guide from the Nerpio Tourist Office \u2013, we noted that the acoustics properties of the shelters are undoubtedly interesting. The art is indeed magnificent. We were impressed by the human figures with what looks like eccentric hairdos and the many tiny figures that probably date from to the last phase of Levantine art. In the afternoon we had the honour of being guided by local expert Antonio Carre\u00f1o, the driving force behind rock art research in this area for the last thirty years, together with his regular companion of at least two decades, Miguel Angel Mateo Saura.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-27-senal-solana-de-las-covacha.jpg\u00bb alt=\u00bbSignpost at the entrance to the protected area of Solana de las Covachas\u00bb title_text=\u00bbSignpost at the entrance to the protected area of Solana de las Covachas\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Signpost at the entrance to the protected area of Solana de las Covachas<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-29-representacion-femenina-solana-de-las-covachas.jpg\u00bb alt=\u00bbFemale representation at Solana de las Covachas\u00bb title_text=\u00bbFemale representation at Solana de las Covachas\u00bb align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Female representation at Solana de las Covachas<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-31-farallon-torcal-de-las-bojadillas.jpg\u00bb alt=\u00bbRock cliff where the Torcal de las Bojadillas shelters are located and the view from them\u00bb title_text=\u00bbRock cliff where the Torcal de las Bojadillas shelters are located and the view from them\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Rock cliff where the Torcal de las Bojadillas shelters are located and the view from them<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-33-antonio-cerreno-area-de-nerpio.jpg\u00bb alt=\u00bbAntonio Carre\u00f1o and Margarita D\u00edaz-Andreu at one of the rock art sites visited in Nerpio\u00bb title_text=\u00bbAntonio Carre\u00f1o and Margarita D\u00edaz-Andreu at one of the rock art sites visited in Nerpio\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Antonio Carre\u00f1o and Margarita D\u00edaz-Andreu at one of the rock art sites visited in Nerpio<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-28-parte-del-farallon.jpg\u00bb alt=\u00bbPart of the cliff where the rock shelters at Solana de las Covachas are located\u00bb title_text=\u00bbPart of the cliff where the rock shelters at Solana de las Covachas are located\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Part of the cliff where the rock shelters at Solana de las Covachas are located<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-30-senal-area-protegida.jpg\u00bb alt=\u00bbSignpost at the entrance to the protected area of Torcal de las Bojadillas\u00bb title_text=\u00bbSignpost at the entrance to the protected area of Torcal de las Bojadillas\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Signpost at the entrance to the protected area of Torcal de las Bojadillas<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-32-figura-femenina-torcal-de-la-bojadillas.jpg\u00bb alt=\u00bbFemale figure at Torcal de la Bojadillas with the uncommon eccentric hairstyle that is found in this area (Alonso & Grimal 1996: Fig. 166)\u00bb title_text=\u00bbFemale figure at Torcal de la Bojadillas with the uncommon eccentric hairstyle that is found in this area (Alonso & Grimal 1996: Fig. 166)\u00bb align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Female figure at Torcal de la Bojadillas with the uncommon eccentric hairstyle that is found in this area (Alonso & Grimal 1996: Fig. 166)<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-34-cartel_en_nerpio.jpg\u00bb alt=\u00bbBoarding at the entrance to Nerpio stating that the municipality has 70% of the total number of rock art sites in Castilla-La Mancha\u00bb title_text=\u00bbBoarding at the entrance to Nerpio stating that the municipality has 70% of the total number of rock art sites in Castilla-La Mancha\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Boarding at the entrance to Nerpio stating that the municipality has 70% of the total number of rock art sites in Castilla-La Mancha<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n On Sunday 11 October, Antonio Carre\u00f1o took us first to see the rock art site of Prado del Tornero, right next to the village of Nerpio. As at many other sites, the rock art figures have been largely lost, but they magically appear by applying the ImageJ software plugin D-Stretch<\/a> to the photographs. Later, in Hornacina de la Pareja, after a steep climb, we were surprised by one of those motifs with the very unusual headdress that is only found in this area. Neemias and Antonio got into a debate as to how they were painted, the subject of Neemias’ recent PhD thesis. If Marga hadn\u2019t intervened, we\u2019d still be there, talking about all the minutiae of the cha\u00eene op\u00e9ratoire<\/em> related to painting Levantine rock art motifs, etc. Back in Nerpio, we finally said goodbye to Antonio and the Nerpio area.<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-35-prado-del-tornero.jpg\u00bb alt=\u00bbPrado del Tornero (Nerpio)\u00bb title_text=\u00bbPrado del Tornero (Nerpio)\u00bb align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Prado del Tornero (Nerpio)<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-36-ciervo-prado-del-tornero.jpg\u00bb alt=\u00bbDeer figure at Prado del Tornero\u00bb title_text=\u00bbDeer figure at Prado del Tornero\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Deer figure at Prado del Tornero<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-38_hornacina_de_la_pareja.jpg\u00bb alt=\u00bbClimbing to reach the Hornacina de la Pareja shelter\u00bb title_text=\u00bbClimbing to reach the Hornacina de la Pareja shelter\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Climbing to reach the Hornacina de la Pareja shelter<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-40-debate-pinturas.jpg\u00bb alt=\u00bbNeemias Santos da Rosa and Antonio Carre\u00f1o discussing how the paintings were made\u00bb title_text=\u00bbNeemias Santos da Rosa and Antonio Carre\u00f1o discussing how the paintings were made\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Neemias Santos da Rosa and Antonio Carre\u00f1o discussing how the paintings were made<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-37-prado_del_Tornero_D-Strecht.jpg\u00bb alt=\u00bbDeer figure at Prado del Tornero enhanced with D-Stretch\u00bb title_text=\u00bbDeer figure at Prado del Tornero enhanced with D-Stretch\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Deer figure at Prado del Tornero enhanced with D-Stretch<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-39-figura-femenina-con-tocado.jpg\u00bb alt=\u00bbAnother female figure with the peculiar local headdress at Hornacina de la Pareja shelter\u00bb title_text=\u00bbAnother female figure with the peculiar local headdress at Hornacina de la Pareja shelter\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Another female figure with the peculiar local headdress at Hornacina de la Pareja shelter<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-41-fuente-de-nerpio.jpg\u00bb alt=\u00bbAntonio Carre\u00f1o and Margarita D\u00edaz-Andreu at Nerpio village spring\u00bb title_text=\u00bbAntonio Carre\u00f1o and Margarita D\u00edaz-Andreu at Nerpio village spring\u00bb align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Antonio Carre\u00f1o and Margarita D\u00edaz-Andreu at Nerpio village spring<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n October 12 was a public holiday, but we decided to continue our tour and once again changed province and autonomous community by moving on to Jaen in Andaluc\u00eda. Our local guide, Emilio, helped us find the Cuevas del Engarbo site and we marvelled at the figures we could see on the walls.<\/p>\n On the way back we saw wild goats and deer by the roadside. It felt like such a lost place, so far from anywhere!<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-42-cuevas-de-engarbo.jpg\u00bb alt=\u00bbCuevas del Engarbo rock art site\u00bb title_text=\u00bbCuevas del Engarbo rock art site\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Cuevas del Engarbo rock art site<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-44-calco-de-figuras.jpg\u00bb alt=\u00bbDocumentation of some of the figures painted at El Engarbo I (Soria Lerma & L\u00f3pez Payer 1999: Fig. 4)\u00bb title_text=\u00bbDocumentation of some of the figures painted at El Engarbo I (Soria Lerma & L\u00f3pez Payer 1999: Fig. 4)\u00bb align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Documentation of some of the figures painted at El Engarbo I (Soria Lerma & L\u00f3pez Payer 1999: Fig. 4)<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-43-figuras-cuevas-de-engarbo.jpg\u00bb alt=\u00bbEmilio and Neemias checking the rock art motifs at Cuevas del Engarbo\u00bb title_text=\u00bbEmilio and Neemias checking the rock art motifs at Cuevas del Engarbo\u00bb align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Emilio and Neemias checking the rock art motifs at Cuevas del Engarbo<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-45-cabra-montesa.jpg\u00bb alt=\u00bbMountain goat by the road\u00bb title_text=\u00bbMountain goat by the road\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Mountain goat by the road<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n On our last day in the field we had Barranco Segovia on our list, a place so difficult to reach that, despite Juan Francisco Jord\u00e1n Montes\u2019s indications, we needed help, which we received once again from Enem\u00e9rito Mu\u00f1iz. At the site, we were surprised by the fantastic views and intriguing figures.<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-46-barranco-segovia.jpg\u00bb alt=\u00bbShelter visited at Barranco Segovia (Letur)\u00bb title_text=\u00bbShelter visited at Barranco Segovia (Letur)\u00bb align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Shelter visited at Barranco Segovia (Letur)<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-47-dos-figuras.jpg\u00bb alt=\u00bbTwo figures. The one to the left is a female motif with a bag. The one to the right is incomplete\u00bb title_text=\u00bbTwo figures. The one to the left is a female motif with a bag. The one to the right is incomplete\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Two figures. The one to the left is a female motif with a bag. The one to the right is incomplete<\/p>\n [\/et_pb_text][et_pb_text _builder_version=\u00bb4.9.2″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb]<\/p>\n On our way back to Valencia, we stopped to have lunch with Emiliano Hern\u00e1ndez, director of the Jumilla museum<\/a>. We were and still are extremely grateful to him for all the help he offered us in\u00a0organising\u00a0this trip.\u00a0Without him everything would have been\u00a0much\u00a0more difficult.<\/p>\n Having returned the car in Valencia, we then caught the train bound for Barcelona\u2026 After covering more than 2,000 kilometres on roads and trails, we can only say that we thoroughly enjoyed the expedition while, at the same time, we learned a great deal. We are now in a better position to arrange permits for acoustic tests and have many ideas that we hope to develop in the future.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-48-margarita-y-enemerito.jpg\u00bb alt=\u00bbMargarita D\u00edaz-Andreu and Enem\u00e9rito Mu\u00f1iz\u00bb title_text=\u00bbMargarita D\u00edaz-Andreu and Enem\u00e9rito Mu\u00f1iz\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Margarita D\u00edaz-Andreu and Enem\u00e9rito Mu\u00f1iz<\/p>\n [\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-49-estacion-valencia.jpg\u00bb alt=\u00bbValencia station\u00bb title_text=\u00bbValencia station\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb3.25″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb3.25″ custom_padding=\u00bb|||\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/artsoundscapes\/wp-content\/uploads\/2021\/01\/imagen-50-figura-de-toro.jpg\u00bb alt=\u00bbPainted bull figure at Torcal de las Bojadillas\u00bb title_text=\u00bbPainted bull figure at Torcal de las Bojadillas\u00bb align=\u00bbcenter\u00bb _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bb4b41873a-5c48-4e1a-a719-2649c5bb9d76″]<\/p>\n Painted bull figure at Torcal de las Bojadillas<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" [et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_row _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.2″ _module_preset=\u00bbdefault\u00bb] By Margarita D\u00edaz-Andreu, Principal Investigator Artsounscapes and Neemias Santos da Rosa, Junior Postdoctoral Researcher.\u00a0 The Artsoundscapes Project was out in the field again from 5 to 13 October, albeit in this case it with only two members of the team, Principal Investigator Margarita D\u00edaz-Andreu […]<\/p>\n","protected":false},"author":4,"featured_media":7275,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":" By Margarita D\u00edaz-Andreu<\/a>, Principal Investigator Artsounscapes and Neemias Santos da Rosa<\/a>, Junior Postdoctoral Researcher.<\/strong><\/p> The Artsoundscapes Project was out in the field again from 5 to 13 October, albeit in this case it with only two members of the team, Principal Investigator Margarita D\u00edaz-Andreu and postdoctoral researcher Neemias Santos da Rosa. It was a tight schedule that had taken weeks of preparation, as we were planning to visit a large number of sites in four different autonomous communities in Spain: Valencia, Castilla-La Mancha, Murcia and Andaluc\u00eda. The purpose of this fieldwork was to identify and take some basic notes on various Levantine rock art sites in preparation for future acoustic tests once the necessary permits have been obtained. In this post, we will include some of the information already provided on our Facebook page<\/a> at the time and also add some new details.<\/p> Our trip began in Valencia, a city we reached by train. From there we drove to the Caroig mountains where we met rock art specialist Ximo Martorell. At the Abrigo de Voro site we were impressed by the large number of finely traced figures, including many female motifs and a group of four warriors that has been interpreted as representing a collective male dance. Some one hundred metres to the north we also visited Cuevecicas del Esti\u00e9rcol, a very long but narrow shelter with two small female figures. On the other side of the river we found El Garrofero, an easy-to-access shelter with the remains of a large female figure, possibly dated to the earliest period of the Levantine rock art tradition.<\/p> Moving to the southeast, we crossed the border between the Valencian Country and Castilla-La Mancha autonomous communities en route to some of the best-known Levantine rock art sites. These shelters are at the eastern end of the province of Albacete and were discovered around a hundred years ago. The large number of painted figures in them inevitably drew the attention of the locals, who mentioned them to inquisitive archaeologists. Our visit included the Cueva de la Vieja in Alpera and the Abrigo Grande in Minateda, situated about a hundred kilometres apart. They have recently been re-examined by Anna Alonso, Alexandre Grimal and Juan Francisco Ruiz L\u00f3pez. Both sites are in spectacular landscapes with magnificent views of the facing plain. They have an impressive thematic variability of images painted with remarkable technical skill. It was very interesting to note the local people's pride in the paintings, which have been reproduced on a wall alongside one of the main roads in the village of Alpera. This pride is also found in other less politically correct places such as the toilets of the villages municipal cultural department headquarters, where primitive male and female figures indicate the \u201cLadies and Gents\u201d. We found out later that the same resource had also been used at the Rock Art Interpretation Centre in Moratalla<\/a> and in the local bar of Za\u00e9n de Arriba.<\/p> The Cueva de la Vieja in Alpera and the Abrigo Grande in Minateda are not the only rock shelters in the area. Not far from the former, we went to see some smaller sites with the architect Chimo Garc\u00eda and one of his relatives. These are considered minor sites because they have fewer figures and usually \u2013 although not always \u2013 have limited visibility.<\/p> The\u00a0Abrigo\u00a0Grande is close to the hamlet of\u00a0Minateda.\u00a0In addition to the authors of this blog,\u00a0the group visiting the site comprised\u00a0local guide Gemma Ortiz and our friends from neighbouring\u00a0Jumilla, Emiliano Hern\u00e1ndez and Myriam Ruiz L\u00f3pez.<\/p> We\u00a0often\u00a0think we are going to remember how to reach a site.\u00a0However, ten years after one of us had visited the\u00a0Barranco\u00a0de\u00a0Los\u00a0Grajos, it did not help\u00a0that,\u00a0unlike\u00a0all the\u00a0other\u00a0municipalities\u00a0we contacted in the four provinces, this was the only one\u00a0that did\u00a0not\u00a0offer\u00a0us\u00a0any\u00a0assistance. Unfortunately for us, the road that once approached the site was\u00a0badly\u00a0damaged and,\u00a0rather than\u00a0risk\u00a0our\u00a0lives\u00a0trying to drive up it,\u00a0we\u00a0left our\u00a0car in what we thought\u00a0was an area\u00a0near\u00a0the sites.\u00a0Now we laugh about\u00a0our\u00a0adventure\u00a0on that day,\u00a0but\u00a0when we finally reached the small gorge, we\u00a0were\u00a0exhausted, hungry and thirsty. Sometimes, however, it is worth experiencing the terrain the way we did on that fateful day.\u00a0The\u00a0sites were as impressive as\u00a0ever\u00a0and\u00a0through the fence\u00a0we were able to see the dance scene\u00a0at Los\u00a0Grajos.\u00a0Confusingly, while the shelter with the dance scene has traditionally been known as Los\u00a0Grajos\u00a0I (including\u00a0in\u00a0Alonso and Grimal 1997,\u00a0Dams 1984: 162,\u00a0Jord\u00e1n 1995-96, Mart\u00ednez S\u00e1nchez 1996,\u00a0Montes\u00a0&\u00a0Cabrera 1991-92,\u00a0Walker 2019), some archaeologists designate\u00a0it as Los\u00a0Grajos\u00a0II\u00a0(Lomba\u00a0&\u00a0Salmer\u00f3n 1995, Lomba Maurandi 2018).\u00a0We spent\u00a0hours\u00a0going through\u00a0the\u00a0bibliography\u00a0before we\u00a0realised\u00a0this confusion.<\/p> After Alpera, Minateda and Cieza we spent two days based in the village of Moratalla. On 8 October our guide was Esteban Silicia from Moratalla Town Council. We first drove to the hamlet (pedan\u00eda<\/em>) of Benizar (if we can call a place with almost a thousand inhabitants a hamlet!). Not far away is the attractive Rinc\u00f3n de las Cuevas, where the rock art is indeed very difficult to see. However, the spiritual significance of the place can still be seen in a modern altar probably used for the romer\u00eda<\/em> (a sort of annual Christian pilgrimage common to most villages in Spain).<\/p> We rounded off the morning by inspecting the sites of Molino de Bagil and the impressive shelters of Fuensanta before having a very late lunch with Enem\u00e9rito Mu\u00f1iz on the terrace of the local bar in Za\u00e9n de Arriba.<\/p> We ended the day with visits to the Abrigo de Capel and, practically in the last light of the day, the fantastic group of La Risca sites, where we wanted to see the well-known female representations. These are two large, elongated female figures, the longest about twice the height of the one to its right, that can be seen in a niche three metres from the floor level. It is not that unusual to find representations of women in pairs, but the size of these is unique! The bibliography repeatedly mentions that they could be dancing and their similar postures may indeed indicate this.<\/p> October 9 has been designated as European Day of Rock Art. It was on such a day in 1902 that \u00c9mile Cartailhac sent Marcelino Sanz de Sautuola\u2019s daughter, Mar\u00eda, a letter acknowledging his error when he had refused to accept the authenticity of the Altamira rock art paintings discovered by her late father. There were several celebrations in the six autonomous regions in the Levantine territory, including Murcia<\/a>. These major celebrations were multiplied by events organised on a municipal level, such as in Moratalla. At 10 am, taking advantage of the short delay, we first briefly paid a visit to the tourist information office, where the female figures from La Risca I rock art shelter have been included in its logo. Soon after we were in front of the Town Hall where the mayor, surrounded by several councillors and the director of the Rock Art Interpretation Centre<\/a>, gave a short speech in front of the cameras. We were later also interviewed and our presence was then noted in the local press: in newspapers \u2013 in El Diario<\/a> and La Opini\u00f3n<\/a>\u00a0 \u2013; and on the radio on Onda Regional<\/a>.<\/p> We were glad to see that the Rock Art Interpretation Centre<\/a>\u00a0was finally open after having been closed for years. It looked really great! We were shown round by its director, Salvador Lude\u00f1a, who also guides groups of tourists to visit the rock paintings<\/p> After this stopover at the\u00a0interpretation\u00a0centre, we visited many sites and observed scenes, superimpositions, colours,\u00a0and so many other details that make Levantine paintings so intriguing. Sites such as the group at Fuente\u00a0del\u00a0Sabuco\u00a0and\u00a0Ca\u00f1aica\u00a0del\u00a0Calar\u00a0were on our list\u00a0for\u00a0that day,\u00a0which\u00a0finished in the peaceful, quasi-oasis-like hotel of Casa\u00a0Pern\u00edas\u00a0in the Campo de San Juan\u00a0area.<\/p> On 10 October we returned to the province of Albacete, this time to its southern end, to visit the grandiose rock art sites of Solana de las Covachas, Torcal de las Bojadillas and other lesser sites in the municipality of Nerpio. In the first two, together with N\u00faria \u00c1lvarez \u2013 our guide from the Nerpio Tourist Office \u2013, we noted that the acoustics properties of the shelters are undoubtedly interesting. The art is indeed magnificent. We were impressed by the human figures with what looks like eccentric hairdos and the many tiny figures that probably date from to the last phase of Levantine art. In the afternoon we had the honour of being guided by local expert Antonio Carre\u00f1o, the driving force behind rock art research in this area for the last thirty years, together with his regular companion of at least two decades, Miguel Angel Mateo Saura.<\/p> On Sunday 11 October, Antonio Carre\u00f1o took us first to see the rock art site of Prado del Tornero, right next to the village of Nerpio. As at many other sites, the rock art figures have been largely lost, but they magically appear by applying the ImageJ software plugin D-Stretch<\/a> to the photographs. Later, in Hornacina de la Pareja, after a steep climb, we were surprised by one of those motifs with the very unusual headdress that is only found in this area. Neemias and Antonio got into a debate as to how they were painted, the subject of Neemias' recent PhD thesis. If Marga hadn\u2019t intervened, we\u2019d still be there, talking about all the minutiae of the cha\u00eene op\u00e9ratoire<\/em> related to painting Levantine rock art motifs, etc. Back in Nerpio, we finally said goodbye to Antonio and the Nerpio area.<\/p> October 12 was a public holiday, but we decided to continue our tour and once again changed province and autonomous community by moving on to Jaen in Andaluc\u00eda. Our local guide, Emilio, helped us find the Cuevas del Engarbo site and we marvelled at the figures we could see on the walls.<\/p> On the way back we saw wild goats and deer by the roadside. It felt like such a lost place, so far from anywhere!<\/p> On our last day in the field we had Barranco Segovia on our list, a place so difficult to reach that, despite Juan Francisco Jord\u00e1n Montes\u2019s indications, we needed help, which we received once again from Enem\u00e9rito Mu\u00f1iz. At the site, we were surprised by the fantastic views and intriguing figures.<\/p>