{"id":6903,"date":"2025-04-24T05:05:39","date_gmt":"2025-04-24T05:05:39","guid":{"rendered":"https:\/\/worldarchaeologicalcongress.com\/wac10\/?page_id=6903"},"modified":"2025-04-30T06:53:47","modified_gmt":"2025-04-30T06:53:47","slug":"t11-s01-papers","status":"publish","type":"page","link":"https:\/\/worldarchaeologicalcongress.com\/wac10\/t11-s01-papers\/","title":{"rendered":"T11\/S01: Voices of the Past: Uncovering Women\u2019s Roles in Ancestral Knowledge and the Practice of Archaeology"},"content":{"rendered":"\n

Format: Paper presentations with discussion<\/strong><\/p>\n\n\n\n

Convenors: <\/strong><\/p>\n\n\n\n

Dr Amrita Sarkar, Dept of AIHC and Archaeology, Deccan College Postgraduate and Research Institute, Deemed University, Pune, India, amrita.sarkar@dcpune.ac.in<\/a><\/p>\n\n\n\n

Dr Rita Jeney, Bhaktivedanta College, Budapest, rita.jeney@gmail.com<\/a><\/p>\n\n\n\n

In this session we would like to examine how gender dynamics have shaped and influenced ancestral knowledge related to landscape and territorial management. This includes exploring how women\u2019s knowledge, perspectives, and practices have contributed to sustainable resource use, environmental stewardship, and the transmission of ecological wisdom across generations. For example, the Madhubani (Maithili) Art form, originating in the Mithila region of India and Nepal, was developed by women. This created a strong lineage of female artists and a rich heritage tied to women\u2019s roles within the community. Even recent studies on the megalithic culture of northeastern states of Mizoram, India, suggests that women may have played significant roles in these cultures, possibly as leaders or custodians of ancestral knowledge. Similar examples are available in other parts of the world. For example, Brumfiel\u2019s highlighted the economic and political agency of women in pre-Columbian societies, demonstrating their active participation in agricultural production, trade, and ritual practices. This session will delve into how women archaeologists can develop relationships with women custodians of traditional art or knowledge from marginalised communities, the challenges they face, and the inspiring aspects of these collaborations. We envision the session as a platform to discuss critical issues on how women\u2019s knowledge is deeply intertwined with cultural and traditional practices. Additionally, the session will also explore how women archaeologists collaborate, mentor, and support each other, and how these relationships contribute to knowledge production, research methodologies, and the broader understanding of the past.<\/p>\n\n\n\n

Papers:<\/h2>\n\n\n\n

Her Story in Stone: Women’s Voices from the Megalithic Culture of Mizoram, India<\/strong><\/p>\n\n\n\n

Amrita Sarkar, Dept of Ancient Indian Culture, History and Archaeology, Deccan College Postgraduate and Research Institute (Deemed to be University), Pune, India<\/em><\/p>\n\n\n\n

The field of archaeological research in Mizoram, one of the northeastern states of India, is relatively young and under-developed. Current archaeological investigations and surveys have brought to light the rich Megalithic tradition of the state. These megaliths are a testament to a rich and complex past, offering a unique lens through which to examine the interplay of gender, power, and spirituality. Mizo beliefs suggest that success in the hunt hinges on the entry of a \u2018feminine spirit\u2019 into the heart of the sportsman. There are few megaliths (less explicitly documented) commemorating stories associated with women. This paper will discuss case studies as part of recent archaeological inquiry, coupled with an in-depth study of Mizo oral traditions and folklore, that can shed light on past societal dictums portraying women. It also emphasises the importance of respecting Indigenous knowledge and collaborating with local communities.<\/p>\n\n\n\n

Madhubani Art and Women Artists: Threads of Tradition, Tapestry of Empowerment<\/strong><\/p>\n\n\n\n

Upasana Arya, Deccan College Post-Graduate and Research Institute, Pune, India<\/em><\/p>\n\n\n\n

Madhubani art, also known as Mithila art, is a traditional Indian folk art form originating from the Mithila region of Bihar. Madhubani art is a unique blend of geometric designs, vibrant colours, and diverse themes, crafted by women artists of Mithila using natural dyes and locally sourced materials. This paper strives to highlight how women artists have utilised this art form as a tool for self-expression, social change, and economic liberation. The paper presents a recent study of contemporary Mithila art, specifically focusing on artistic expressions of Jitwarpur and Ranti Villages in Madhubani district, Bihar. The methodology encompasses a rigorous examination of historical documents pertaining to Madhubani art traditions, extensive ethnographic fieldwork involving in-depth interviews with artists, observation of their creative processes, and a thorough analysis of the socio-cultural milieu that shapes their artistic production.<\/p>\n\n\n\n

Traditional Wisdom for Modern Sustainability: The Role of Women in Sigiriya\u2019s Tourism Landscape<\/strong><\/p>\n\n\n\n

Umanga Roshani Rammungoda, Dept of Archaeology, University of Kelaniya, Sri Lanka<\/em>
Prishanta Gunawardhana, Dept of Archaeology, University of Kelaniya, Sri Lanka<\/em>
Keir Strickland, Dept of History and Archaeology, La Trobe University, Australia<\/em>
Harendralal Namalgamuwa, Dept of Archaeology, University of Kelaniya, Sri Lanka<\/em><\/p>\n\n\n\n

The women living in traditional villages surrounding Sigiriya, one of Sri Lanka\u2019s most renowned archaeological and tourist sites, possess a wealth of traditional knowledge passed down through generations. This knowledge spans diverse areas such as herbal medicine, traditional cuisine, handicrafts, agriculture, and folklore. While many of these women engage in various modern professions within society, a significant number have begun to utilise their traditional expertise as a means of sustainable livelihood, directly contributing to the tourism industry. By producing eco-friendly handicrafts, offering authentic culinary experiences, and sharing indigenous knowledge with tourists, these women not only generate income but also help preserve local culture and biodiversity. Moreover, their involvement in traditional farming and herbal product-making promotes environmentally friendly practices aligned with sustainable development goals. The revival and adaptation of this traditional knowledge have created opportunities for women\u2019s empowerment, cultural conservation, and community-based tourism. This paper explores how women around Sigiriya have innovatively employed their ancestral knowledge for economic, social, and environmental sustainability. It highlights the importance of recognising and supporting such grassroots initiatives in shaping more inclusive and sustainable tourism models, ensuring that the heritage and wisdom of local communities become integral to the visitor experience at Sigiriya.<\/p>\n\n\n\n

Women of the Himalayan Deserts: Religious and Social Role of Yoginis and Nuns in Zangskar<\/strong><\/p>\n\n\n\n

Dr Nina Petek, Assistant Professor at the Department of Philosophy, Faculty of Arts, University of Ljubljana, Slovenia<\/em><\/p>\n\n\n\n

In Zangskar, a remote valley in the Ladakh region of the Indian Himalayas, the spiritual landscape of the land is, besides Buddhist monastic institutions, also enriched by the tradition of yogis and yogin\u012bs who, in the practice of solitary meditation techniques, nurture the authentic core of Buddhism. The solitary meditators, however, are not completely detached from the wider secular reality, but are closely connected to the local communities, thus following the example of the hermit Milarepa, who, in addition to living in solitude, also cultivated ties with society, thus realising the supreme Buddhist ethical ideal of compassion. Drawing on findings from several years of research work in Ladakh, the paper will outline the multifaceted role of yogin\u012bs, the female meditators of Zangskar, who, in addition to performing solitary meditations and teaching the new generation of female adepts, are also closely involved in the diverse aspects of the religious and social life of the valley. Through their active participation, knowledge and various practices, ranging from teaching the Buddha’s dharma, healing, carrying out religious activities (performing p\u016bj\u0101, creating ma\u1e47\u1e0dalas etc.), raising awareness of environmental issues and stressing the importance of preserving the tangible Buddhist heritage in Zangskar (archaeological remains of Buddhism from different periods), they contribute to a sustainable knowledge, a resource, vital for all generations to come. In addition to the role of yogin\u012bs, the role of nuns in Zangskar, who unlike yogin\u012bs are embedded in the hierarchies of monastic institutions, will also be highlighted, showing their position throughout history in a male-dominated society and Buddhist scholarship, and presenting their unmistakable role not only in the spiritual horizons of Buddhism, but also, and relatedly to the role of the yogin\u012bs, in the broader socio-cultural context in general.<\/p>\n\n\n\n

Recovering Ancestral Women\u2019s Knowledge: Pottery, Traditional Medicine, and Spirituality in the Lickanantay Territory<\/strong><\/p>\n\n\n\n

Romina Yere, Corporaci\u00f3n Cultural Lickanantay Ckunza Ckonics: Por la Memoria de Nuestros Ancestros; San Pedro de Atacama Cultural Foundation; Comunidad Atacame\u00f1a de Toconce<\/em>
Leonel Salinas, Corporaci\u00f3n Cultural Lickanantay Ckunza Ckonics: Por la Memoria de Nuestros Ancestros; BA in Education, Universidad de La Serena; Comunidad Atacame\u00f1a de Lasana<\/em><\/p>\n\n\n\n

From the Lickanantay territory, this presentation shares the experience of women who have worked to recover traditional knowledge passed down through generations. Through collective processes, they have participated in the teaching and practice of traditional pottery, collecting clay in the same hills where their grandmothers once worked, and learning from local women in the interior communities. They also developed a project focused on ancestral medicine, interviewing elder women in the community to recover the names, uses, and locations of medicinal plants.<\/p>\n\n\n\n

This path has brought feelings of pride and wonder, especially when reflecting on how their foremothers endured scarcity, often alone, in conditions of deep territorial abandonment. Archaeology and hegemonic science, rather than supporting these knowledges, extracted them without recognizing their origin or valuing the context that sustained them. This presentation seeks to make visible the living memory of women from the interior of the Atacama Desert, reclaiming their knowledge as forms of resistance, cultural continuity, and care for the land.<\/p>\n\n\n\n

Singing Tradition into Memory: Women and the Preservation of Manipuri Ritual Knowledge<\/strong><\/p>\n\n\n\n

Dr Gerg\u0151 P\u00e9ter R\u00e1tkai, Bhaktivedanta College, Hungary<\/em><\/p>\n\n\n\n

Manipuri sankirtana, inscribed on UNESCO\u2019s Representative List of Intangible Cultural Heritage, is a ritual performance art that interweaves devotional chanting, percussive rhythms, and dance to embody sacred narratives. Although traditionally male-dominated, the female-led nupi pala not only sustains its ritual transmission but also enriches its interpretative and performative dimensions. This paper explores the historical and contemporary significance of women in safeguarding and performing Manipuri sankirtana, particularly within ritual and communal contexts.<\/p>\n\n\n\n

Through ethnographic fieldwork and historical analysis, I examine how nupi pala functions as both a devotional act and a means of cultural continuity, maintaining sacred narratives within Manipuri Vaishnavism. I argue that women\u2019s participation is not merely an integral part of the practice but a driving force in the way Manipuri sankirtana is recognised and reinterpreted as heritage. By engaging in sankirtana, women act as custodians of oral traditions, ensuring the survival of ritual knowledge across generations.<\/p>\n\n\n\n

By challenging dominant narratives that position ritual transmission as an exclusively male domain, this study foregrounds women’s agency in preserving sacred traditions while reshaping the broader discourse on gendered heritage practices.<\/p>\n\n\n\n

Women and the Safeguarding of the Intangible Elements of Rabai Kayas<\/strong>, Kenya<\/strong><\/p>\n\n\n\n

Herman Kiriama, Kisii University, Kenya; La Trobe University, Australia; Tardis Archaeology, Australia<\/em><\/p>\n\n\n\n

The gender rankings in Africa often lead people to assume that there are no women playing a part in traditional religion. Consequently, it is assumed by many people that women do not play a role in the management of the Kayas, the sacred forests of the Mijikenda people of the Kenya coast. Recent research, however, shows thatwomen have crucial roles in the management of the Kaya forests and that they play an important role in ensuring adherence of the Rabai beliefs and customs. This paper discusses the roles that women play in the management and performance of rituals in the Rabai Kayas. It discusses issues of patriarchy and power and reveals the actual position of women beyond the common assumptions that are made about African women and traditional religions.<\/p>\n","protected":false},"excerpt":{"rendered":"

Format: Paper presentations with discussion Convenors:  Dr Amrita Sarkar, Dept of AIHC and Archaeology, Deccan College Postgraduate and Research Institute, Deemed University, Pune, India, amrita.sarkar@dcpune.ac.in Dr Rita Jeney, Bhaktivedanta College, Budapest, rita.jeney@gmail.com In this session we would like to examine how gender dynamics have shaped and influenced ancestral knowledge related to landscape and territorial management. This includes exploring […]<\/p>\n","protected":false},"author":1157,"featured_media":276,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"pmpro_default_level":"","ngg_post_thumbnail":0,"footnotes":""},"class_list":{"0":"post-6903","1":"page","2":"type-page","3":"status-publish","4":"has-post-thumbnail","6":"pmpro-has-access","7":"czr-hentry"},"_links":{"self":[{"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/pages\/6903","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/users\/1157"}],"replies":[{"embeddable":true,"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/comments?post=6903"}],"version-history":[{"count":4,"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/pages\/6903\/revisions"}],"predecessor-version":[{"id":7741,"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/pages\/6903\/revisions\/7741"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/media\/276"}],"wp:attachment":[{"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/media?parent=6903"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}