Kenya’s art from the past

Overview
Overview

Prehistoric art opens rare windows in to Africa’s, and by extension, humanity’s distant past. Paleoanthropologists comprising paleontologists, archaeologists, geo-archeologists and more recently, geneticists, have provided evidence that humanity began first in East Africa and then expanded to colonize the rest of the world. Evolutionary biology and related sciences have provided information on developmental stages of anatomy and morphology of human ancestral populations. Their behaviors and landscape adaptations in East Africa, largely on technology and subsistence, and lately on exchange networks, have been pieced together by archaeologists.  However, little is known about aspects of expression, communication and how they viewed their world. One way of bridging this knowledge gap is by studying a record of art that is archived in places that prehistoric populations lived, frequented and visited. This paper is an attempt to review attributes of what is so far known about Kenya’s chronological and spatial distribution of prehistoric art.

 

 

Sponsor

Mwanzia D. Kyule

Principle Instigator
Mwanzia D. Kyule
Abstract

Prehistoric art opens rare windows in to Africa’s, and by extension, humanity’s distant past. Paleoanthropologists comprising paleontologists, archaeologists, geo-archeologists and more recently, geneticists, have provided evidence that humanity began first in East Africa and then expanded to colonize the rest of the world. Evolutionary biology and related sciences have provided information on developmental stages of anatomy and morphology of human ancestral populations. Their behaviors and landscape adaptations in East Africa, largely on technology and subsistence, and lately on exchange networks, have been pieced together by archaeologists.  However, little is known about aspects of expression, communication and how they viewed their world. One way of bridging this knowledge gap is by studying a record of art that is archived in places that prehistoric populations lived, frequented and visited. This paper is an attempt to review attributes of what is so far known about Kenya’s chronological and spatial distribution of prehistoric art.

 

 

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