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Figure 3. Tools used for horn modification and pattern branding: top left) cattle herdsman holding horn-shaping hammer; top right) Be bhéy Kara Nun, ground-stone horn-shaping hammer; bottom) baera, iron branding tool. Photograph: T: Insoll.

Figure 3 Tools used for horn modification and pattern branding: top left) cattle herdsman holding horn-shaping hammer; top right) Be bhéy Kara Nun, ground-stone horn-shaping hammer; bottom) baera, iron branding tool. Photograph: T: Insoll.

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Mursi ox modification in the Lower Omo Valley and the interpretation of cattle rock art in Ethiopia
Mursi ox modification in the Lower Omo Valley and the interpretation of cattle rock art in Ethiopia
Mursi ox modification in the Lower Omo Valley and the interpretation of cattle rock art in Ethiopia Introduction As an adjunct to ongoing archaeological research focusing on the Dirikoro area of Murs territory in the far south-west of Ethiopia (cf. Clack & Brittain 201la & b), data wer collected in March—April 2013 on how cattle are modified, particularly with regard t decorative pattern branding. Cattle colour patterns have been the focus of research amongs the Mursi (Turton 1980) and neighbouring groups such as the Nyangatom, Dassanetch anc Bodi (Almagor 1972; Tornay 1973; Fukui 1996), and, along with horn modification, mor widely in northern Kenya and South Sudan (e.g. Evans-Pritchard 1940, 1956; Lienhard 1961; Hazel 1997). The much less common practice of deliberately branding decorativ patterns onto cattle, however, appears to have been neglected except for brief mention of i
Mursi ox modification in the Lower Omo Valley and the interpretation of cattle rock art in Ethiopia Introduction As an adjunct to ongoing archaeological research focusing on the Dirikoro area of Murs territory in the far south-west of Ethiopia (cf. Clack & Brittain 201la & b), data wer collected in March—April 2013 on how cattle are modified, particularly with regard t decorative pattern branding. Cattle colour patterns have been the focus of research amongs the Mursi (Turton 1980) and neighbouring groups such as the Nyangatom, Dassanetch anc Bodi (Almagor 1972; Tornay 1973; Fukui 1996), and, along with horn modification, mor widely in northern Kenya and South Sudan (e.g. Evans-Pritchard 1940, 1956; Lienhard 1961; Hazel 1997). The much less common practice of deliberately branding decorativ patterns onto cattle, however, appears to have been neglected except for brief mention of i
Figure 1. Map indicating the location of Mursi territory and Dirikoro in Ethiopia (adapted from Turton et al. 2008: 2).
Figure 1. Map indicating the location of Mursi territory and Dirikoro in Ethiopia (adapted from Turton et al. 2008: 2).
Figure 2. Benna kulugto (stone platform) at Dirikoro. Photograph: T. Clack. Ariholi, ‘white ox’ (Turton 1973: 102). Cattle also physically alter the landscape throug! grazing and their overnight corralling in cattle camps, and through the creation of feature such as the c. 3km-long and c. 1.0—1.5m-deep drovers’ ditch recorded running south-wes from the settlement of Meganto. This and the benna kulugto comprise the most significan ‘unnatural’ features recorded in the landscape. Rock art is so far absent, and cattle and cattl exploitation generate the durable archaeological record in comparison to the ephemerz nature of most Mursi material culture, including the shelters in cattle camps and huts it cultivation settlements (cf. Turton 1973: 83-84; Clack & Brittain 201 1a: 89-90). Mursi history is also only partiall subsistence should not be downplayed, but the stone platforms, landscape names and migrations reflect the significance of cattle of the Sanga type, which are “dominant” in the region (Abbink 2003: 342). Cattle provide meat and, more commonly, milk and b importance (Turton et al. 2008: 4 ood for subsistence, but they are also of great cultural . They are the ideal bride-wealth payment, are used in sacrifice, function as the referent for Mursi colour terminology, and provide the linchpin for “the relationship between the sexes, the solidarity of age-mates and the link between the social order and the order of the universe” (Turton 1980: 328). The ritual and social centrality of cattle is not unique to the Mursi, but is widely found amongst pastoralist and agro-pastoralist societies in the region of South Sudan, south-west Ethiopia, northern Kenya and northern Uganda (e.g. Evans- Pritchard 1940, 1956; Gulliver 1952; Lienhardt 1961;
Figure 2. Benna kulugto (stone platform) at Dirikoro. Photograph: T. Clack. Ariholi, ‘white ox’ (Turton 1973: 102). Cattle also physically alter the landscape throug! grazing and their overnight corralling in cattle camps, and through the creation of feature such as the c. 3km-long and c. 1.0—1.5m-deep drovers’ ditch recorded running south-wes from the settlement of Meganto. This and the benna kulugto comprise the most significan ‘unnatural’ features recorded in the landscape. Rock art is so far absent, and cattle and cattl exploitation generate the durable archaeological record in comparison to the ephemerz nature of most Mursi material culture, including the shelters in cattle camps and huts it cultivation settlements (cf. Turton 1973: 83-84; Clack & Brittain 201 1a: 89-90). Mursi history is also only partiall subsistence should not be downplayed, but the stone platforms, landscape names and migrations reflect the significance of cattle of the Sanga type, which are “dominant” in the region (Abbink 2003: 342). Cattle provide meat and, more commonly, milk and b importance (Turton et al. 2008: 4 ood for subsistence, but they are also of great cultural . They are the ideal bride-wealth payment, are used in sacrifice, function as the referent for Mursi colour terminology, and provide the linchpin for “the relationship between the sexes, the solidarity of age-mates and the link between the social order and the order of the universe” (Turton 1980: 328). The ritual and social centrality of cattle is not unique to the Mursi, but is widely found amongst pastoralist and agro-pastoralist societies in the region of South Sudan, south-west Ethiopia, northern Kenya and northern Uganda (e.g. Evans- Pritchard 1940, 1956; Gulliver 1952; Lienhardt 1961;
Figure 4. Branding the missirou decoration using the baera. Photograph: T. Insoll.
Figure 4. Branding the missirou decoration using the baera. Photograph: T. Insoll.
Figure 5. Fully decorated ox with chipto horns, nilla ornaments and left to right: concentric circular miren, double ‘U’ miren and missirou branded decoration. Photograph: T. Insoll.
Figure 5. Fully decorated ox with chipto horns, nilla ornaments and left to right: concentric circular miren, double ‘U’ miren and missirou branded decoration. Photograph: T. Insoll.
Figure 6. Top lefi) riru double ‘U’ symbols (after Eczet & Poissonnier 2013: 182); top right) kichoa concentric circle decoration around nipple; bottom left) decorated Kalashnikovs, rear with beads, cowrie shells, red paint and leather pistol grip cover, front with red-painted inverted double ‘U’ miren symbols; bottom right) concentric circle hair decoration. Photographs: T. Insoll.
Figure 6. Top lefi) riru double ‘U’ symbols (after Eczet & Poissonnier 2013: 182); top right) kichoa concentric circle decoration around nipple; bottom left) decorated Kalashnikovs, rear with beads, cowrie shells, red paint and leather pistol grip cover, front with red-painted inverted double ‘U’ miren symbols; bottom right) concentric circle hair decoration. Photographs: T. Insoll.
Figure 7. Mursi oliyna, clay cattle figurine with incised double ‘U’ miren. Photograph: T. Clack.
Figure 7. Mursi oliyna, clay cattle figurine with incised double ‘U’ miren. Photograph: T. Clack.
Figure 8. Balai colour (contrasting) black and white ox with dogomme horn pattern. Photograph: T. Insoll.
Figure 8. Balai colour (contrasting) black and white ox with dogomme horn pattern. Photograph: T. Insoll.
Figure 9. Decorated oxen: front) branded ox wearing nilla ornaments with chipto horn pattern; behind) gidangi (dirty whitelgrey) oxen with variant of chipto and nyabacouda ear decoration. Photograph: T. Insoll.
Figure 9. Decorated oxen: front) branded ox wearing nilla ornaments with chipto horn pattern; behind) gidangi (dirty whitelgrey) oxen with variant of chipto and nyabacouda ear decoration. Photograph: T. Insoll.
Figure 10. Horn shaping in progress. Photograph: T. Insoll.
Figure 10. Horn shaping in progress. Photograph: T. Insoll.
Figure 11. Top to bottom, not to scale: 1) bovid paintings with single or double stripes down the centre of the body, Laga Gafra (after Cervicek & Braukdimper 1975: fig. 4); 2) cattle painting with geometric coat markings, Adi Qanza, Eritrea (afier Graziosi 1964: pl. 15); 3) cow painting with circular markings, dots and lines, Laga Oda (after Cervicek 1971: fig. 9); 4 cattle paintings with vertical banding on coats, Sollum Baatti, Eritrea (after Graziost 1964: pl. 13); 5) cow painting with a geometric coat pattern, Laga Oda (after Cervicek 1971: 191): 6) cattle painting with “exceptionally diverged’, possibly trained horns, Anza 1 (after Nigus 2006: 59); 7) longhorn cattle engraving with asymmetrical horns, Ejersa Gara Halla (after Le Quellec & Abegaz 2001: fig. 7); 8) cow painting with two bisected rectangles, one with associated dashes, Laga Oda (after Cervicek 1971: fig. 4).
Figure 11. Top to bottom, not to scale: 1) bovid paintings with single or double stripes down the centre of the body, Laga Gafra (after Cervicek & Braukdimper 1975: fig. 4); 2) cattle painting with geometric coat markings, Adi Qanza, Eritrea (afier Graziosi 1964: pl. 15); 3) cow painting with circular markings, dots and lines, Laga Oda (after Cervicek 1971: fig. 9); 4 cattle paintings with vertical banding on coats, Sollum Baatti, Eritrea (after Graziost 1964: pl. 13); 5) cow painting with a geometric coat pattern, Laga Oda (after Cervicek 1971: 191): 6) cattle painting with “exceptionally diverged’, possibly trained horns, Anza 1 (after Nigus 2006: 59); 7) longhorn cattle engraving with asymmetrical horns, Ejersa Gara Halla (after Le Quellec & Abegaz 2001: fig. 7); 8) cow painting with two bisected rectangles, one with associated dashes, Laga Oda (after Cervicek 1971: fig. 4).
Related topics:
African StudiesAnthropologyMedical AnthropologyAestheticsArt HistoryHistorical ArchaeologyMaterial Culture StudiesLandscape ArchaeologyEthiopian StudiesSocial and Cultural Anthropology
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