Sometimes, human material culture involves traces of other animals, too. Zooarchaeologists like me are trained to identify the remains of other species from archaeological sites by analysing bones, teeth and shells. We use these remains to gain insight into what people in the past ate and how they hunted. We learn where and when wild species were tamed or domesticated, and how animals’ bodies were used as resources, whether for tools and adornments or as potent symbols in human societies. We are not, generally, interested in the histories of the animals themselves, but rather how animals have intersected with human histories. We certainly don’t ask what kinds of things bears may have discovered and forgotten centuries ago. To put it simply: zooarchaeology is the study of animals as material culture, not an archaeology of animals and their material culture.
This is based on a well-established belief: humans make and do things because only we have culture, and when those things we make and do change over time, we call it history. When animals make and do things, we call it instinct, not culture. When the things they make and do change over time, we call it evolution, not history. Anthropologists have pointed out that this is an unusual way of thinking: at what point did we stop merely evolving from our long line of hominid ancestors, cross an irreversible threshold from nature to culture, and kickstart history?
The unique trajectory afforded to humans compared with all other animals is evident in paleoanthropologists’ use of the phrase ‘anatomically modern humans’. This terminology tries to make sense of the fact that there were members of our species hundreds of thousands of years ago who had the same morphological characteristics and physical capacities that we have today, but who seemingly had not yet taken the step into a new world of culture. By contrast, as the British anthropologist Tim Ingold argues, we never speak of ‘anatomically modern chimpanzees’ or ‘anatomically modern elephants’ because the assumption is that those species have remained entirely unchanged in their behaviours since they first took on the physical forms we see today. The difference, we assume, is that they have no culture.
But what if archaeologists and zooarchaeologists found traces that told a different story? What if some of the cultural making and doing that we consider to be uniquely human was being done by animals first?
In several caves in France, such as Bara-Bahau, Baume-Latrone and Margot, human-made finger flutings or ‘meanders’ follow earlier cave bear scratches. Some of these long lines of finger-combed grooves are superimposed directly over claw marks. Others are located near the bear-made traces, echoing their orientation. In Aldène cave in the south of France, human artists ‘completed’ earlier animal markings. More than 35,000 years ago, a single engraved line added above the gouges left by a cave bear created the outline of a mammoth from trunk to tail – the claw marks were used to suggest a shaggy coat and limbs. In Pech-Merle, the same cave where Lemozi mistook cave bear claw marks as human carvings of a wounded shaman, a niche within a narrow crawlway is marked by four cave bear claw marks. These marks are associated with five human handprints, rubbed in red ochre, that date to the Gravettian period, about 30,000 years ago. For Lorblanchet and Bahn, the association between the traces of cave bear paws and human hands is no accident: ‘It is remarkable (and the Gravettians doubtless noticed it),’ they wrote, ‘that a rubbed adult hand, with fingers slightly apart, leaves a trace identical in size to that of an adult cave bear clawmark.’
Nonhuman carvings laid the literal and figurative foundations for human art.