Abstract
In Peru, as elsewhere, archaeological cultures typically are classificatory constructions of pottery or another long-lived and manipulable material. The chorology of regional art styles is generally interpreted as isomorphic with ethnic groups and political systems. Enunciation of this association is especially clear among the synthesizers of the Virú Valley Project who noted the coincidence of pronounced regionalism/localism and the florescence of great (“Master-craftsman”) art styles in the Andes (e.g., Bennett and Bird 1964; Steward 1948; Willey 1948: 14). But Bentley (1987: 34, 35), among various others, cautions that “People speaking what appears to be the same language, professing the same religion, wearing the same clothes, or otherwise displaying superficial similarities nevertheless may be operating in terms of different generative schemes... Social contexts and associated ethnic groupings usually are nested hierarchically so that... multiple ethnic identities are not mutually exclusive.” Furthermore, not all attributes and processes of ethnicity as manifested in style are recoverable or equally recoverable in the archaeological record. And there are demonstrated pitfalls for the archaeological operationalization of the concepts of style and ethnicity [Note 1].
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Silverman, H. (2002). Nasca Settlement and Society on the Hundredth Anniversary of Uhle's Discovery of the Nasca Style. In: Isbell, W.H., Silverman, H. (eds) Andean Archaeology I. Springer, Boston, MA. https://doi.org/10.1007/978-1-4615-0639-3_5
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