CHOREOGRAPHIES OF THE SHELTER: MATERIAL AGENCY AND EMBODIED VISION AT TOCA PEQUENA DA AREIA, BRAZIL

This paper explores the relational agency between rock morphology and human corporeality at the archaeological site of Toca Pequena da Areia. By analysing two distinct rock art sectors—an expansive open area and a low-ceiling interior chamber—we argue that the rock shelter is not a passive canvas but an active ‘actant’ (sensu Latour) that structures the observer’s experience. While the open sector allows a comfortable standing engagement, the confined space necessitates a ‘subjection’ of the body, forcing a prone position to access its aesthetic sets. Through a relational approach, this study demonstrates how the site’s topography dictates a specific choreography, transforming the act of seeing into an embodied performance in which non-human agency and material constraints actively shape archaeological interpretation. The aesthetic composition further reinforces this spatial distinction. While the open area exhibits a high density of paintings belonging to the Nordeste Tradition—characterised by numerous superpositions of animal and anthropomorphous figures—the low-ceiling sector presents a sparse and unique set of elements. These interior motifs are not repeated in the external area, suggesting a deliberate selection of themes for the confined space. We propose that the lack of superpositions in the interior chamber indicates a singular, perhaps restricted, interaction with the rock face, contrasting with the collective and cumulative history of the open sector. By weaving together the materiality of ‘Toca Pequena da Areia’ and the stylistic choices of its painters, this study shows how the physical constraints of the shelter actively shaped the visual and ritual landscape of the past.