Cattle pastoralism is an important trait of African cultures. Ethnographic studies describe the central role played by domestic cattle within many societies, highlighting its social and ideological value well beyond its mere function as ‘walking larder’. Historical depth of this African legacy has been repeatedly assessed in an archaeological perspective, mostly emphasizing a continental vision. Nevertheless, in-depth site-specific studies, with a few exceptions, are lacking. Despite the long tradition of a multi-disciplinary approach to the analysis of pastoral systems in Africa, rarely do early and middle Holocene archaeological contexts feature in the same area the combination of settlement, ceremonial and rock art features so as to be multi-dimensionally explored: the Messak plateau in the Libyan central Sahara represents an outstanding exception. Known for its rich Pleistocene occupation and abundant Holocene rock art, the region, through our research, has also shown to preserve the material evidence of a complex ritual dated to the Middle Pastoral (6080–5120 BP or 5200–3800 BC). This was centred on the frequent deposition in stone monuments of disarticulated animal remains, mostly cattle. Animal burials are known also from other African contexts, but regional extent of the phenomenon, state of preservation of monuments, and associated rock art make the Messak case unique. GIS analysis, excavation data, radiocarbon dating, zooarchaeological and isotopic (Sr, C, O) analyses of animal remains, and botanical information are used to explore this highly formalized ritual and the lifeways of a pastoral community in the Holocene Sahara.

Rock art is a widespread cultural heritage, representing an immovable element of the material culture created on natural rocky supports. Paintings and petroglyphs can be found within caves and rock shelters or in open-air contexts and for that reason they are not isolated from the processes acting at the Earth surface. Consequently, rock art represents a sort of ecosystem because it is part of the complex and multidirectional interplay between the host rock, pigments, environmental parameters, and microbial communities. Such complexity results in several processes affecting rock art; some of them contribute to its destruction, others to its preservation. To understand the effects of such processes an interdisciplinary scientific approach is needed. In this contribution, we discuss the many processes acting at the rock interface—where rock art is present—and the multifaceted possibilities of scientific investigations—non-invasive or invasive—offered by the STEM disciplines. Finally, we suggest a sustainable approach to investigating rock art allowing to understand its production as well as its preservation and eventually suggest strategies to mitigate the risks threatening its stability.

The authors find a context for the rock art of the central Sahara by excavating and recording examples of engraved stones from circular platforms used to sacrifice animals. The type of rock art known as the Pastoral style, featuring evocative outline drawings of cattle, appears on upright stones incorporated into the platforms in the period 5430–5150 BP, and probably earlier. Furthermore, they show that these places were part of a dense and extensive monumental landscape, occupying a harsh environment, supplying quartzite, but with little settlement, appearing to serve the spiritual needs of hundreds of Neolithic people.