A provocative paper which claims that "the Indus civilization reveals that a ruling class is not a prerequisite for social complexity" (p. 1). The author, who is at Cambridge University where he has long been involved with the groundbreaking Two Rains project, starts with John Marshall and other
"The contexts of script and changes in the writing over time indicate that the Indus script was versatile and that it was probably used to communicate complex ideas as well as multiple languages.
"The theme of this volume has forced us to consider and grapple with what activities occur at night and how that can be applicable to the archaeological record of the Indus civilization. In doing so we have focused on water and sewage system maintenance, a traditional nighttime activity of the modern world, to demonstrate how the common spaces and activities of maintenance would have constructed a shared sense of belonging for participants and/or imposed shared identities upon them by outside viewers," write the authors.
"A small showcase of the Zahedan Museum keeps, among other finds, the fragmentary headless torso of a small statuette in a buff-grey limestone, with a strongly weathered surface. Without opening the showcase, I was allowed to take several pictures of the fragment, from various angles," writes the author.
An excellent distillation of where we stand to the "Bronze" in the Bronze Age Indus Civilization. "Besides clay," writes the author, "there is no other raw material that Indus craftspeople worked into such a diversity of forms and types of artifacts."
There are at least 18 examples of a "human and tiger" motif in Indus glyptic art. This short paper by one of the most prolific writers on ancient Indus themes, the late Dr. Gregory Possehl, wonders how we might read this visual artifact.
"When we speak of Harappan material style, we need to include the whole package of raw material, technological know-how as well as shape and pattern," writes Dr. Heidi J. Miller, who goes on to present "a preliminary study of what defines a Harappan phase ceramic assemblage by comparing the assemblages from the sites of Harappa in the Punjab, Mohenjo-daro and the smaller site of Chanhu-daro, both in Sindh, and illustrating what is shared amongst these contemporary occupations."
It is really nice in a paper to be able to speak both of what is happening now, at the cutting-edge of bead and shell-making Indus craftsmanship and continuing discoveries, and be able to relate each tradition back to its earliest appearance in the subcontinent and elsewhere.