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Abstract From data collected through documentary and field research techniques, and using conceptual units of analysis supposedly framed within animistic theories, here we present some premises that attempt to explain intrigues significant to the community on rock art in Venezuelan historical regions, as well as their relationship with the notion of cultural heritage. The possibility that certain local representations contradict the concept of heritage is also suggested. Nevertheless, these referents provide meaning for rock art within the conceptualized landscape in which it is inserted and are consequently an element to consider in the process of patrimonialization by, for, with, and within the communities.
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