Universidade Católica Portuguesa, Fundação Côa Parque

The Open-air rock art of the Côa Valley is recognized worldwide as the largest "collection" of engravings (and paintings) from the Upper Paleolithic period concentrated in a single area - on the banks of the Côa River. This recognition led to its classification as a “National Moment” in 1997, which was consolidated a year later with its inclusion in the UNESCO World Heritage List in 1998. The "universal outstanding value" of the rock art of the Côa Valley is undeniable, but to what extent do we jeopardize the authenticity of the rock art by not taking into account the natural environment? Or to what extent are we not talking about one heritage, but two that coexist, cultural and natural? Since the discovery of the first engravings in 1991, around 1,500 rocks with rock art have been recorded and inventoried, spread over 97 archeological sites and dating from different periods, from the Upper Palaeolithic to the 20th century. The Open Air Rock Art ensemble is located in a typical landscape of the north-east of Portugal, 140 km long, where the flora is dominated by olive trees, almond trees and vines, and is the habitat of numerous indigenous species. The ecological sustainability of the environment and raising awareness of the natural dimension of the Côa Valley Rock Art itself are two crucial challenges to be taken into account in any management conservation plan. As well as being adjacent to the Douro International Natural Park, the Côa Valley Rock Art coexists with another UNESCO World Heritage Site - the Alto Douro Wine Region, which has been classified since 2001. Considering the rock art of the Côa Valley as part of a "cultural ecosystem" there’s a need to look not only at the natural dimension, but also at the anthropic dimension. The region is currently inhabited by rural communities whose primary source of income is derived from agricultural activities, with a particular focus on olive oil and wine production, including the emblematic Vinho do Porto. Additionally, the region is distinguished by activities such as stone exploration and extraction and tourism. The latter has progressively assumed a role in the promotion and development of the region, primarily due to the engravings of the Côa Valley itself, as well as the Alto Douro Wine Region. However, the discussion around its preservation should not be underestimated, since several challenges of managing and preservation can be highlighted: 1) the management of conflicts between cultural heritage and economic activity (between Rock art and vineyards, both classified as World Heritage Sites); 2) the management of land-use planning in areas where the engravings are located (since the areas with engravings are larger than those identified as buffer zones by UNESCO); 3) the absence of the legal figure of an 'archaeological park' and the need to solve this issue; 4) the management of tourist pressure and unauthorized visits; 5) the management of vandalism (as a consequence of misinformation and denial); and 6) consequence of the Dry Dam (which seasonally floods not only the engravings, but also all scientific, economic and social activities on the banks of the river). These are some of the challenges within our PhD research, which we will seek to address through the creation and implementation of a management plan for the rock art of the Côa Valley.