Kajian terhadap konteks budaya seni cadas motif binatang di Kawasan Misool menarik untuk dilakukan karena beragamnya motif binatang tersebut. Seni cadas motif binatang, antara lain lumba-lumba, ikan-ikan laut, burung, dan kadal digambarkan pada 22 dari total 40 situs seni cadas di kawasan tersebut. Kawasan Kepulauan Misool di Raja Ampat, Papua Barat, memiliki berbagai macam temuan seni cadas prasejarah yang terdiri atas motif cap tangan, binatang, bulatan, antropomorfis, beliung persegi, stensil bumerang, stensil tidak teridentifikasi, dan nonfiguratif. The result study places the depiction of animal motifs in prehistoric rock art in Misool in the secular cultural context or daily life. This study uses quantitative methods with 87 animal paintings data which consist of 10 motifs in 22 sites in East Misool and South Misool Region, Raja Ampat, West Papua. Other motifs such as hand stencils, dots, anthropomorphic, stone adzes, and boomerang stencils which may have another cultural meaning require a separate discussion. The study of the cultural context of rock art motifs in the Misool area is interesting to do because of the diversity of animal motifs. Animal motifs include dolphins, marine fishes, birds, and lizards are depicted in 22 of 40 sites in rock art body. The Misool Islands Region in Raja Ampat, West Papua has a variety of prehistoric rock art finding consisting of hand stencil motifs, animals, dots, anthropomorphic, stone adzes, boomerang stencils, unidentified stencils, and non-figurative.

By considering performance, we are able to engage with non-essentialists ways of being and focus instead on Indigenous ontologies.Д¬ultural Context of Animals Motif in Misool Prehistoric Rock Art, Raja Ampat, Papua Barat. We do so through the application of an iconographic analysis that incorporates performative relationships between motifs. Our main objective is to advance an epistemological approach that will allow us to identify and understand the modes of representation used by artists in the study area. Methods used in rock art to identify figurative motifs are deeply entangled with Western conceptualizations of what it means to be human/animal, marginalising Indigenous ontologies. Here, we are concerned with deconstructing the ontological footing of humans and animals in the early rock art from the Kimberley, Australia, from a relational and performative point of view. This view has been extensively influenced by a Cartesian philosophy that has at its core an idea of human exceptionalism and domination over other species.

Rather than seeing how human and animal populations co-exist and become with, rock art explanations of animals often linger around economic appreciations that prioritize their value for human beings. Even though the study of animal depictions in early art is one of the most researched topics in rock art, interpretations have often been anthropocentric.

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