In Spain, there are a bunch. See for instance (in Spanish):

Medina Lara, F. / Barroso Ruiz, Cecilio. “Una escena de danza en el arte rupestre postpaleolítico de la provincia de Málaga”, Mainake no 10. 1988, pp. 61-75.

https://dialnet.unirioja.es/descarga/articulo/832818.pdf

Or for a more broad and complete apprach the PhD dissertation of Maria Lillo

Lillo Bernabeu, M. (2014). La imagen de la mujer en el arte prehistórico del arco mediterráneo de la Península Ibérica. http://rua.ua.es/dspace/handle/10045/45725 pp.

Hello,

first i have to specify your request: Do you mean ALL sequences after palaeolithic? Or are you looking for something special?

For the metal ages I would point at the italian Valcamonica...

Neemias, you have some very interesting questions here on RG. The Savanna Pumé foragers I work with dance for 11 hours ~37% of all nights I have been in residence with them across 30 months of ethnographic fieldwork. There is no stone in this part of Venezuela, so there is no rock art associated with current or past Pumé presence in this area (unlike other regions of Venezuela). Almost the only "art" form they have is the carved rattles they use during dances. Most of those rattles depict Pumé men & women dancing, along with carved images of a number ancestral & origin story beings. I have collected a large number of these rattles that I have donated to the UPENN Museum of Archaeology and Anthropology, Philadelphia PA, USA and the Museo de Ciencias Naturales in Caracas, Venezuela (now probably in dire straits). I also have visited almost all of the museum collections in the world with Pumé artifacts. Most collections have a couple of these rattles, going back to the early 20th century. I'm hoping to go to Paris this spring to look at the collection in the The Musée du quad Branly - sJacque Chirac with a small number of artifacts from the 1880s. Please send me an email, I'm near to Barcelona in Toulouse right now and would enjoy a chance to meet and discuss some of the anthropological question you raise here on RG.

Thank you very much for your bibliography recommendations, Agustín Ángel Diez Castillo . I just downloaded this material. I am sure it will be very useful.

Thanks for your reply Andy Reymann. I am especially interested in rock art representations of Mesolithic and Neolithic chronologies.

Rusty Greaves ... Thanks for your comment. This information is very useful for my research. I am very interested in knowing the role of dance in different hunter-gatherer societies in order to be able to think in a coherent way (without making direct analogies) about the importance of dance in the Mesolithic societies of the Mediterranean Arc of the Iberian Peninsula (who painted some dance scenes).

It would be a great pleasure to meet you to discuss this and other questions about hunter-gatherer anthropology. Through which email can I contact you?

Estimado Nemas, Is my Yahoo email here on RG? I don't recall the privacy policies about email addresses, I will send it in a private message. I have some opinions about why the Pumé dance so much that would be fun to discuss.

In the meantime, here are a couple images of a Pumé dance rattle. The first shows the dance linen carved in the gourd. I should have some others hiding on my computer I will look for to send you. This image shows men & women in a dance line. The figures are carved the same on this example, the men's lines have small "bundles" hanging down between them thet are the tassles of the dance rattles (now made from unwoven clothing, tied into tassel bundles [see 2nd photo] , formerly made of parrot feathers) that only men use during the singing and dance.

Rusty Greaves ... Thank you for sharing these images. It is very important for me to be able to see how traditional societies represent their dance rituals.

This is a great challenge when we try to find possible dance scenes in rock art, as we always run into a fundamental question: based on what iconographic elements can we classify a representation as dance?

This is a very difficult task. In most cases, the interpretations that indicate that a particular scene could be a dance are based on the simple fact that the scene is formed by an agglomeration of anthropomorphic figures. However, this is a very fragile argument, since this type of scene could be representing any other collective activity.

Dear Neemias,

if the pictures of Addaura Cave are authentic, they may be post-Palaeolithic representations of dance:

Article The Addaura Cave: Dance and Rite in Mesolithic Sicily

Best regards,

Stefan

Surely José Royo Guillén (Aragón Archeoloy State Department Zaragoza) disposes of information on Spanish Levantine Rock Art as well as Christian Horn (University of Gothenburg) on Scandinavian Rock Art.

Thanks for the recommendation of this article, Stefan Wenzel . I just downloaded it. It will be a very useful reference to carry out some comparisons and discussions.

Thank you Joachim Neumaier . I will contact them.

Please let me know, if the two researchers have provided any data.

Hello, you could also pay attention to the Onega Lake , Belomorsk/Zalavruga, and Kanozero petroglyphs (NW Russia) - three large complexes of rock art dated around 5-3 mill BC. Only hunter-gatherer-fishers). Monographs in English - Kolpakov, Shumkin 2012, Ernits, Poikalainen 2019 (and earlier).

Neemias & other interested folks - I have not yet had a chance to see this Cambridge Univ. volume on San ("Bushmen") rock art that I've identified below, but it appears to use of some 19th century ethnography in its approach to rock art in the Kalahari region. The title suggests a focus on "ritual", and I am unsure how much it may appeal to a scientific perspective and methods. As I've mentioned in some of my RG answers, my experience with the frequent Savanna Pume 11-hr all-night dances is that while the "ritual" is fun with beautiful signing, etc., the importance is in the maintenance of cooperative group interactions. Archaeology rarely provides a chance to address the context of our record in a manner close to the living experience of those responsible for that record. Although rock art may represent depictions from a short moment (or multiples as in the common practice of refreshing or adding to panels), it seems unlikely that we can easily unpack the "meanings" of the visual metaphors with the predominantly interpretive methods common in this field of research. I realize the book I;ve referenced below, as well as my own observations, is not about European rock art, but as I have gotten on my soapbox about before, I feel that creative ethnoarchaeology may offer the most promising opportunities to expand rock art studies beyond simplistically interpretive perspectives about rock art imagery. That will require more attention (fieldwork) among populations that do have some useful associations with the rock art of their current and ancestral social practices (not assuming any static use or function of the creation and visitation of rock art locations). As I have mentioned several times here on RG, the nearly impossible to find MA thesis of Jennifer Galindo is exemplary in this regard: working with an Australian Aboriginal population that does not refresh their local rock art (as some Aboriginal populations do) but knows the imagery that they use for the tourist bark art market, and the past/current demarcations of clan territories. Combined with her GPS work, she did not "decode" the imagery, but found exciting correlations between only 1 class of images (anthropomorphous) and the cultural landscape. The anthropomorphic figures that informants identified as clan symbols were associated with particular clan territorial boundaries, while animal images (except fish that were associated with streams) and styles of depiction (color, "x-ray" forms, geometric forms adorning parts of animal/human images, or abstract forms were ubiquitously ("randomly") distributed in the landscape. As I also have mentioned elsewhere on RG, the modern Native American Hopi people have a similar practice, looking for clan symbol markers on archaeological rock art as they visit areas even outside of the current Hopi reservation lands as part of their understanding of the pat migration of these many clans to the modern Hopi mesas, forming what they identify not as a "tribe" in the sense that most anthropologists define it, but a community of different clans. This view of past migrations is a very apt approach and cultural description (quite congruent with archaeological data on past population movements in this region) of the "prehistoric" migrations of groups in the American southwest, probably affected by climate and social changes.

Here is the Cambridge Univ Press volume I mentioned:

"Image-Makers:The Social Context of a Hunter-Gatherer Ritual" David Lewis-Williams, 2019. (Professor Emeritus at the University of the Witwatersrand, Johannesburg) Cambridge University Press, Cambridge. isbn: 9781108498210

Dear colleagues,

For those interested in rock art dance scenes:

Article Las escenas de danza en el arte rupestre levantino del Bajo ...