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Dear friends and colleagues, As you may be aware of, each assemblage of prehistoric and tribal art has a dominant theme. A forthcoming issue of EXPRESSION quarterly journal will consider this stimulating issue: what makes different cultures have different dominant themes in their visual art? Colleagues and friend are invited to elaborate this topic, on specific cases and/or on general or comparative issues. Can you identify the dominant theme of a tribal or prehistoric art group of your concern? Some ethnic groups focus their visual art on anthropomorphic figures, others on animals, and others again on signs, symbols or ideograms. Understanding the function of the dominant theme provides information on the cultural identity of their makers. Recent research shows that the dominant theme turns out to be a diagnostic element to define the conceptual, economic and social structure of the artist. It also awakens new reflections on the issue of the “dominant issue”, which is a recurring social pattern in every culture and every period. Some well-known sites of prehistoric art display millenary sequences of different phases showing changes in the dominant theme from one period to another. In the rock art of Gobustan (Azerbaijan), of the Kimberley and Arnhem Land (Australia) or of the Kondoa Province (Tanzania), stratigraphic successions show flat changes in the dominant theme, from one phase to the other. What is the meaning and function of the dominant theme? Visual art reflects the mind and soul of its artist, and trends of his/her ethnic group. The dominant theme varies but a dominant theme is always present, in every period, geographical area and category of visual art. A practical example, regarding the rock art of Tanzania, is presented in issue 18 of EXPRESSION quarterly journal. The dominant theme will not be the same in the frescoes of a Christian church and in those of a Buddhist temple, though in both cases the dominant theme will be that of anthropomorphic images. The ideograms associated to the pictograms will clarify the different identities. In prehistoric and tribal art each kind of economy is producing its dominant themes. The study of cases may help clarifying the cognitive system behind the choice of the dominant themes. A step further will be made in understanding the mind of the art-makers in different societies. Colleagues and friends having something to say are welcome to contribute their knowledge and ideas in this joint effort to go one step further. Should you be interested in sharing this experience please let us have a short abstract of your proposed paper before May 10, The deadline for submitting the full article is July 20, 2018 We look forward to hearing from you. Cordial regards, Emmanuel Anati Prof. Emmanuel Anati President, Atelier Research Center for Conceptual Anthropology Director, CISPE, Centro Internazionale di Studi Preistorici ed Etnologici President, UISPP-CISENP, International Commission Professor of Paleo-ethnology, (Ret) University of Lecce Honorary President, Centro Camuno di Studi Preistorici email <[log in to unmask]>