 Before getting into my paper, I would like to thank the organizers for giving me the chance to take part in this cool session on rock and ritual. As osmotic membranes where the supernatural could be encountered, but also as powerful liminal thresholds of transition and transformation, caves were used as ritual escapes by the proto-historic and Roman population of Hispania Celtica, from the 4th century BC to the 3rd century AD. Archaeological, textual and iconographical records of a diversity of ritual activities are found in caves of Celtic Rome and Spain. But despite its potential, these dark-eyed places and its rituality remind to be under study due to avias in previous scholarship. For instance, prehistoriens usually do not bother about the remains of late Iron Age and Roman times. Classical epigraphies usually have focus on the text rather than on the context, so we no concern for the ritual landscape or for the religious experiences and emotions of the individuals who wrote the descriptions. And regarding ancient historians, they usually do not work into the muddy topographies of darkness. However, a multiplicity of ritual activities are way to be studied. On the basis of my fieldwork in progress, here I would like to explore and discuss some issues of the Celtic Roman cave rituality in Spain. A main theme is the centrality of darkness in the ceremonies helped it inside the cave. Science most of the artifacts and texts were intentionally placed in the darkest areas, farthest from entrances and daylight. A useful theoretical framework within to play these rituals is that put forward by Mojiz, sacred darkness, and by Dawn and Hensie in the archeology of darkness. Where they explore how darkness itself must be understood as an integral part of underground religion and not an incidental one. What? What should I do? Okay, okay, thanks. The phenomenological and emotional insights from Tilly, Lewis, Williams, Bradley, or Tarlos works can be useful as well to understand the significant role placed by darkness in removing the explorers from the everyday world on the surface and in shaping the emotions and ritual experiences. Moreover, we know that in Roman antiquity, darkness and underground places work both in terms of sensory emotional experience and in terms of symbolism with complex metaphoric meanings such as death, thrilling of evil powers, other world, fertility, shelter, etc. But in the past, the caves also were thought and lived as liminal thresholds to be close to enter in a different extraordinary escape. Actually, working into and through the dark cave has effects on senses and emotions, disorientation, lack of time reference, isolation, sensory deprivation. In the vacuum of darkness, self-experience is intensified, promoting then religious sensitiveness. In these rock-smotic membranes where the supernatural could be felt and faith. In fact, Groenen has spoken of the fearsome presence of unseen powers lurking in the dark of the caves, who can appear, blur and disappear in a reality continually in flux. Since the light sources available to Celtic Roman explorers mainly tortoises were constantly moving and creating dynamic interplays of light, shadows and darkness. Therefore, darkness itself is the landscape context of the ritual and is per se an integral part of the religious activity that took place in Spanish caves. In fact, although these caves vary in shape and size, and in the nature of the rituals carried out there, there is a consistent ritual use of the darkest chambers of the caves. This location implies that the participant took a difficult journey into the dark to encounter the supernatural powers. But apart from the centrality of darkness, these Spanish caves sow a multiplicity of rituals in late Iron Age and Roman times. Not being possible to go into further detail of every cave of Spain where Celtic Roman rituality is recorded, I want to discuss a list several of the ritual practices attested there. Celtic variant and Latin descriptions were carved in the walls and floors of the caves by people moving through them from the 1st century BC to the 1st century AD. Who used them to remark and memorialize their individual and collective identities. For instance, the majority of the Latin texts from the cave of La Griega are not theonyms of ritual formulae but personal names. Son of 10 were carved in different zones of the caves, but it is difficult to know if they were made by the same person in a single journey or in several trips or by individuals with the same name at different times. Due to they are located in cool places, we assume that all these texts had a religious meaning. But Son of 10 could be rather the testimony of adventurous people from local communities exploring the cave, who wrote their names as a record of their bravery as documented by medieval and modern graffiti in the same caves. In any case, Celtic variant and Latin religious descriptions were certainly produced in caves of Hispania as part of ritual processes. And they become themselves part of the reality of the sanctuary and its visual dynamics. Regarding the date it is related to these caves, we know that several vernacular gods were worshiped at La Griega. Nemedus Augustus Ayuncus, the watery goddess Deva, Monius and perhaps also the god Doeoerus. Some graffiti are traditional religious Latin formulae such as Cantienus Botun Solvus. Others attest ritual practices carried out by male couples, probably delegated from local communities or even ritual specialists. That rituality by couples is attested as well in other caves of Hispania such as Cueva Negra de Fortuna, In Murcia, Sala del Jurat as Mario has explained earlier, and the cave of Roman in Clunia. However, we don't know the precise nature of the rituals carried out underground by these male couples. Celtic Roman religious recycling of prehistoric rock art is attested in Spanish caves. For instance, in the cave of San Garcia where a Celtivarian text was carved close to bronze 8 carvings and at La Griega, where the Latin writers incorporated the Paleolithic horses into the ritual activity and medical discourse, perhaps identifying the figures as signs from the gods or using them as symbolic animal sacrifice. And so there are possibilities. This ritual recycling is also documented at other rock places in Hispania, the rock shelter of Roca de los Moros, Cuevul, where Iberian and Latin texts were located near Neolithic paintings. Regarding underground rights of Pashach, a scholarly tradition has associated with the caves. The sensory and emotional experiences of individuals moving through the dark will have served to still a feeling of changing personhood, of personal transformation. Indeed, the participants could have experienced themselves death and renewal. Entering to the cave was experienced as going into the other world to re-emerge from there as a new person. Reborn from the Earth's uterus. But as attested by a Latin text from Cueva del Puente, here, where its author declares himself as a timence fearful, the emotion of fear could have been intentionally provoked by ritual specialists in these caves as part of rituals of terror using Harvey Whitehouse expression, which is related with the imagistic model of religiosity, so on before. According to that, several scholars have related the 3rd century AD Latin escapistons carved on the walls of Cueva del Puente to rituals to grain bribery performed by young teenagers following pre-roman traditions. However, this text rather seemed to document a cave exploration by a military group from close badass. A male skeleton legend on the floor of the gallery of Villaseca in Ojovareña has been identified as a 4th century busy young man who got lost in his journey through the darkness. Nevertheless, there are no clues about his reasons to go into the cave. Was he as an explorer? Was he performing a ritual activity that perhaps included the collection of water from a closed dam? Did he die in situ or was he intentionally buried here by his contemporaries? There is another possibility that this skeleton actually belonged to a prehistoric burial and that the 4th century busy Fibula and Belph found near the bones were Iron Age offerings. This ritual manipulation of prehistoric skeletons in caves is also attested in Cofercenedo cave, where late Iron Age weapons were located close to a bronze age skeleton. Another example of the diversity of rituals carried out in dialogue escapes of Celtic Roman Spain is the performance of ritual activities inside mines. Dealing with the harsh experience of digging under constant threat, miners addressed it to local ectonic deities in order to placate them and to ensure their protection through ritual practices, which included offering of tools, pottery, metallic items, coins and altars, such as this one thrown at Los Ocedo or this altar from the cave of Elvalle. The Latin escapions, carvings and figurines found at the cave of Roman are part of the rituals performed under the Roman city of Clunia from the 1st to the 2nd century AD. Several texts document math, therapy or male genitals and perhaps on eyes and feet too. And the clay heads and penises could be anatomical vota related to this healing sanctuary, but there is not clear evidence about the ritual processes. Although identified as a pre-apic sanctuary, the carving published data makes it impossible to understand its dynamic or even identify the gods worshiped there. Although they have left no trace, other religious practices could have been carried out in this underground context according to ancient and ethnographical parallels, such as lightening of candles, playing of music, magical practices, incubation, modification of spilotherms, and ritual performances that could have included gods epiphanies and manipulation of darkness. According to my own anthropological experience as participant observer in the artistic venues celebrated inside Spanish-sold mines by the artistic group Charutan, strong emotional and almost spiritual responses can be provoked in participants with music and theatrical apparatuses that leave no archaeological trace. Therefore, the possibility that gods epiphanies are to place in our case by actor or ritual specialists should not be dismissed. And luckily, the surviving record makes it difficult to understand the complex meanings and dynamics of the cave rituality attested in Celtic Roman Spain and even the frequency with which they were visited and performed. We do not know how regular or irregular such rituals were or the different ways of moving through the cave, for example, or even if these caves were for a celled view. While physically open to taboo or religious restrictions, don't provoke the gods of the underworld. Sorry, we don't know if these caves were for a celled view or physically open to taboo or religious restrictions related to age, gender, social status, religious wisdom or specific ritual functions may have meant they were off-limits for the majority of the population. Actually, the low presence of women epigraphically attested in this case is stunning. Only three women among almost 200 tests by mail. Was this gender bias related to religious taboos or to a minor level of literacy? Another unsolved issue is the chronology of the ritual uses of these caves and its dynamic transformation. Anyway, all these examples show that in caves of the Celtic Roman Spain, polyvalent ritual practices were performed by different agents with different identities and goals. However, more fieldwork, modern theoretical approaches and new lectures of descriptions are compulsory if we want to enlighten the potential of these drug escapes and its rituals for understanding Celtic Roman religions. Meanwhile, I'm afraid that this cave rituality is still framed by the darkness. Thanks a lot.