South African Heritage Policy and the Consequences for KhoiSan Rock Art: A National Question?

2013 ◽  
Author(s):  
Scott Timcke
Author(s):  
Mathodi F. Motsamayi ◽  

Beads and beadwork have played a role in South Africa’s Limpopo Province dating back to the pre-colonial times. Whether the beads were produced locally or imported via trading networks, the region already had a rich tradition of constructing beadwork before the arrival of Europeans. Today, this tradition is continued by new generations of women beaders. It has been found that literature on contemporary Limpopo beadwork produced by Vhavenḓa women is scarce. This article addressed this imbalance. It is vital to state that, during the last decade and in the context of South African heritage and tourism, there has been a steadily increasing number of scholarly studies on Nguni beadwork. This study offered new insights into contemporary beadwork traditions. It also contributed to an understanding of Vhavenḓa beading by drawing on the knowledge and experience of beadworkers, identifying influences from the past, and countering some stereotypical perceptions of beadwork production.


2021 ◽  
pp. 215-228
Author(s):  
Jeanne van Eeden

Radiocarbon ◽  
2011 ◽  
Vol 53 (3) ◽  
pp. 419-428 ◽  
Author(s):  
A Bonneau ◽  
F Brock ◽  
T Higham ◽  
D G Pearce ◽  
A M Pollard

The dating of South African rock art using radiocarbon is a considerable challenge and only 1 direct date has so far been obtained, on black pigments from Sonia's Cave Upper, Boontjieskloof. The main problem with direct dating these paintings is the presence of calcium oxalates behind, on, and within the pigment layers. Calcium oxalates are formed through lichen and bacterial action on the rock face. These reactions can sometimes take place over long periods and can incorporate carbon of a younger age into the pigments. This study aims to date black pigments from a rockshelter, RSA TYN2 (Eastern Cape, South Africa), by removing the calcium oxalate contamination. Two different protocols were tried: density separation and acidification. The latter successfully removed calcium oxalates and was therefore applied to 3 black pigment samples from the rockshelter. After acid pretreatment, accelerator mass spectrometry (AMS) dating was undertaken on the remaining residues. Three results were obtained (2072 ± 28 BP, 2100 ± 40 BP, and 2083 ± 32 BP), which constitute the oldest results so far obtained for direct dates on South African rock art. The most likely calibrated date range for the painting at this site is between 2120 and 1890 cal BP. The ages are in close agreement with each other and this consistency suggests that our preparation protocol has successfully removed the majority of the carbon contaminants.


Author(s):  
Anne Solomon

The shamanistic or neuropsychological model for interpreting rock arts generally, and hunter-gatherer rock arts in particular, emerged in South African rock art research. It has since been applied more widely, notably in efforts to explain the origins of art. The model has evolved over three decades, adapting to critiques and incorporating new ideas and theoretical advances. This chapter is concerned with its development, from its structural-semiotic origins to an account that attempts to incorporate history, diversity and the temporality of human action. The model’s adequacy as an account of visual production and whether it has escaped from the generalizations of grand theorizing are also considered.


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