Shiona Moodley has book published

15 October 2012
The book Koma: Expressions of cultural identity investigates a recurring spread-eagled motif found in Northern Sotho rock art in the Makgabeng Plateau, Limpopo Province, South Africa. Previous research has pointed out two categories of Northern Sotho rock art that have been painted in two different phases yet this motif occurs in both. It is found in association with the older boy’s initiation rock art and the more recent protest imagery painted during the Maleboho war of 1894. The local inhabitants call this image koma. By meticulously exploring the secret boy’s initiation rites of the Northern Sotho, this book discusses how, as a painted image, koma operates on a level surpassing other initiation icons. It embodies a symbolic perception that was also of great importance in the struggle of the Hananwa people during the war. This book ultimately unveils the conceptual link between the two traditions of rock art and discusses how the koma is perceived in the construction and expression of a distinct cultural identity.

Koma: Expressions of cultural identity. The crocodile motif in the rock art of the Makgabeng Plateau, Limpopo Province, South Africa. Lambert Academic Publishing: Saarbrücken, Germany. ISBN: 978-3-8433-8205-2. Available at www.amazon.com and www.barnesandnoble.com

Head of Department and Museum Scientist

Shiona Moodley MA shiona@nationalmuseum.co.za

Shiona Moodley is Head of the Rock Art Department. She completed her MA in Archaeology majoring in Rock Art Studies at the Rock Art Research Institute at the University of Witwatersrand. Her research focus is initiation rock art, historical rock art and herder engravings in southern Africa. Shiona is devoted to teaching the public about the value of conserving rock art and promoting South African heritage.

Senior Research Assistant

Jens Kriek BA Hons jens@nationalmuseum.co.za

Jens Kriek is a Research Assistant in the Rock Art Department. He completed a BA Hons in Archaeology at the University of Pretoria. He assists with fieldwork, especially site location, documenting rock art sites and all photography.

Jens is responsible for all the Rock Art Department collections, including the rock art removals, photographic records, historic copies, tracings and historic documents. Jens is experienced in handling public requests and tourism issues. He has also published a series of popular rock art tourism articles.

Loubser, J., Brink, J. & Laurens, G. 1990. Paintings of the extinct blue antelope, Hippotragus leucophaeus, in the eastern Orange Free State. South African Archaeological Bulletin 45: 106-111.

Loubser, J. 1991. The conservation of rock paintings in Australia and its applicability to South Africa. Navorsinge van die Nasionale Museum, Bloemfontein 7: 114-143.

Loubser, J. & Brink, J. 1992. Unusual paintings of wildebeest and a zebra-like animal from north-western Lesotho. Southern African Field Archaeology 1: 103-107.

Loubser, J. 1993. Rock paintings of domestic ungulates in the Caledon River Valley area of southern Africa: understanding the interaction between hunter-gatherers and agriculturalists. In: Faulstich. P. & Taçon, P.S.C. (eds.). Dating and spatial considerations in rock art studies. Melbourne: AURA Occasional Publication 8: 101-110.

Loubser, J. 1993. A guide to the rock paintings of Tandjesberg. Navorsinge van die Nasionale Museum, Bloemfontein 9: 345-384.

Loubser, J. 1994. The conservation of rock engravings and rock paintings: removals to museums or selected exhibitions in the field? South African Journal of Science 90: 454-456.

Loubser, J. & Laurens, G. 1994. Depictions of domestic ungulates and shields: hunter-gatherers and agro pastoralists in the Caledon Valley area. In: Dowson, T. & Lewis-Williams, J.D. (eds.). Contested images: diversity in southern African rock art research: 83-118. Johannesburg: Wits University Press.

Loubser, J.H.N. &. P. Zietsman. 1994. Rock paintings of the postulated Brunsvigia sp. (Amaryllidaceae) at Thaba Bosiu, western Lesotho. South African Journal of Science 90: 611-612.

Loubser, J.H.N. 1996. A tale of two shelters: contrasting site management strategies in South Africa and Lesotho. In: Ward, G.K. (ed.) Management of rock art imagery. Melbourne: AURA Occasional Publication 9: 22-25.

Moodley, S. 2006. Rock Art and National Identity: A museum perspective. South African Museum Associations Bulletin 32: 85-87.

Moodley, S. 2008. Koma: Crocodile motif in the rock art of the Northern Sotho. South African Archaeological Journal 63(188): 116-124.

Moodley, S 2009. The socio-politics of rock art. In: Mitchell, P & Smith, B (eds.). The eland’s people: New perspectives in the rock art of the Maloti-Drakensberg. Essays in memory of Patricia Vinnicombe. Johannesburg: Wits University Press.

Moodley, S. 2010. Koma: Expressions of cultural identity.   Saarbrücken: LAP Lambert Academic Publishing.

Moodley, S. 2017. Soldiers of the Koma. Indago. 33: 13─21.

Moodley, S & Ponono, M. 2020. A historical perspective on culture and communication in South Africa. In Pathways Across Cultures: Intercultural Communication in South Africa. In Rivera-Sánchez, M & du Plessis, R. (eds). Cape Town: Juta and Company (Pty) Ltd.

Ouzman, S. 1995. Spiritual and political uses of rock engravings by San and Tswana-speakers. South African Archaeological Bulletin 50: 55-67.

Ouzman, S. 1995. The fish, the shaman and the peregrination: San rock paintings of mormyrid fish as religious and social metaphors. Southern African Field Archaeology 4: 3-17.

Ouzman, S. 1996. Thaba Sione: place of rhinoceroses and rainmaking. African Studies 55: 31-59.

Ouzman, S. 1997. Hidden in the common gaze: collective and idiosyncratic rock paintings at Rose Cottage Cave, South Africa. Navorsinge van die Nasionale Museum, Bloemfontein 13: 225-256.

Ouzman, S. & Wadley, L. 1997. A history in paint and stone from Rose Cottage Cave, South Africa. Antiquity 71: 386-404

Ouzman, S. 1998. Toward a mindscape of landscape: rock-art as expression of world-understanding. In: Chippindale, C. & Taçon, P.S.C. (eds.). The Archaeology of Rock-Art: 30-41. Cambridge: Cambridge University Press.

Ouzman, S. 2001. Seeing is deceiving: rock-art and the non-visual. World Archaeology 33(2): 237-256.

Ouzman, S., Taçon, P.S.C., Mulvaney, K. & Fullagar. R . 2002. Extraordinary engraved bird track from North Australia: extinct fauna, Dreaming Being and/or aesthetic masterpiece? Cambridge Archaeological Journal 12(1): 103-112.

Taçon, P.S.C., Fullagar R.K., Ouzman S. & Mulvaney K. 1997. Cupule engravings from Jinmium-Granilpi (Northern Australia) and beyond: exploration of a widespread and enigmatic class of rock markings. Antiquity 71(274): 942-965.

Kriek, J. 2004. Van Sjamans en skiektes tot Kompetisie vir kos: Leeus in San-Rotskuns. Culna. 59: 6-8.

Kriek, J. 2008. Public Rock Art Sites of southern Africa: Ha Liphapang, Lesotho. Culna. 63: 39-41.

Kriek, J. 2011. Public Rock Art Sites of southern Africa: Ha Baroana, Lesotho. Culna. 66: 10-11.

Kriek, J. 2014. Public Rock Art Sites of South Africa: Mokala National Park. Culna. 69: 22-23.

Kriek, J. 2015. Public Rock Art Sites of southern Africa: Erindi Private Game Reserve. Culna. 70: 14-15.

Kriek, J. 2016. Public Rock Art Sites of southern Africa: Farm Aar Geo Park, Namibia. Culna. 71: 22-24.

Kriek, J. 2017. Public Rock Art Sites of South Africa: Riemvasmaak, Northern Cape Province. Culna. 72: 18-19.

Kriek, J & Moodley, S. 2019. Public Rock Art Sites of South Africa: Mountain Zebra National Park. Culna. 73: 24-25.

Laurens, G. 1990. Aims and techniques of recording rock paintings. Culna 39:39-40.

Laurens, G. 1991. Some practical guidelines for conserving painted sites. Culna 40:9.

Loubser, J. 1990. The story of Soai: Bushman painters and engraver. Culna 39:21-25.

Loubser, J. 1990. Case hardening, silica skins and some ethical considerations in the conservation of rock paintings. Pictogram 3:1-2.

Loubser, J. 1990. Removals and in situ conservation: strategies and problems in rock art conservation at the National Museum, Bloemfontein. Pictogram 3:2-5.

Loubser, J. & den Hoed, P. 1991. Recording rock paintings: some thoughts on methodology and technique. Pictogram 4:1-5.

Loubser, J. 1992. Materials used by Bushmen to make rock paintings. Culna 42:16-17.

Loubser, J. 1993. Rock paintings of men with muskets near Smithfield. Culna 44:6-8.

Moodley, S. 2005. Rock Art and our National Coat of Arms. Culna. 60: 3.

Moodley, S. 2005. Public Rock Art Sites of southern Africa: Game Pass Shelter, Kamberg Nature Reserve. Culna. 60: 10-12.

Moodley, S. 2007. Public Rock Art Sites in the Free State: Oldenburg – Place of the eland. Culna. 62: 22-23.

Moodley, S. 2008. Rock Art for Sale? Culna. 63: 2-4

Moodley, S. 2022. The Buffalo in San Rock Art. Culna. 76: 14-15.

Moodley, S & Kriek, J. 2023. Rock engravings in the Vredefort Dome. Culna. 77: 24-27.

Moodley, S & Kriek, J. 2024. Public Rock Art Sites of South Africa: Kramberg Private Game Reserve. Culna. 78: 83-85.

Ouzman, S. 1994. In search of symbols: rock art past, present and future. Culna 47:5-8.

Ouzman, S. 1994. Rain from the mountain of Zion. The Digging Stick 11:2-5.

Ouzman, S. 1995. Lessons from the old masters: San rock art and Pierneef. Culna 48:24-28.

Ouzman, S. 1995. Discovering and documenting San rock art: what you can do for southern African history. Culna 49:8-10.

Ouzman, S. 1996. The San rock art displays of the National Museum. Culna 50:16-20.

Ouzman, S. 1996. An engraved touchstone from the Free State. The Digging Stick 13:1-3.

Ouzman, S. 1996. Archaeological symbols for the rainbow nation. World Archaeological Congress News 4:21-22.

Ouzman, S. 1996. The shocking tale of the fish and the whale: San rock paintings of mormyrid fish. Ichthos 50:7-9.

Ouzman, S. 1997. Public rock art sites of the Free State: Tandjesberg. Culna 52:32-34.

Ouzman, S., Taçon P.S.C., Fullagar, R. & Mulvaney, K. 1997. The world’s oldest rock art? Cupule engravings from the Top End of Australia. The Digging Stick 14(3):4-7.

Ouzman, S. 1998. Public rock art sites of the Free State: Stowlands. Culna 53:3-4.

Ouzman, S. 1998. A painted fragment of Bushman history from Qwa Qwa National Park, South Africa. The Digging Stick 15(2):4-7.

Ouzman, S. 1999. Reply to Elspeth Parry’s comment on ‘A painted fragment of Bushman history from Qwa Qwa National Park, South Africa’ The Digging Stick 16(1):8-10.

Ouzman, S. 1999. Public rock art sites of the Free State: Magical Modderpoort. Culna 54:12-13,16.

Ouzman, S. 1999. 'Koeka ka kie, hents op bokkor of ik schiet!' Introducing the rock art of the South African Anglo-Boer War, 1899-1902. The Digging Stick 16(3): 1-5

Ouzman, S. 2000. Public rock art sites of South Africa: Schaapplaats. Culna 55:27-28.

Ouzman, S. & Loubser, J. 2000. Art of the apocalypse: southern Africa’s Bushmen Left the Agony of their End Time on Rock Walls. Discovering Archaeology 2(5):38-45.

Eastwood, E., Ouzman, S. & MacWhirter, D. 2000. Koaxa’s shelter: the first public rock art site in the Limpopo-Shashi confluence area of South Africa. The Digging Stick 17(1):1-6.

Morris, D. Ouzman, S. & Tlhapi, G. 2001. The Tandjesberg San rock art rehabilitation project: from catastrophe to celebration. The Digging Stick 18(1):1-4.

Ouzman, S.G. 2001. The problems and potentials of developing and managing public rock art sites in southern Africa. Pictogram 12:4-13.

Ouzman, S. 2002. Thomas Baines’ ‘lost’ rock art site: a 152-year-old mystery solved. The Digging Stick 19(1): 6-7.

Ouzman, S. 2002. Public Rock Art Sites of Southern Africa: Thaba ya Sione. Culna 57:11-13.

Ouzman, S. & Feely, J. 2002. Black or White? The identification and significance of rhinoceros in South African Bushman rock art. The Digging Stick 19(2):9-12.

Tlhapi, G. 2001. Public rock art sites as tourist attractions and outdoor classrooms. Culna 56: 20-21.

Tlhapi, G. 2002. Practical and ethical ways of developing South Africa s Public Rock Art Sites. Culna 57:34-3

Southern African rock art has long been seen as a part of our prehistory that is enjoyed by a select few. Recent attempts to disseminate insights gained from rock art research to as wide an audience as possible in a variety of media have seen some positive interest in rock art. Various rock art publications, be it academic or popular, have revealed that the interpretation and presentation of the art has clearly influenced public perception. This is evident in the demand for visits to rock art sites by learners and local and international travellers. We have welcomed this by continually striving to offer these visitors professionally managed and visually appealing rock art sites.

The Rock Art Department endeavours to convince all South Africans to take ownership of our heritage. Rock art should no longer be perceived as belonging only to ancient communities that are revered from a distance. The incorporation of rock art into South Africa's national coat of arms serves to strengthen the view that our ancient cultures are very much a part of our new nation. The knowledge held in the rock art is ours as this is our nation, not separate from the past, present or future. We are therefore responsible for the preservation of our heritage, and we ask that all visitors, local and foreign, gracefully respect this.

Legislation

All rock art is protected by the National Heritage Resources Act (No. 25 of 1999) published in Government Gazette 19974, volume 406, dated 28 April 1999.

National Heritage Resources Act

No 25, 1999

This legislation aims to promote good management of the national estate, and to enable and encourage communities to nurture and conserve their legacy so that it may be bequeathed to future generations. Our heritage is unique and precious, and it cannot be renewed. It helps us to define our cultural identity and therefore lies at the heart of our spiritual well-being and has the power to build our nation. It has the potential to affirm our diverse cultures, and in so doing shape our national character.

The National Estate may include (b) ROCK ART, being any form of painting, engraving or other graphic representation on a fixed rock surface or loose rock or stone, which was executed by human agency, and which is older than 100 years, including any area within 10m of such representation.

Rock art tourism

Cultural Tourism is a growing financial resource that if handled well, can be socially aware and culturally responsible. If handled badly this form of tourism becomes a disempowering form of cultural appropriation. Anyone wishing to allow public visitation to a rock art site, whether for financial gain or not, must ensure that they comply with the relevant legislation. Opening a rock art site should not be undertaken before you have received professional advice.

It is important to note that you are required by law to apply to the South African Heritage Resource Agency (SAHRA) before any site is opened for public visitation.

The fixed setting of museum environments has done much to contribute to the popular opinion of reverence from a distance, despite countless attempts by archaeologists to erode this belief. Recent museum discourses have explored the contentious issue of visitor experience. Sensory stimulation and educational communication aside, museums are caught up in an intricate web of identity politics. Exhibitions and educational endeavours are constantly being re-evaluated considering new research into visitor experiences. Our first objective is to dispel the misconception that a museum is only relevant to the past. The aim here is to allow the Museum to connect with and link up to the present. The Rock Art Department endeavours to identify the needs of visitors and meet their expectations of a unique museum experience.

Charles Street Display

The Charles Street Display is a permanent exhibit that is housed in a specially erected building outside the National Museum, facing Charles Street. This allows passers-by to view the exhibit without leaving the sidewalk. The display is the Knellpoort rock art panel that was rescued from being submerged by the construction of the Knellpoort Dam. With the assistance of the Department of Water Affairs and under the supervision of former Head of the Rock Art Department, Jannie Loubser, this 12-ton rock art panel was cut out of the rock shelter using an intricate drilling process that was completed in July 1988. Photographs of the panel’s removal and installation form part of the exhibit, as well as accompanying sketches of individual images and their descriptions. This information serves to make the exhibit easier to understand.

Cave Exhibit

Modelled on sandstone formations in the eastern Free State, our cave exhibit endeavours to bring rock paintings from the veld to the museum visitor. Many visitors to the National Museum have never seen rock paintings in its original rock shelter. By adorning the fibre glass cave reproduction with scenes and imagery from all parts of the Free State, we hope that the visitors can enjoy the experience of visiting a rock art site in a museum setting.

Rock art is a finite and fragile resource, and the National Heritage Resources Act (25 of 1999) protects all rock art sites. It is an offence to damage rock art and other archaeological artefacts.

Etiquette when visiting Rock Art Sites

• Always obtain permission from the landowner or relevant authorities before visiting a rock art site.
• Visit rock art sites with trained guides.
• Never touch, lean on or brush against the rock art.
• Never throw water or any liquid on the images.
• Never write, scratch or make markings on the images themselves or anywhere in the rock art site.
• Never remove any archaeological artefacts from rock art sites.
• Tread carefully and avoid stirring up dust from the floors at rock art sites.
• Report all vandalism to the police and/or contact the South African Heritage Resource Agency.
• Respect all rock art sites as places of great spiritual significance to all South Africans.

Caledon Nature Reserve

Location

Located between Wepener and Smithfield, Free State Province, South Africa. Take the R26 out of Wepener, direction Hobhouse for 8,5 km. Turn left onto the R701 dirt road to Smithfield and continue for 9 km until you see the ‘Caledon River Nature Reserve’ sign on your right. Go to the office where you will be assigned a guide who will take you to the site.

Contact

Caledon Nature Reserve

Wepner

Tel: +27 51 583 2000.

What is there to see?

Superbly preserved site with Bushman rock paintings of eland, cattle, hippo, a huge snake, eland and human figures. Visited by the artist Walter Battiss in 1940s. The two panels of the site represent ‘traditional’ and ‘contact’ motifs’ that show how the Bushmen coped with change in the Caledon River Valley.

Additional information

Inform Caledon Nature Reserve of your visit well in advance because access to the site is by guide only. Access is restricted during the winter hunting season. The town of Wepener has limited facilities and offers a gateway into Lesotho via the Van Rooyenshek border post.

Recommended reading

Loubser J. & Laurens, G. 1994. Depictions of domestic ungulates and shields: hunter-gatherer and agro-pastoralists in the Caledon River valley area. In: Dowson, T.A. & Lewis-Williams, J.D. (eds.).Contested images: diversity in southern African rock art. Johannesburg: Witwatersrand University Press.

Golden Gate Highlands National Park

Location

Located in the northeastern Free State at the foothills of the Maluti Mountains this national park has several rock art sites that are accessible on guided tours. From either Clarens or Harrismith, follow the R712 to Glen Reenen Rest Camp.

Contact

Golden Gate Highlands National Park

Clarens, Free State Province

Tel: +27 58 255 1000

Email: goldengate@sanparks.org

What is there to see?

There are several sites in GGNP made by San and Korana artists. Arguably the most visually spectacular images are from the site, Korfshoek, located on the eastern side. Images here include a supernatural serpent, a spiritual healer with a body pierced with multiple arrows and cattle from the contact period.

Recommended reading

Ouzman, S. 2005. The magical arts of a raider nation: Central South Africa’s Korana Rock Art. The South African Archaeological Society Goodwin Series 9: 101-113.

Modderpoort

Location

Located between Ladybrand and Clocolan, Free State Province, South Africa. Travel north out of Ladybrand, direction Clocolan on the R26 for 10 km. Turn left at the ‘Modderpoort’ sign and travel 4 km. Cross over the railway line at Modderpoort. Travel 200 m on dirt road and turn off left at ‘St Augustine’s’ sign. Report to reception for the start of a self-guided trail.

Contact

Anglican Mission Station
St Augustine’s Bed & Breakfast and Conference Centre
Ladybrand, Free State Province
Tel. +27 82 550 4555

What is there to see?

Bushman rock paintings of birds, a cattle raid, eland and human figures. Also, home to the sacred sites of the Anglican church, the Sotho prophetess Mantsopa’s grave and the Zionist Christian Church’s Cave Church. Beautiful surroundings and a special atmosphere. A real hierophany.

Additional information

Good accommodation and meals at St Augustine’s. Ladybrand has most facilities and is only 17 km from Maseru, capital of Lesotho. Modderpoort is one of South Africa’s 12 Rock Art National Monuments.

Recommended reading

Ouzman, S. 1999. Public rock art sites of the Free State: Magical Modderpoort. Culna 54:12-13,16.

Schaapplaats

Location

Located near the popular tourist town of Clarens. Travelling from Fouriesburg to Clarens on R711, pass the Clarens turn off on the left and take the next turn to the right. Travel to the end of the road where the farmstead is. Once you have reached the farmhouse at Schaapplaats there are signboards that take you to the start of the hiking trail. The owners have an honesty box for a contribution of R20 per person. The walk to the site is a gentle but scenic hike along a secluded tributary of the Little Caledon River.

Contact

Schaapplaats Farms
Clarens, Free State Province

The site is easy to find and well sign boarded. No contact details are available

What is there to see?

A large painted cave with 35 Bushman rock paintings. These include 8 paintings of therianthropes or part-human, part-animal beings that represent Bushman shamans utilising the potency of certain powerful animals whilst in an altered state of consciousness. There are also some beautiful eland and a rhebok hunt. Look out for the fossil footprint at the site.

Additional information

The farm offers accommodation, as does the town of Clarens. Schaapplaats is one of South Africa’s 12 Rock Art National Monuments.

Recommended reading

Ouzman, S. 2000. Public rock art sites of the Free State: Schaapplaats. Culna 55: 8-10.

Tandjesberg

Location

Located between Ladybrand and Clocolan, Free State Province, South Africa. Travel north-east out of Ladybrand, direction Clocolan on the R26 for 10 km. At the ‘Modderpoort’ sign turn right onto a dirt road. Travel until you get to a T-junction. Turn left and cross over the bridge. Just after you pass a road going off to the left, there is a ‘Tripolitania’ sign on the left. Turn in here and go to the farmhouse for directions and key to the site and game reserve.

Contact

Mr John Liguori
Tripolitania Farm
Ladybrand, Free State Province

Tel: +27 51 9242 475

What is there to see?

Small, spectacular shelter with over 500 Bushman rock paintings. See bees, birds, cattle, exotic elephant, a frenetic medicine dance, animated human figures, rain-animals and the enigmatic ‘weird white’ tradition. Archaeological excavations establish that Bushmen lived here for at least 1 000 years. An important pilgrimage site located among the impressive tandjes or ‘teeth’ of sandstone.

Additional information

Tandjesberg is one of South Africa’s 12 Rock Art National Monuments. A site maintenance fee of R20-00 per person is levied. Facilities include a stone floor and interpretative display board.

Recommended reading

Ouzman, S. 1997. Public rock art sites of the Free State: Tandjesberg. Culna 52:32-34.

Thaba Bosiu

Location

Located at Thaba Bosiu, premier National Monument of Lesotho, 25 km south-east of Maseru, capital of Lesotho.

Contact

Thaba Bosiu Cultural Village
Maseru, Lesotho

Tel: +266 5884 0018

Email: info@thevillage.co.ls

Website: www.thevillage.co.ls

What is there to see?

Apart from being the stronghold of King Moshoeshoe I, founder of the Basotho nation, there is also a rock art site on Thaba Bosiu. The site is hidden but it is worth seeking out as it contains a rare Bushman rock painting of a plant. This plant – a Brunsvigia – has many medicinal properties. Also painted are eland, a Basotho shield and a giraffe – an animal that is and was exotic to this area.

Recommended reading

Loubser, J.H.N. &. Zietsman, P. 1994. Rock paintings of the postulated Brunsvigia sp. (Amaryllidaceae) at Thaba Bosiu, western Lesotho. South African Journal of Science 90:611-612.

Wildebeest Kuil

Location

Located between Kimberley and Barkly West, Northern Cape Province, South Africa. Travel north-west out of Kimberley, direction Barkly West on the R31 for 14 km until you see a low hill and white building (the Interpretative Centre) on the left. Turn into the parking lot and report to the Interpretative Centre.

Contact

Wildebeest Kuil Rock Art Centre

Kimberley, Northern Cape Province

Tel: +27 53 839 2747

What is there to see?

Over 300 Bushman and Khoe rock engravings. See buck spoor, dancing human figures, elephant, geometric motifs, goat-like animals, and incised horse from more recent times, the lion with two tails, rhinoceros and wildebeest.

Additional information

This is the first time in modern South African history that the San legally own and manage a rock engraving site of their ancestors. Wildebeest Kuil has been fully developed with walkways, audio tours, guides and Interpretative Centre. An excellent shop has authentic contemporary artworks as well as handicrafts on sale. Drinks and snacks are also available. There is extensive and enigmatic stone walling at Wildebeest Kuil. Some of it is recent; some may relate to the engravers. Great view over the flat landscape.

Recommended reading

Morris, D. 1987. Excursion to Wildebeest Kuil, Klipfontein, Driekopseiland and Vaalpan. 4th Rock Art Colloquium. Kimberley, October 1987.

International bodies

International Federation of Rock Art Organisations

UNESCO World Heritage Commission and ICOMOS

The Bradshaw Foundation, a world-wide rock art preservation group

Africa

Rock Art Research Institute

Kuru Kalahari Art Project Botswana

Indigenous Southern Africans

http://www.xukhwe.co.za

Americas

American Rock Art Research Association

Asia

Rock art of China

Rock art of India

Australia

Australian Rock Art Research Organisation

Europe

TRACCE Online rock art bulletin

France

Take a look at the Lascaux Cave and its rock art (this web site won the International Academy of Digital Art's "Webby Award 2000".

Feedback

Contact us on any aspect of rock art – report new sites, vandalism, raise concerns, ask questions, offer answers - at:  rockart@nationalmuseum.co.za