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DESCRIPTION:The impact of contact and colonization on indigenous worldviews, rock art, and the history of Southern Africa – ‘the disconnect’ Public lecture by Dr Sam Challis, the Director of the Rock Art Research Institute at Wits.
<br />Rock art in Southern Africa testifies to successive interactions among hunter-gatherers, incoming African herders, African farmers, and, later, European settlers. New subject matter, however, is not simply incorporated into the pre-existing tradition. Images that depict novel motifs are made differently from the &ldquo;traditional corpus,&rdquo; usually rougher in appearance (in both paintings and engravings), more dynamic, or made with vivid and chalky paints.
<br />The drop in pigment quality is likely owing to the disruption and ultimate decimation of indigenous groups and the subsequent breakdown in trade and social communications &ndash; &ldquo;the Disconnect&rdquo;. The changes owe more, it seems, to the increasingly mixed membership of the art-producing people and the mixing of their cosmologies, albeit with specific cultural survivals.
<br />Precolonial contact images speak to a multitude of interactions that can inform the archaeological record, and colonial-era rock art constitutes a major component of the historical archive that offers a reverse gaze from an indigenous perspective.&nbsp;
X-ALT-DESC;FMTTYPE=text/html:<strong>The impact of contact and colonization on indigenous worldviews, rock art, and the history of Southern Africa – ‘the disconnect’ </strong><p>Public lecture by Dr Sam Challis, the Director of the Rock Art Research Institute at Wits.</p>
<br /><p>Rock art in Southern Africa testifies to successive interactions among hunter-gatherers, incoming African herders, African farmers, and, later, European settlers. New subject matter, however, is not simply incorporated into the pre-existing tradition. Images that depict novel motifs are made differently from the &ldquo;traditional corpus,&rdquo; usually rougher in appearance (in both paintings and engravings), more dynamic, or made with vivid and chalky paints.</p>
<br /><p>The drop in pigment quality is likely owing to the disruption and ultimate decimation of indigenous groups and the subsequent breakdown in trade and social communications &ndash; &ldquo;the Disconnect&rdquo;. The changes owe more, it seems, to the increasingly mixed membership of the art-producing people and the mixing of their cosmologies, albeit with specific cultural survivals.</p>
<br /><p>Precolonial contact images speak to a multitude of interactions that can inform the archaeological record, and colonial-era rock art constitutes a major component of the historical archive that offers a reverse gaze from an indigenous perspective.&nbsp;</p>
SUMMARY:The impact of contact and colonisation on indigenous worldviews, rock art, and the history of SA...
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