Arts 2025, 14(2), 44; https://doi.org/10.3390/arts14020044 - 20 Apr 2025
Abstract
Late contact-era depictions of inter-group conflict in southern African rock art include references to the image-makers and their opponents, who must also have been able to view the images. Performance theory allows researchers to go beyond the conventional question about who made the
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Late contact-era depictions of inter-group conflict in southern African rock art include references to the image-makers and their opponents, who must also have been able to view the images. Performance theory allows researchers to go beyond the conventional question about who made the images by also addressing for whom the images were made. This case study uses performance theory to explore several details of the well-known conflict scene at Ventershoek (Jammerberg, Free State Province, South Africa). In it, ‘San hunter-gatherers’ appear to contest the possession of cattle, traditionally the property of ‘Bantu agro-pastoralists’. It is argued that, in addition to depicting conflict, the image-makers painted allusions to their ritualised, spirit-world mediation of conflict, their opponent’s use of protective war medicine and, potentially, lateralised symbols of cattle ownership that would have been comprehensible to audiences on both sides. It is argued further, from performance theory and the painted details, that the Ventershoek conflict scene contributed to the image-makers’ social construction of reality concerning their relationships with other groups.
Full article
(This article belongs to the Special Issue Advances in Rock Art Studies)
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