Monologue and multivocality in San rock art studies

J-M Dederen,J Mokakabye

doi:10.18820/24150479/aa50i1.3

J-M Dederen, J Mokakabye

Open Access

https://doi.org/10.18820/24150479/aa50i1.3

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Abstract

It is contended here that the leading approach in San rock art studies, commonly referred to as the shamanistic model or theory, has evolved over a period of three decades into a dominant voice. The prominence of this particular theoretical orientation has obscured alternative ways and means of understanding the artistic heritage of the hunter-gatherers who once inhabited the sub-continent. In order to stimulate multivocality and debate the authors have identified, by means of an extensive literature search, the diverse vantage points from which the paintings and engravings of the San could be examined. Based on the results of their survey a more inclusive form of analysis is first proposed and then briefly tested against a composite painting from a rock art site in Limpopo.

Highlights

It is contended here that the leading approach in San rock art studies, commonly referred to as the shama nistic model or theory, has evolved over a period of three decades into a dominant voice
It was initially proposed that San rock art was essentially ritualistic and religious in nature, a hypothesis which had been pioneered by Pager (1975) and Vinnicombe (1976)
In order to demonstrate the impact the shamanistic model has had on rock art studies we only need to consult the relevant section in a general textbook such as The Archaeology of Southern Africa (Mitchell 2002: 192-213)

Summary

Birth and growth of a paradigm

Advance in an academic discipline is routinely achieved when a new paradigm is created in opposition to one or more existing ones. Over-privileging a particular point of view, exciting as it may appear to its supporters, is bound to create an analytical monologue Each of these truisms, it is proposed by the authors, characterises well the mainstream theory in rock art studies. The final phase is Dederen & Mokakabye / Monologue and multivocality in San rock art studies further characterised by a renewed and intensified interest in the development of human consciousness and cognition. This is exemplified by San Spirituality (Lewis-Williams and Pearce 2004: 29-37) and Conceiving God (Lewis-Williams 2011), which probably represents the apex of the trend

The shamanistic model

Rock art monologue

Many meanings

From monologue to dialogue

Applying multivocality: some preliminary reflections

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