This article offers an interpretation of dumbbell and circular shapes in the rock art repertoire of Uganda using a contextual interpretive approach based on Pygmy ethnographies. It provides a key to unlocking how Pygmy groups experienced their cosmos and demonstrates the associations of rock art images in Pygmy thought in an attempt to explain their symbolism. In so doing, the rock art in Uganda is placed into a new conceptual framework stressing Pygmy affiliations. This approach unlocks aspects of geometric rock art hitherto not understood.
Using digital technologies in the process of collecting and documenting oral heritage allows previously marginalised voices to feed into heritage and historical narratives for rock art heritage tourism. Literary heritage narratives have tended to dominate the dissemination of information on African heritage, whereas African cosmologies and oral traditions are the intangible values of place that attract visitors to heritage sites. In the Makgabeng, oral heritage narrated through stories, songs, dances and poetry and collected using digital technologies will help preserve African values threatened by the onslaught of Western ones, especially through written European languages and social media. The Makgabeng Community Rock Art Project re-values the role of elders in sustainability of heritage tourism initiatives and the integration of a community structure as a sustainable Bready-made^framework to heritage management in Africa. « Makgabeng Community Rock Art » vise à intégrer les communautés locales dans des projets de mise en tourisme des sites d'art rupestre et à élaborer de nouveaux cadres d'actions pour la gestion patrimoniale en Afrique.
There are so many things to be thankful for and so many people to give gratitude to that I will not forget them, but only mention a few. First and foremost, I am grateful to my mentor and supervisor, Associate Professor Benjamin Smith who has had an immense impact on my academic evolution, for guidance on previous drafts and for the insightful discussions that helped direct this study. Smith's previous intellectual contribution has been one of the corner stones around which this thesis was built. I extend deep gratitude to Professor David Lewis-Williams for his constant encouragement, the many discussions and comments on parts of this study. His invaluable contribution helped ideas to ferment. I am greatly indebted to Collin M. Turnbull for his insightful anthropological studies that inspired the many ideas in this thesis. In a special way, I thank my brother, Jimmy Kutosi for his invaluable support that enabled fieldwork in Uganda. Special thanks go to Susan Ward, the British Institute for East Africa, The University of Witwatersrand and the Rock Art Research Institute for the generous financial support to this study. Special thanks also go to Professor Merrick Posnansky for encouraging me along the way, and to Dr. Andrew Reid for all the support-mwebale nnyo ba ssebbo! To Dr. Geoff Blundell for inspiring me! In Kisumu, Kenya, a huge asante saana to Jack Obonyo of the Abasuba Community Museum, Dr. Mzalendo Kibunjia of National Museums of Kenya and Amolo Ng'weno of the Trust for African Rock Art, for assistance to Mfangano Islands. I recognise the contribution of the Uganda National Research Council for the permits and Dr. Ephraim Kamuhangire of the Uganda Museum for introductory letters that facilitated fieldwork in Uganda. To my research assistants: Micheal Robert Okwi, Dismas Ongwen and Alex Tamale, thank you very much for working tirelessly to ensure my fieldwork was successful. To Mbaziira v Hannington, webale byonna, byonna! In all the districts visited in Uganda, I am grateful for the support received from the Local Council Chairpersons at various levels, security operatives and the police for ensuring security during fieldwork. I particularly thank the staff of El-Nino Guest House, Kumi district, for the excellent service. To Mzee Francis Okerenyang and Mzee Ikara of Nyero, yalama noi! To Fred Kisubi of Fisheries Department on Lolui Islands, weebale ino! Thanks for your help! I thank all my dear colleagues and friends: Paulo Kagoda,
In this paper the author places the rock art of Uganda in context. It probably belongs to the Late Stone Age period to the Holocene and its symbolism may be interpreted in the light of later belief systems recorded amongst the historical Pygmy people. Pongo is the bark cloth used to make the distinctive loin cloths of men and aprons of women. Pongo are probably depicted in the rock art to evoke the fecundity of ndura, linking the real and supernatural within the Pygmy cosmos.
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