Red Lines and Arrows: Attributes of Supernatural Potency in San Rock Art of the Northern Province, South Africa and South-Western Zimbabwe

The Materiality of Rock Art and Quartz: a Case Study from Mpumalanga Province, South Africa

“…Twentieth-century ethnography shows that flywhisks were not used in any contexts other than the medicine dance (Lee 1967, 31;Marshall 1969, 358;Lewis-Williams & Pearce 2004, 88). Although the positioning in both the Malilangwe and Mpumalanga paintings may simply illustrate flywhisks attached to waistbands or placed in (unseen) bags, it is more likely that, given the clearly depicted overall ritual context of the images, their placement is related to concepts of supernatural potency and somatic experiences (Pearce 2009, 339; see also Eastwood 1999). For the San, the lower back and the belly -both of which are 'penetrated' by flywhisks in numerous paintings -are important parts of the body during the dance: supernatural potency enters the dancers' bodies through their backs (Lee 1967, 31), and, as the dancers approach a climactic altered state and metaphorical 'death', potency boils in their bellies and rises up their spines to their heads where it 'explodes' (Lee 1967, 31).…”

Marine fish exploitation during the Middle and Later Stone Age of South Africa

“…Depictions of fish and fishing scenes feature occasionally in rock art in southern Africa (Eastwood 1999;Ouzman 1995;Skelton 2000;Vinnicombe 1960;1961). Several recorded rock art scenes depict nets associated with antelope (Manhire et al 1985), and a few have been reported that show fish being caught in conical or other traps (Smits 1967;Vinnicombe 1961;Woodhouse 1979).…”

An introduction to the rock art of the Malilangwe Conservation Trust, southeastern Zimbabwe

“…Lee 1967, 31). It cannot be coincidental that this spot was repeatedly chosen to show fly whisks penetrating the body (see also Eastwood 1999). …”