National Museum, PO Box 266 Bloemfontein, 9300 Tel: (051) 4479609 Fax: (051) 4476273 Email: shiona@nasmus.co.za jens@nasmus.co.za ROCK ART SITE REPORT ORANGE SPRINGS, FREE STATE PROVINCE, SOUTH AFRICA GPS: S: 29 07 07 ; E: 27 23 02 1 : 50 000 Map Reference: 2927AB All rock art sites are protected by the National Heritage Resources Act (No. 25 of 1999) and provincial equivalents. It is an offence to damage rock art or any other archaeological remains, punishable by six months imprisonment and R10 000 fine. SAN ROCK ART San rock art comprises of rock paintings and rock engravings. It is the most popular rock art tradition in South Africa due its exquisite fine-line detail. The aesthetic appeal of San rock art led early researchers to concentrate on describing the beauty and artistic execution of the rock art. Later, researchers interpreted the presence of large amounts of animal depictions to relate to hunting scenes and the magical ways to ensure a successful hunt. This literal interpretation of the rock art ultimately urged people to believe that the San painted scenes from their daily lives. Most recently focus has shifted to the ethnographic information relating to stories, rituals and myths from /Xam and!kung San groups. Further research into neuropsychology has allowed researchers to see the link between altered states of consciousness and the rock art. Today the ethnographic neuropsychology model forms the basis of San rock art research.
PREVIOUS RECORDS Orange Springs was excavated by Carolyn Thorp in 1990 as a contribution to her research on the interaction between hunter-gatherers and agriculturalists in the Caledon River Valley. The site was first visited in 1988 by Jannie Loubser of the Rock Art Department at the National Museum. Loubser, accompanied by J. Nortjé, traced the site in 1992 and 1993. During this time Erna Janse van Rensburg installed an artificial cliff in order to prevent bird droppings from further damaging the images. On 24 May 1999 Sven Ouzman attached alcolin foam to cover ledges that were frequented by birds. Orange Springs is a registered Free State heritage site. Erna Janse van Rensburg installing the artificial cliff in 1993 SIGNIFICANCE OF PAINTED IMAGERY TRANCE DANCE This shelter contains a number of depictions of trance dances. The most important religious rite of the San was the medicine or trance dance. In this dance medicine men harness supernatural potency to enter the spirit world. In the spirit world they believed that they performed various important tasks. These included healing the sick, controlling the weather, visiting far-off places and controlling the movements of game. A number of common dance postures are frequently depicted in the paintings: bending forward at the waist (sometimes supported by dancing sticks), having the arms held out backwards, bleeding from the nose and the related hand-to nose posture. In addition, certain items specifically associated with the dance are often painted; most commonly dance rattles and fly-whisks. These images all clearly relate
the paintings to the trance dance. Much of the imagery goes beyond the dance itself, and depicts the experiences and actions of shamans in the spirit world. Main trance dance scene Trance dancers with nasal bleeding Redrawing showing detail of trance scene
TRANSFORMING IMAGES There are number of images that appear to be human but demonstrate animal characteristics. These images appear to be transforming from human to animal. They are a common feature in San paintings and are known as therianthropes. As medicine men move along the trajectory of altered states of consciousness they experience multiple sensory hallucinations that involve humans, animals and mythical creatures. Sometimes these images blend with one another (humans and animals). Also some medicine men in trance feel themselves transform in animals. This contains mainly human-antelope conflations, but there are cases of human mixed with birds, elephant, rhino and feline. Therianthrope with nasal bleeding The above figure shows a seated therianthrope wearing a kaross standing next to a trancing medicine man. The therianthrope is carrying a quiver while holding a flywhisk and is bleeding from the nose. The medicine man is standing facing the audience with his legs crossed. This is a recognised pose of a dying medicine man. The trance experience shares many similarities to dying, including the violent trembling, staggering, lowering heads, sweating profusely and finally collapsing. All these detailed representations determine that a trance scene is being depicted.
IMAGES OF WOMEN Women are depicted much less frequently than men in San paintings. This does not suggest their lack of importance in San society. Men hunt but only contribute 40% of necessary food and the women, who are primarily plant gatherers, contribute 60% to the dietary needs. Women are often depicted holding digging sticks. The digging sticks have bored stones about half way along their length. The stones give extra weight and make digging in hard ground easier. San women carrying bored stones UNDERWATER METAPHOR The trance experience is comparable to feelings exhibited when underwater. The difficulty in breathing, affected vision, sounds heard, a sense of weightlessness and eventual unconsciousness. Fish are often used to suggest the underwater experience of trance. The panel below shows human figures with nasal bleeds, carrying dancing sticks. Fish are superimposed on a group of smaller human images as well as the larger human figure.
Group of images representing the underwater metaphor of trance CONSERVATION Orange Springs demonstrates that vegetation growing near sites may be both positive and negative. The positive impact is that it acts as soil stabilisation which reduces the amount of free dust that is windblown or kicked up by visitors. Vegetation growing in the shelter
Vegetation also assists in protecting the rock paintings from direct rain or sunshine. The negative impacts are considerable in Orange Springs. Shrubs and tree branches are brushing the rock surface and have an abrasive effect on the art. Also root action has caused existing cracks in the substrate to widen, and thus weaken, the physical structure of the rock. Shrubs too close to the painted area Tree growing in a rock crack It is important to remember that drastic changes to vegetation structure may also lead to alteration of microclimate, which can accelerate the growth of moss and algae. It is therefore recommended that only plants that pose a direct threat to the rock paintings should be cleared completely. The growth of lichen on the rock surface is a serious matter. Lichen cause direct physical and chemical damage to the rock surface. Orange Springs has dead algae attached to the rock surface. It appears as a dark stain of black deposit on the rock and obscures large areas of the painted surface. Close up of the dead lichen Lichen covering paintings
Many different types of birds visit this rock art sites. Swallows have built mud nests on the ceiling of the rock shelters. This has not obscured any of the paintings but has made the shelter a high traffic area for bird life. Birds perch themselves on ledges above the painted surfaces. As a result bird droppings cover large areas of the painted surface. Droppings are extremely difficult to remove without damaging the pigment underneath. The chemicals contained within the bird droppings have also caused deterioration of the pigment. Bird droppings Swallows nests Exposed orange glue Artificial cliff The artificial cliff that was installed to prevent birds from perching above the paintings requires some attention. The foam has fallen of the rock surface and exposed bright orange alcolin. The surface of the artificial cliff has scratched off to reveal the bright orange alcolin. Steps have to be taken to repair this damage. Compiled by: Shiona Moodley Head of Rock Art Department National Museum