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WOMEN READING the GARIEP RIVER, UPINGTON: STRUCTURED INCLUSION Declaration 1

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WOMEN READING the GARIEP RIVER, UPINGTON: STRUCTURED INCLUSION Declaration 1 WWWOOOMMMEEENNN RRREEEAAADDDIIINNNGGG TTTHHHEEE GGGAAARRRIIIEEEPPP RRRIIIVVVEEERRR,,, UUUPPIIINNNGGGTTTOOONNN::: SSSTTTRRRUUUCCCTTTUUURRREEEDDD IIINNNCCCLLLUUUSSSIIIOOONNN By Mary Elizabeth Lange Student no: 201512092 Submitted in fulfilment of the Degree of Master of Arts, Culture, Communication and Media Studies, Faculty of Humanities, University of KwaZulu-Natal, Durban, South Africa 222000000666 Supervisor: Professor Ruth Teer-Tomaselli 1 DECLARATION I, Mary Elizabeth Lange (student number 201512092), declare that this is my own work, except for the acknowledged supervision and referred citations. It is being submitted in fulfilment of the Master of Arts Degree in the Faculty of Humanities, at the University of KwaZulu-Natal, Durban, South Africa. It is submitted as 100% of the degree. It has not been submitted before for any degree or examination, or to any other university. Signature Date 2 WOMEN READING THE GARIEP RIVER, UPINGTON: STRUCTURED INCLUSION Declaration 1 Table of contents 2 Abstract 3 Acknowledgements 4 Prelude 6 Introduction 7 SECTION A: RESEARCH CONTEXT & INTERTEXTUALITY (SECONDARY SOURCES) 14 1. Background to research subject, participants and researcher. 14 2. Methodology Context 23 3. Between the printed sheets: Laying out the field 38 SECTION B: RESEARCH CONTENT & MULTIVOCALITY (PRIMARY SOURCES) 72 4. Creating Meaning: From ear to mouth to ear to pen 72 5. Creating Meaning: The Physical, The Spatial, The Tangible 100 6. Creating Meaning: More than a Rorschach test 135 7. Conclusion 169 Bibliography 175 Websites 187 End notes 188 Appendices 1-3 3 Abstract This research project focuses on the application of a structured inclusive approach to the use of ethnography for the interpretation of rock art. The geographical research location is the Upington area north of the Orange/Gariep River. Both tangible and intangible heritage are explored using a multiple intelligence theoretical framework including auto ethnographic, ecosystemic methodology. The study is embedded in constructivist educational theory, which builds on the researcher and others’ previous knowledge and research. The intangible heritage is made up of oral narratives about a Water Snake told by a group of women of a mixture of cultural backgrounds. The tangible rock art, made up of various rock engraving styles is situated at Biesje Poort. Contemporary indigenous as well as various academic interpretations of the site are included in the research. Secondary sources relating to theory and methodology on myth and ethno archaeology, specifically on rock art, are used in the first section of the research in order to convey the research context. The second section of the research concentrates on the application of various dominant intelligences in regard to the analysis of primary sources. Experiential, intrapersonal and interpersonal encounters with the subjects are included. Synthesis of the primary and secondary sources plus new and prior research is included in the presentation through written text and visual representation and imagery. The research is conducted in order to include and expand on present museum practices which emphasize inclusion and ownership of heritage research and representation. As such this research process emphasizes the ethical implications of participatory research and aims to maintain an empowering partnership with the research informants. 4 Acknowledgements I am privileged to do this research project within a wider project conducted by Culture, Communications and Media Studies, University of KwaZulu-Natal. This project is entitled Observers and Observed: Reverse cultural studies, auto ethnographic, semiotic and reflexive methodologies, and is sponsored by the KwaZulu-Natal University Research Fund and the National Research Foundation. I am indebted to the National Research Foundation for scholarships that have allowed me to undertake this study. The project is led by Professor Keyan Tomaselli. Opinions expressed and conclusions arrived at in this dissertation are those of the author and not necessarily attributed to the National Research Foundation. I would like to thank Professor Keyan Tomaselli immensely for the opportunity to accompany the research group to the Kalahari which has resulted in my viewing research in the Kalahari with new eyes. Much appreciation and thanks to Professor Ruth Teer-Tomaselli for her skilled and selfless time and instruction. Participation in this project was facilitated by my direct family in Durban and many thanks to Frik, Rick, Kathlyn-Sue, Mary-Ann, Roger, Sue Lange and Aslina and Cyprian for their constant encouragement and holding of the fort while I was away. Thanks and respect to Frik for his staying power despite car wrecking Kalahari roads and a dining room table full of books. To Frik, Rick and Bryce special thanks for all the hours of assistance with photographs and images and especially to Frik for his computer expertise and extreme patience. To Kathlyn-Sue thank you for your hard work and assistance in synthesizing the research material and to Mary-Ann, Kelly, Paul Rodda and Professor Garth Allen for your role in the sample geometric reception study. Upington is home from home due to the hospitality and support of my mother Kathy, father Bill Fisher, sister Kathleen and brother-in-law Willie Burger. Thanks for their extra support through accommodation and meals. To my brothers I am also very indebted for their time and constant patience with my ‘picking their brains’: Roger, my academic motivator, source of texts and personal role model; Allan, store of knowledge both trivial and vast and especially Michael for his ever enquiring, 5 brilliant mind, storehouse of environmental knowledge and for walking sites with me even in the middle of summer. Thanks to McGregor Museum staff present and past, Peter Beaumont who fanned the spark of my interest in archaeology with patience and guidance and David Morris for his professional knowledge and reciprocity. Upington museum staff has supported this research and special thanks to Pieter Goussard and Ann Young for their hours of time in research, discussion and visits to sites with me. Thanks to all the people of Upington and Andriesvale who participated in the sample geometric reception study and to community members of Upington who gave of their time and knowledge regarding the history of the Upington area especially the three Mr Engelbrechts. I am saddened that I could not share this research with the man whose work inspired it and whom I never met: Mr A.K. Cornelissen. For hospitality, friendship and reciprocity in and from the Kalahari I thank Vetkat and Belinda. Thanks to Silikat, Blade and Dawid for pleasant memories and increased knowledge of Kalahari crafts plus Dawid Padmaker who not only guided me to the beauty of the rock engravings of Biesje Poort but shared his interpretation of them too. Thanks to fellow Kalahari students, specifically Vanessa McLennan-Dodd who has acted as a patient and knowledgeable mentor from the first trip to these final pages and for all her hours of skilled editing, and to Vanessa, Kamini, Lauren and Charlize for adding friendship to the process. This research is greatly indebted to the constant assistance from Ellen and involvement of Louisa but especially for the participation of the Eiland Women: Nana, Martha, Maria, Maku, Bessa and Girlie who shared their time and oral narratives with me in order that their children and their children’s children may know them. Thanks to the River: the Tree of Life. 6 Prelude: Taking the ‘other’ route You can take the relentlessly never-ending straight-tarred road to Upington Or the perilous winding back route From the masculine main road We walked the winding Rubble strewn paths To Keidebees There Feminine voices Sang out over the bulldozed shacks O Keidebees O Keidebees jou het ons lief bo alles! The deceitful river winds gently The sun playfully Kissing The mirror surface There Feminine eyes Drank images the river provided There feminine hands Coloured rivers on pages There Feminine voices Told tales of girls and boys and uncles and mothers Tales of serpents And spirals And sufferings And rituals There Feminine eyes Reflected times past Joyful and anguished And washed them and cleansed them and could but would not shed them MEL 2005 7 Introduction The Research area: Upington on the Gariep and surrounding areas Hierdie is die mees digbevolkte besproeingsgebied van ons land met die droë kalkvlaktes van Kenhardt en Boesmanland na die suide en die sandduine van die Kalahari na die noorde. Vir my as geoloog is die ‘n gebied van oorsaak en gevolg, van waarneem en interpreter en dan na alles die gebied waar ‘n mens jou medemens kan dien om ten volle mens te wees. Kyk na die sweetkolle op die hemp an die arbeider, kyk a die kameeldoringboom en wonder hoe oud hy is, kyk na die kameeldoringboom en wonder hoe oud hy is, kyk na die kalkvlaktes en wonder hoe het dit onstaan en dan eers as jy weet dat jy min weet sal dinge waarde kry, en eers as jy raaksien sal jy sien hoe baier hier is om te sien. Hier is die sewester en die suider kruis snags helder, want hier is die lug skoon. Hier was die pioneers natuurmense en ons bring hulde aan hulle wat ons voorgegaan het. (Cornelissen, circa 1975) [This is the most densely populated irrigation area of our land with the dry chalk plains of Kenhardt and Bushmanland to the south and the Kalahari sand dunes in the north. As a geologist, I see this is as a land of cause and effect, of observation and interpretation and then above all where one can serve your fellow man in order to be complete. Look at the sweat marks on the labourer’s shirt, look at the Camel thorn tree and contemplate its age, look at the chalk plains and wonder on their origins and then only when you realise how little you know will it all gain value, and only when you have insight, will you see how much there is to be seen here.
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