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Mt Moorosi's Past and Present: Interpreting San

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Mt Moorosi's Past and Present: Interpreting San MT MOOROSI’S PAST AND PRESENT: INTERPRETING SAN ROCK ART AT MTM 1 SITE IN THE QUTHING DISTRICT OF LESOTHO Sello Mokhanya Student number: 0416353R A research report submitted to the Department of Archaeology in the Faculty of Science University of the Witwatersrand in partial fulfilment of a Master of Science Degree in Archaeology Johannesburg September 2008 DECLARATION I declare that this research report is my own unaided work. Where I have used other peoples’ ideas or quoted from their work, I have given them due credit by citing them. It is being submitted for the degree of Master of Science in the Department of Archaeology in the Faculty of Science, University of the Witwatersrand, Johannesburg. It has not been submitted before for any examination or degree in any other University. ____________________________ Sello Mokhanya 30 September 2008 i ABSTRACT The most significant challenge facing rock art research in Lesotho is to provide meaning to San rock paintings that abound in the country. In the past rock art researchers in Lesotho appear to have focused on site identification and documentation. While there are many sites that needed to be interpreted, this challenge was made more difficult by the Euro-centric approach of many researchers. In the absence of reliable interpretive theories, the challenge of finding meaning in San rock paintings remains a forlorn hope. Drawing on San ethnography and neuropsychological research, approaches that have been demonstrated as useful interpretive tools in southern Africa, I take up this challenge of interpreting a San rock art site from Lesotho. While concerned with one site known as MTM 1 in south-eastern Lesotho, in the Quthing District, I use an ethnographic approach and neuropsychological research as tools for understanding paintings at MTM 1. In using these two approaches to interpret rock paintings, it becomes evident that San rock art in this region can best be understood through the use of these approaches. This work, then contributes to the few efforts by previous researchers to interpret rock paintings in Lesotho. ii In loving memory of my late grandmother, M.A.M iii ACKNOWLEDGEMENTS Many people have contributed in various ways their tremendous support in the development of this project. I am especially indebted to my supervisor, Dr Geoffrey Blundell, without whose expert guidance and encouragement, this project would remain a dream. Particular mention should be made to my sponsor, Maloti Drakensberg Transfrontier Project (MDTP), especially the Project Coordinator, Mr Chaba Mokuku, and his staff members for their valuable support. Mr Taole Tesele gave me directions to the site during my first site visit. Mr Haward Memane generously accommodated me during the freezing 2005 winter in Quthing. I owe a great debt of thanks to the University of the Witwatersrand’s RARI staff and post-graduate students: Catherine Namono, Leslie Zubieta and Lara Mallen for their valuable comments especially regarding my proposal. Lara Mallen also introduced me to Prof. Graham Alexander, a herpetology specialist at the school of Animal, Plant & Environmental Sciences. I sincerely thank Prof. Alexander for the useful discussion we had about snakes and he, in turn, introduced me to Prof. Marcus Byrne. A special thank you is owed to Prof. Byrne for our discussion on arthropods. Liza Parker, Azizo Fonseca (kindly printed MTM 1 foldout for me), Thembi Russell and Gealward Kaungxa were always were willing to offer assistance. Catherine Namono and Leslie Zubieta went out of their way to assist me with some computer applications and the final layout. I am greatly indebted to Prof. Stefan Grab who introduced me to Mrs Jeannette Menasce (a professional editor) who has worked tirelessly to edit and correct my dissertation. Haesise. My sincere gratitude goes to Prof. David Ambrose and his wife in Roma for the insightful discussions that we had and several archaeology papers that they put at my disposal. iv Mr Wigbert Vogeley generously drove me to Tsatsane Valley and introduced me to Chief Jobo Letsie and Mr Telang Sekotlo (the local tour guide). I am especially thankful to you all. Mr Telang walked great distances to show me more stunning sites. Mr Mahlomola Skhosana took me to other sites in Qomoqomong, Moyeni and Mt Moorosi. He also kindly helped me to identify potential interviewees in Mt Moorosi. I am thankful to the Director of Culture and all Culture staff members particularly Ms Mamasila Nkhethoa (Historian) and Mr Fusi Nkhoke (driver) who undertook almost all the fieldwork with me. Mr Pitso Koelane and Lt Col. Matela Matobakele of the Lesotho Defence Force continually encouraged me to take up archaeology. I sincerely thank Chief Salomone Botha Mosifa, Chief Molipa Mafura for invaluably supporting my study in their respective communities. In a special way, I thank all my informants in the following villages: Sebapala, Tsatsane, Phamong and Mt Moorosi. I cannot forget my classmates: Suzanne Barker, Richard Mbewe, Heidi Hansen and Lara Mallen for their support and inspiration that made our classes enjoyable. Basie has always been time-conscious! I owe special vote of thanks to my parents (Mpanye and Phali), sisters and friends for their support and especially for their always encouraging words. Thabiso Mokotjomela, Thabo Ntoi and Emmanuel Noe accommodated me at Wits during the final touches of this project. They have always been my source of inspiration with their encouraging words and valuable brotherly advice. v CONTENTS DECLARATION ............................................................................................................I ABSTRACT ............................................................................................................ II ACKNOWLEDGEMENTS ........................................................................................IV CONTENTS ...........................................................................................................VI LIST OF FIGURES .....................................................................................................IX INTRODUCTION: THE SAN (BAROA) OF SOUTH-EASTERN LESOTHO......................................................................................... X Mt Moorosi Project .............................................................................................. xii CHAPTER 1: MT MOOROSI, MTM 1 AND ROCK PAINTINGS .................... 1 Geographic Location.............................................................................................. 2 Geology and Vegetation ......................................................................................... 4 Previous Research in South-eastern Lesotho......................................................... 5 MTM 1 Rock Art Site............................................................................................ 11 CHAPTER 2: SITUATING MT MOOROSI IN ITS CHANGING SOCIAL CONTEXT....................................................................... 19 Previous Inhabitants............................................................................................. 20 Examining Change in the Painted Context .......................................................... 22 The Phuthi and the Moorosi San.......................................................................... 34 Research Work Undertaken in Mt Moorosi ......................................................... 39 Site Recording ...................................................................................................... 40 Interviews and Ethics ........................................................................................... 40 Reconnaissance Survey ........................................................................................ 42 vi CHAPTER 3: THE QUEST FOR MEANING IN SAN ROCK ART ................ 45 Paradigm Shift in San Rock Art Research............................................................ 45 Determining the Context ...................................................................................... 50 Hermeneutics........................................................................................................ 54 Ethnography ......................................................................................................... 55 Neuropsychological Research.............................................................................. 56 CHAPTER 4: SNAKES, ARTHROPODS: IDIOSYNCRATIC CREATURES AT MTM 1 SITE.................................................... 58 Eland Symbolism .................................................................................................. 59 Bovine Symbolism in Lesotho............................................................................... 60 Interpretation of the Imagery ............................................................................... 62 Dance .................................................................................................................. 62 ‘Squatting’ Human Figures.................................................................................. 65 Felines .................................................................................................................. 66 A Significantly Differentiated Figure................................................................... 67 Bags .................................................................................................................. 68 Idiosyncratic Snake-arthropod Creature ............................................................
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