{"id":5584,"date":"2020-12-01T14:09:54","date_gmt":"2020-12-01T12:09:54","guid":{"rendered":"http:\/\/www.ifas.org.za\/research\/?p=5584"},"modified":"2026-05-29T12:28:23","modified_gmt":"2026-05-29T10:28:23","slug":"lesedi-23-november-2020","status":"publish","type":"post","link":"https:\/\/www.ifas.org.za\/research\/uncategorized\/lesedi-23-november-2020\/","title":{"rendered":"Lesedi #23 \u2013 November 2020"},"content":{"rendered":"\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"727\" height=\"1024\" data-id=\"5585\" src=\"https:\/\/www.ifas.org.za\/research\/wp-content\/uploads\/2020\/12\/capture-2020-12-01-\u00e0-12.03.32-727x1024.jpg\" alt=\"\" class=\"wp-image-5585\" srcset=\"https:\/\/www.ifas.org.za\/research\/wp-content\/uploads\/2020\/12\/capture-2020-12-01-\u00e0-12.03.32-727x1024.jpg 727w, https:\/\/www.ifas.org.za\/research\/wp-content\/uploads\/2020\/12\/capture-2020-12-01-\u00e0-12.03.32-213x300.jpg 213w, https:\/\/www.ifas.org.za\/research\/wp-content\/uploads\/2020\/12\/capture-2020-12-01-\u00e0-12.03.32-768x1081.jpg 768w, https:\/\/www.ifas.org.za\/research\/wp-content\/uploads\/2020\/12\/capture-2020-12-01-\u00e0-12.03.32.jpg 858w\" sizes=\"auto, (max-width: 727px) 100vw, 727px\" \/><\/figure>\n<\/figure>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"mce_95\"><em>Lesedi. Field notes <\/em>#23<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Lesedi<\/em>, the online journal of IFAS-Research, is launching a new special issue of 80 pages focusing on&nbsp;<strong>rock art in southern Africa<\/strong> (&#8220;The Rock Art of the Hunter-Gatherers&#8221;).&nbsp;It contains 14 articles written by senior researchers, post-doctoral researchers and PhD students, presenting ongoing research, new fieldworks and collaborative projects in southern Africa, with a focus on Zimbabwe.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Covering a multitude of subjects (iconographic techniques, stylistics, lithic industries, archaeozoology, site conservation and heritage enhancement, etc.), this issue testifies to the multidisciplinary dimension of rock art studies.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Lesedi #23<\/em> was edited by <strong>L\u00e9a Jobard <\/strong><em>, <\/em><strong>Carole Dudognon<\/strong> and<em> <\/em><strong>Camille Bourdier, <\/strong>all affiliated to TRACES Centre (UMR 5608&nbsp;\u2013 Toulouse University) and welcomed on a regular basis by&nbsp;IFAS-Research in Johannesburg.<br><\/p>\n\n\n\n<p class=\"has-text-align-left wp-block-paragraph\">&#8220;After a century and a half of research, Southern African rock art is today built up on remarkable archaeological materials that make it possible to conceive, in the long term, the history of the hunter-gatherers who, for a long time, have been deprived of it. While the artistic testimonies of contemporary groups have drawn researchers\u2019 attention at the very time when these populations were disappearing (Ego, 2000), the ethnographic and linguistic stories of the latest artists have tried to give meaning again to these works (Bleek, 1874, 1932; Orpen, 1874). Considered for a long time as the expression of the recent history of San populations, these artistic productions offer a visual quality that was lauded as early as the 19th&nbsp;century. They have been reproduced on the occasion of many redrawing campaigns, some of which have initiated parallels with European prehistory (Breuil, 1948).&#8221;<\/p>\n\n\n\n<div data-wp-interactive=\"core\/file\" class=\"wp-block-file\"><object data-wp-bind--hidden=\"!state.hasPdfPreview\" hidden class=\"wp-block-file__embed\" data=\"https:\/\/www.ifas.org.za\/research\/wp-content\/uploads\/2020\/12\/LESEDI-N23_11.2020.pdf\" type=\"application\/pdf\" style=\"width:100%;height:600px\" aria-label=\"Embed of LESEDI-N23_11.2020.\"><\/object><a id=\"wp-block-file--media-1ec626af-e6bc-4928-b773-be32aa90445b\" href=\"https:\/\/www.ifas.org.za\/research\/wp-content\/uploads\/2020\/12\/LESEDI-N23_11.2020.pdf\">LESEDI-N23_11.2020<\/a><a href=\"https:\/\/www.ifas.org.za\/research\/wp-content\/uploads\/2020\/12\/LESEDI-N23_11.2020.pdf\" class=\"wp-block-file__button wp-element-button\" download aria-describedby=\"wp-block-file--media-1ec626af-e6bc-4928-b773-be32aa90445b\">Download<\/a><\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><br><\/p>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Table of contents<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>The Rock Art of the Hunter-Gatherers of Southern Africa\/<\/strong><em><strong>L\u2019art rupestre des chasseurs-collecteurs d\u2019Afrique australe<\/strong><\/em><strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Coordinated by L\u00e9a Jobard, Carole Dudognon &amp; Camille Bourdier<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>05|<\/strong> Introduction: The Rock Art of the Hunter-Gatherers of Southern Africa<br><em>L\u00e9a Jobard, Carole Dudognon &amp; Camille Bourdier<\/em><br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>09|<\/strong> Introduction : L\u2019art rupestre des chasseurs-collecteurs d\u2019Afrique australe<br><em>L\u00e9a Jobard, Carole Dudognon &amp; Camille Bourdier<\/em><br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>13|<\/strong> Approche interdisciplinaire de la paroi orn\u00e9e. Pomongwe Cave et le programme MATOBART<br><em>Camille Bourdier, Carole Dudognon, Millena Frouin, Ancila Nhamo, Todini Runganga &amp; St\u00e9phanie Touron<\/em><br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>19|<\/strong> Les sous-sols de l\u2019art rupestre \u00e0 l\u2019abri Pomongwe (Matobo, Zimbabwe)<br><em>Guillaume Porraz, Precious Chiwara, Magnus M. Haaland, Joseph Matembo, Thubelile Mnkandla, Kelvin Machiwenyika, Todini Runganga, Chantal Tribolo, Aurore Val &amp; Camille Bourdier<\/em><br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>23|<\/strong> Diversity in Late Stone Age Art in Zimbabwe. An Elemental and Mineralogical Study of Pigments (Ochre) from Pomongwe Cave, Matobo Hills, Western Zimbabwe<br><em>Jonathan Nhunzvi, Ancila Nhamo, Laure Dayet, St\u00e9phanie Touron &amp; Millena Frouin<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>27|<\/strong> Silozwane, \u00e9tude d\u2019un palimpseste rupestre des Matobo<br><em>Carole Dudognon<\/em><br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>33|<\/strong> Rock Art Conservation: Floor Stabilisation at Nswatugi Rock Art Site, Matobo Hills Cultural Landscape<br><em>Senzeni Khumalo, Charity Nyathi, Kelvin Machiwenyika &amp; Todini Runganga<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>36|<\/strong> Matobo Rock Art in its Landscape. Understanding Role(s) of Rock Art in Later Stone Age Foragers Territoriality<br><em>L\u00e9a Jobard<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>42|<\/strong>The Diversity of the Common. The Significance of Spatial Motif Variation in Studying Cultural Variability using Rock Art in Zimbabwe<br><em>Ancila Nhamo<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>48|<\/strong> Phytanthropes. Human-Plant Conflations in the Rock Art of Zimbabwe<br><em>Stephen van den Heever<\/em><br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Crossed views from Southern Africa<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>53|<\/strong> Mati\u00e8res colorantes ferrugineuses, pigments de l\u2019art rupestre et comportements des populations&nbsp;<em>Later Stone Age&nbsp;<\/em>\u00e0 Leopard Cave (Erongo, Namibie)<br><em>Guilhem Mauran<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>60|<\/strong> Rock Art in Mozambique: Hunter-Gatherers\u2019 Space, Symbolism, and Tools<br><em>D\u00e9cio Muianga<\/em><br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>64|<\/strong> Le contexte performatif de l\u2019art rupestre San<br><em>David Witelson\ufeff<\/em><br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>69|<\/strong> Dateless substance. White Pigments in the Rock Art of Southern Africa<br><em>Alice Mullen<\/em><br><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>74|<\/strong> La mise en tourisme des sites d\u2019art rupestre dans le massif du Drakensberg. Bilan des recherches engag\u00e9es depuis 2009<br><em>M\u00e9lanie Duval &amp; St\u00e9phane H\u0153rl\u00e9<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Lesedi. Field notes #23 Lesedi, the online journal of IFAS-Research, is launching a new special issue of 80 pages focusing on&nbsp;rock art in southern Africa (&#8220;The Rock Art of the Hunter-Gatherers&#8221;).&nbsp;It contains 14 articles written by senior researchers, post-doctoral researchers and PhD students, presenting ongoing research, new fieldworks and collaborative projects in southern Africa, with [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":5594,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12,5,21,16,1],"tags":[],"class_list":["post-5584","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","category-lesedi","category-news","category-publications","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts\/5584","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/comments?post=5584"}],"version-history":[{"count":15,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts\/5584\/revisions"}],"predecessor-version":[{"id":9484,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts\/5584\/revisions\/9484"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/media\/5594"}],"wp:attachment":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/media?parent=5584"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/categories?post=5584"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/tags?post=5584"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}