In this research the contemporary art of the !Xun community in Platfontein, Kimberley is used as a case study to ascertain whether contemporary Bushman art, contrary to the mid-nineteenth century perception that it was child-like, and the present-day sense that it belongs to the past, is based on recognisable aesthetic principles. A functional-semiotic approach is applied, which takes the signs in painting, separates and categorises them in order to locate a painting’s iconic, indexical and symbolic signs. This analysis is done to assess whether or not contemporary Bushman art can be validated as a valuable area of contemporary art and whether creative individuals among the !Xun community may be viewed not as relics of a past people but as legitimate contemporary artists. This argument is revealed through post-structuralist analysis of the individual artworks of two particular !Xun artists. Interviews with !Xun artists uncovered the ways in which they represent themselves in their art, not only for themselves but for the viewers of that art. The constituents of the power relations between art dealers and the artists are also considered. The problematics of ‘authentic Bushman art’ is discussed and ‘authenticity’ in this regard is shown to be a contestable issue. The research then moves to an examination of the impact of modernity on the Bushmen and their art. Mindful of the economic exploitation of these artists in the present day, recommendations are made concerning forms of development which include teaching the artists about art markets, in order to empower them to engage effectively with dealers. Further recommendations are made toward the creation of a code of conduct which would apply to indigenous arts and the relationships between artists, dealers and consumers of the art. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2009.

Thesis (MA)-- Stellenbosch University, 2000. / ENGLISH ABSTRACT: The Anysberg Nature Reserve is a block of mountainous terrain comprising 44 515 ha in the Little Karoo of the Western Cape. There are approximately 50 known rock art sites within its boundaries. During a two-year site survey details of the rock art images were recorded on forms and, where possible, by tracing and photography. The sites tend to be small with fewer than 50 images per site and are located in narrow kloofs, mostly on the Anysberg. Few sites have occupation deposits. The main interest has been the interpretation of the images. Human figures, predominantly male, are most commonly represented. Other images are animals, such as eland and elephants, antelope, felines and therianthropes, as well as non-representational marks. There are clear resemblances in content and style to the rock art in the Hex River Valley, the Cederberg and the Western Cape generally. The art can be linked to shamanistic experiences in altered states of consciousness. A number of depictions can be interpreted as part of rainmaking rituals. KEYWORDS: Rock art, shamanism, rainmaking. / AFRIKAANSE OPSOMMING: Die Anysberg Natuur Reservaat, van 44 515 ha, is geleë in die Klein Karoo in die Westelike Provinsie. Daar is ongeveer 50 rotskuns vindplase binne die grense van die Reservaat. Navorsing oor 'n periode van twee jaar is onderneem en die inhoud en detail van die rotskuns tekeninge is gedokumenteer. Vorms met dié inligting is vir elke vindplaas uitgereik en waar moontlik is tekeninge nagetrek en gefotografeer. Die vindplase is klein met meestal minder as 50 tekeninge. Die rotskuns is gevind in diep klowe, meestal geleë op die Anysberg. Min vindplase het argeologiese oorblysels wat okkupasie impliseer. Die hoofdoel van die studie is interpretasie van die rotskuns. Menslike figure is hoofsaaklik manlik terwyl ander figure soos die eland, kleiner boksoorte, oliefant, jakkals en katagtige diersoorte en halfmens figure, asook nie-realistiese merke, verteenwoordigend is van die rotskuns. Daar is tekeninge wat ooreenstem met dié van die Hex Rivier Vallei, die Cederberg en ander dele van die Westelike Provinsie. Die rotskuns in die Anysberg is 'n uitbeelding van shamanistiese transendentale ondervindings. Van hierdie tekeninge kan ook geïnterpreteer word as simbolies van rituele reënmakery. SLEUTEL WOORDE: Rotskuns, shamanisme, reënmaak-rituele.