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A dissertation submitted to the Faculty of Science, University of the Witwatersrand, Johannesburg, in fulfilment of requirements for the degree of Master of Science. Johannesburg, 2015. / Ovahimba people from Kunene region, northern Namibia, are known for covering their bodies with red ochre mixed with clarified butterfat, traditionally known as otjize to give them a distinct red appearance. Ochre refers to a clay-like earth pigment which contains some form of iron-containing mineral. A mixture of traditional herbs with clarified butterfat, otjizumba, is also applied around the necks as a perfume. This study was prompted by ethnographic interviews amongst the Ovahimba people which revealed functional uses of the traditional cosmetics, specifically the red ochre-derived cosmetic, as a mosquito repellent. Several analytical techniques were used to determine the presence of mosquito repellent compounds in the red ochre- derived cosmetic and the aromatic plant derived-cosmetic. GC-MS was used to identify the presence of compounds which have previously been found to have mosquito repellent capabilities. GC-MS analysis identified mostly oxygenated compounds which include ketones (2-dodecanone, 2-nanonone, 2-undecanone and 2-tridecanone), aldehydes (heptanal and nonanal) and carboxylic acids (hexanoic acid and heptanoic acid) in dichloromethane extracts of otjize and mostly hydrocarbons (o-cymene, α-pinene, limonene, and squalene) and less oxygenated compounds (terpinen-4-ol and α-campholenal) in plant derived cosmetic extracts. The chemical composition of the cosmetics was also analyzed using FTIR. FTIR analysis for organics in both cosmetics showed presence of vibrational motions including O-H, C=O, C-H, C=C and C-C which affirmed the presence of organic functional groups including aldehydes, ketones, esters, alkenes and alkanes. Peak patterns observed using GC-FID showed that the mixture of red ochre and clarified butterfat released higher quantities of volatiles than when individual samples were analyzed. Mineralogical composition of red ochre was determined by PXRD, supported by FTIR which revealed as significant amount of hematite (Fe2O3), the primary mineral responsible for the red hue of the ochre. Other major minerals including quartz (SiO2), kaolinite (Al2(Si2O5)(OH)4, calcites (CaCO3) and chalconatronite(Na2Cu(CO3)2.3H2O) were found to be present in the ochre powder. Elemental analysis of the ochre determined using EDXRF and ICP-OES supported mineralogical composition as iii Ovahimba red ochre exhibited high content of iron (Fe) and silicon (Si) and a significant amount of aluminum (Al), calcium (Ca) and copper (Cu). Based on % weight, presence of transition metals in red ochre powder identified using ICP-OES was observed in the descending order; Fe> V> Cu> Au> Ti> Zr. Based on the analysis carried out in this study, it is suggested that red ochre provides catalytic role, due to its diverse metal content especially the presence of transition metals including Fe and Cu, which might be influencing the production of secondary products during autoxidation of fatty acids present in otjize, specifically ketones and aldehydes. It was also concluded that the composition of clarified butterfat could be attributed to the release of mosquito repellent compounds in the red ochre derived cosmetic because when animal fat (kudufat) was used as an organic binder, the mixture did not release any of the identified possible mosquito repellent compounds. Keywords: Aldehydes, autoxidation, clarified butterfat, fatty acids, ketones, mosquito repellents, and red ochre

The rock art that is found in the region of Reindeer Lake, Saskatchewan is part of a larger category of rock art known as the Shield Rock Art Tradition. At present, there are more than 400 known and recorded rock art sites throughout the Canadian Shield region. These sites are found over an extensive geographical area and can be found from south-western Quebec across the Shield westward, up to north-western Saskatchewan. The majority of these rock art sites are comprised of imagery that has been painted on rock surfaces. The rock art sites at Reindeer Lake, or panels as they are called, depict a variety of symbols and characters that portray humans, animals, anthropomorphs, ceremonies and motifs of a spiritual nature. A variety of explanations have been proposed as to the function and meaning of rock art in general. Among the more accepted explanations are that rock art paintings were created by shamans; that they depict dreams or visions of an individual seeking medicine or participating in a vision quest/puberty rites; that they are a form of hunting magic whereby the author in capturing the animal in a painting assures capture of the animal in life; or that they serve as markers for travellers. Regardless of function and meaning, all of the rock art sites on Reindeer Lake are of immense heritage value and should be regarded as sacred locations. Very little is known about the rock art in the Reindeer Lake regions. Before any significant analyses of their meaning can be conducted, they must first be relocated and properly documented. At present there are only a very small number of publications that document or mention the Reindeer Lake rock art. This thesis surveys the rock art of Reindeer Lake, Saskatchewan. It discusses the general nature of pictographs from the Shield Rock Art Tradition and how the panels at Reindeer Lake fit into the overall scheme, and applies a systematic method to the recording and analysis of pictographs using a contextual approach. Although the primary focus is on recording the painted imagery, the specific context of each panel as well as the surrounding landscape is also considered. Recording these ancient rock art sites using a proper systematic method has ensured that this significant element of Aboriginal culture will endure not only for future research, but also for the benefit of future generations of the local Cree people.

The rock art that is found in the region of Reindeer Lake, Saskatchewan is part of a larger category of rock art known as the Shield Rock Art Tradition. At present, there are more than 400 known and recorded rock art sites throughout the Canadian Shield region. These sites are found over an extensive geographical area and can be found from south-western Quebec across the Shield westward, up to north-western Saskatchewan. The majority of these rock art sites are comprised of imagery that has been painted on rock surfaces. The rock art sites at Reindeer Lake, or panels as they are called, depict a variety of symbols and characters that portray humans, animals, anthropomorphs, ceremonies and motifs of a spiritual nature. A variety of explanations have been proposed as to the function and meaning of rock art in general. Among the more accepted explanations are that rock art paintings were created by shamans; that they depict dreams or visions of an individual seeking medicine or participating in a vision quest/puberty rites; that they are a form of hunting magic whereby the author in capturing the animal in a painting assures capture of the animal in life; or that they serve as markers for travellers. Regardless of function and meaning, all of the rock art sites on Reindeer Lake are of immense heritage value and should be regarded as sacred locations. Very little is known about the rock art in the Reindeer Lake regions. Before any significant analyses of their meaning can be conducted, they must first be relocated and properly documented. At present there are only a very small number of publications that document or mention the Reindeer Lake rock art. This thesis surveys the rock art of Reindeer Lake, Saskatchewan. It discusses the general nature of pictographs from the Shield Rock Art Tradition and how the panels at Reindeer Lake fit into the overall scheme, and applies a systematic method to the recording and analysis of pictographs using a contextual approach. Although the primary focus is on recording the painted imagery, the specific context of each panel as well as the surrounding landscape is also considered. Recording these ancient rock art sites using a proper systematic method has ensured that this significant element of Aboriginal culture will endure not only for future research, but also for the benefit of future generations of the local Cree people.

Widely found throughout the archaeological and artistic records in capacities ranging from burial contexts to early evidence of artistic expression, red ochre has been studied in archaeological and art conservationist communities for decades. Despite this, literature discussing binders is disparate and often absent from accessible arenas. Red ochre is important historically because its use can be used to help further the understanding of early humans, their predecessors, and their cognitive capabilities. However, there is not much written speculation on the processes involved in binder selection, collection, and processing. Based on the idea of these three activities associated with binders, I propose a schema for what the use of already prepared and obtained items doubling as binders might look like in the archaeological record. Using an experiment in which I used red ochre mixed with various binders to paint standardized shapes on a rock surface, I propose ways in which more experiments could be done in this vein. I suggest ways in which scales of desirability can be created based on different traits painters might have found important in the binder selection process, such as ease of paint reconstitution, texture of the paint, and the appearance of the paint mixture once on the stone. This research is one small step in the direction of expanding and diversifying the literature on binders in prehistoric paintings, and opening new avenues of conversation about the choices and motivations of early painters.