A groundbreaking study has illuminated the vibrant world of dance captured in South African San rock art, categorizing dynamic scenes that reveal profound insights into ancient rituals, music, and social movements. Published in the journal Telestes, researchers Dr. Joshua Kumbani and Dr. Margarita Díaz-Andreu meticulously analyzed paintings from four provinces, uncovering not just trance-induced healing ceremonies but also initiation rites and even leisure dances. This work, drawing from the South African Rock Art Digital Archive (SARADA) at the University of the Witwatersrand, challenges long-held views that all such depictions were purely shamanistic, offering a nuanced portrait of San communal life.

These ancient artworks, etched into rock shelters over millennia, depict human figures in fluid motion—bent postures, outstretched arms, and synchronized steps—accompanied by rattles, sticks, and flutes. Spanning from KwaZulu-Natal to the Western Cape, the study identifies trance dances as the most prevalent, with 17 documented instances, highlighting their role in spiritual healing where men danced vigorously while women clapped and sang to invoke supernatural forces.

The Enduring Legacy of San Rock Art in South Africa

San rock art, created by the indigenous hunter-gatherer San people (also known as Bushmen), represents one of the world's richest prehistoric artistic traditions, dating back thousands of years. Concentrated in South Africa's Drakensberg and uKhahlamba-Drakensberg Park—a UNESCO World Heritage site—these paintings adorn over 20,000 known sites, featuring eland antelope, therianthropes (human-animal hybrids), and geometric patterns symbolizing spiritual journeys.

Dance motifs have been noted since early 20th-century documentation by pioneers like George Stow and Dorothea Bleek, yet systematic analysis remained elusive until now. Past interpretations, influenced by scholars like Patricia Vinnicombe and David Lewis-Williams, emphasized trance rituals tied to shamanism. However, this new San rock art dance study integrates music archaeology, revealing layers of cultural expression beyond the mystical.

In the context of South African higher education, institutions like Wits University play a pivotal role through SARADA, digitizing and preserving these treasures for global access. This digital archive enables researchers worldwide to study high-resolution images, fostering collaborations that advance archaeology and cultural heritage studies.

Researchers Driving the San Rock Art Dance Analysis

Dr. Joshua Kumbani, a postdoctoral fellow at the University of Tübingen with roots in South African rock art research at Wits University's Rock Art Research Institute, leads this effort. His expertise bridges fieldwork and digital analysis, emphasizing underrepresented voices in heritage preservation. Co-author Dr. Margarita Díaz-Andreu, ICREA Research Professor at the Universitat de Barcelona, brings a global perspective on music archaeology, having pioneered iconographic studies of sound in prehistoric art.

Their collaboration underscores international partnerships in South African higher education, where universities like Wits host cutting-edge labs for rock art digitization. For aspiring archaeologists, opportunities abound in research jobs focusing on cultural heritage, blending technology and anthropology.

Unpacking the Methodology: Criteria for Dance Identification

The San rock art dance study employs a rigorous six-criteria framework to distinguish true dance scenes from static figures: dynamic body postures (e.g., flexed legs, raised arms), paraphernalia (rattles, sticks, headgear), gender segregation, dancer interactions (proximity, contact), movement synchrony, and directional flow (circular or linear).

• Body Postures: Bent knees and hips signal rhythmic stamping, key to inducing trance.
• Paraphernalia: Leg rattles (rarely shown but noted at Halstone site) and digging sticks link to rituals.
• Synchrony: Uniform movements indicate collective performance.

Sources include SARADA's vast database and ethnographic texts from 19th-20th century observers like Wilhelm Bleek and Lorna Marshall, ensuring interpretations are grounded in San oral traditions.

Trance Dances: Core of San Healing Rituals

Trance dances, the study's most common category with 17 examples primarily in KwaZulu-Natal, depict communal healing where male dancers enter altered states to combat illness-causing spirits. Women form a circle, clapping and singing, while men stamp feet inward, often bleeding from noses—a hallmark of supernatural contact.

Scenes show therianthropes (shaman-animal hybrids) and bent figures clutching sticks for balance. Ethnography from Kalahari San confirms sessions lasting hours, fueled by hyperventilation and endurance, underscoring dance's therapeutic power in pre-modern societies.

This revelation ties into modern psychology, where rhythmic movement aids mental health, inspiring research assistant roles in interdisciplinary studies at South African universities.

Initiation Rites: Marking Life Transitions

Girls' initiation dances, mimicking eland antelope grace, celebrate first menstruation in secluded women's circles. The Namahali site (Free State) shows forward-bending women sans back aprons, wielding digging sticks for rainmaking or foraging—blending rite with practicality.

Boys' Tshoma dances, rarer due to secrecy, appear at sites like Attakwas Kloof (Western Cape), with males in isolation learning manhood. Fulton's Rock (KwaZulu-Natal) exemplifies girls' rites, preserving puberty customs lost in colonial disruptions.

These findings highlight gender roles in San society, informing gender studies programs at institutions like the University of Cape Town.

Entertainment Dances: Joy Beyond Ritual

Challenging ritual-only narratives, scenes at G3 Site II and Witsieshoek suggest leisure dances—youthful frolics or post-hunt celebrations. Lacking trance markers, these depict playful interactions, echoing ethnographic notes on fun mimicking animals or newlywed festivities.

Underrepresentation likely stems from rock art's spiritual focus, yet they humanize San life, revealing music's recreational role with flutes and bows as instruments.

Iconic Sites Spotlighting Dance Diversity

Halstone (Eastern Cape) uniquely shows leg rattles, dancers balancing on sticks in ecstasy. Attakwas Kloof features a flautist amid rattlers, hinting at melodic accompaniment. Crown Point (Free State) and Fulton’s Rock offer uncategorized gems for future decoding.

• Halstone: Trance with rattles (RSA-HAE1-2R).
• Namahali: Eland initiation blend.
• G3 Site II: Possible entertainment.

Ethnographic Bridges to Ancient Practices

Draws from Bleek/Lloyd transcripts (1911) on rattles in rain dances, Marshall's Kalahari observations (1969), and Katz's trance ethnographies (1982). These link paintings to living San traditions in Namibia/Botswana, despite disruptions from farming encroachment.

This ethno-archaeology validates rock art as historical record, aiding cultural revitalization efforts by San descendants.

Implications for Music Archaeology and Heritage

The framework advances music archaeology by iconographically decoding sound—rattles' vibrations, claps' rhythm—in silent art. It urges refined criteria accounting for trance's asynchrony, influencing global prehistoric studies.

For South Africa, bolsters UNESCO protections, tourism at sites like uKhahlamba-Drakensberg, and curricula in archaeology departments.

Preservation Challenges and Higher Ed Responses

Climate change, vandalism threaten sites; Wits' SARADA counters with digitization. Universities train conservators via university jobs in heritage management.

Photo by Weyland Swart on Unsplash

Future Horizons: Expanding the Dance Narrative

Researchers call for fieldwork in Namibia/Zimbabwe, acoustic studies at sites, and AI-enhanced SARADA analysis. This opens doors for PhD/postdocs in postdoc positions.

Check Rate My Professor for top archaeology lecturers, explore higher ed jobs, career advice, and university jobs in South Africa. For research roles, visit research jobs.