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THE ‘INTERIOR WORLD’ OF THE NINETEENTH-CENTURY MALOTI-DRAKENSBERG MOUNTAINS*

Published online by Cambridge University Press:  07 June 2017

RACHEL KING
Affiliation:
Centre of African Studies, University of Cambridge Rock Art Research Institute, University of the Witwatersrand
SAM CHALLIS
Affiliation:
Rock Art Research Institute, University of the Witwatersrand
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Abstract

Over the last four decades researchers have cast the Maloti-Drakensberg Mountains as a marginal refuge for ‘Bushmen’ amidst constricting nineteenth-century frontiers. Rock art scholarship has expanded on this characterisation of mountains as refugia, focusing on heterogeneous raiding bands forging new cultural identities. Here, we propose another view of the Maloti-Drakensberg: a dynamic political theatre in which polities that engaged in illicit or ‘heterodox’ activities like cattle raiding and hunter-gatherer lifeways set the terms of colonial encounters. We employ the concept of the ‘interior world’ to refigure the region as one fostering subsistence and political behaviours that did not conform to the expectations of colonial authority. Paradoxically, such heterodoxies over time constituted widespread social logics within the Maloti-Drakensberg, and thus became commonplace and meaningful. We synthesise historical and archaeological evidence (new and existing) to illustrate the significance of the nineteenth-century Maloti-Drakensberg, offering a revised southeast-African colonial landscape and directions for future research.

Information

Type
Nineteenth-Century Reconstructions
Copyright
Copyright © Cambridge University Press 2017 
Figure 0

Fig. 1. Map showing Maloti-Drakensberg focus area.

Figure 1

Fig. 2. Map showing aspects of the northern Maloti-Drakensberg mentioned in the text.

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Fig. 3. Map showing aspects of the southern Maloti-Drakensberg and Nomansland mentioned in the text.

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Fig. 4. Map showing aspects of the Maloti Mountains mentioned in the text.

Figure 4

Fig. 5. Section of a panel of paintings depicting horses, dancing figures, and figures with baboon features, especially noses and tails. Courtesy Sam Challis.

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Fig. 6. Panel of paintings depicting figures in wide-brimmed hats (colonial motifs) and non-real horses with figures connected (shamanistic motifs). Courtesy RARI.

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Fig. 7. ‘Type 3’ finger-painted figures in colonial dress overpainted on fine-line paintings. Courtesy SARADA.

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Fig. 8. Map showing BaPhuthi settlements.

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Fig. 9. Three BaPhuthi settlements: Lefika la bo Khiba, Bolepeletsa, Thaba Moorosi.

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Fig. 10. Survey plan and elevation profile of Mt Moorosi.