Escape and abscond: the use of ostrich potency by nineteenth-century rock artists in the Eastern Cape Province, South Africa

Abstract

Ostriches are depicted at rock art sites that appear to be associated with raiding dating to the late eighteenth and early nineteenth centuries in the Eastern Cape Province of South Africa. Taking into account the well-attested spiritual beliefs that relate to rock art made by past San hunter-gatherer populations and the understanding that the art does not depict scenes of daily life, it is highly unlikely that the artists were painting scenes of actual raids that somehow involved ostriches. An examination of broader Khoe-San beliefs concerning ostriches demonstrates instead that the depiction of these animals within a raiding context makes sense. This paper examines the historical significance of the Great Fish River region, as the former boundary of the Cape Colony and the location of frequent banditry, exemplified by stock-theft carried out by mixed groups of ‘Bushman’ bandits — comprising San, Khoekhoen, runaway slaves and military deserters — against European settlers. When such raids targeted European settlers, punitive expeditions were undertaken by commandos that included members of military regiments which themselves consisted of Khoe-San members. It was common for such individuals to desert their regiments and join up with the very bandits whom they were expected to combat, the reasons for which are examined in detail. An investigation of San and Khoekhoe beliefs about ostriches, both past and present, reveals a reverence for this bird as an animal of great strength that is able to escape dangerous situations by means of its powerful legs. This paper suggests that these raiders painted ostriches because they were purposefully drawing on ostrich potency to enable their own escape from military service as well as from pursuing commandos after stock raids.

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