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Relevant bibliographies by topics / Rock painting – South Africa

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Academic literature on the topic 'Rock painting – South Africa'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Rock painting – South Africa"

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SMITH, BENJAMIN W., and JOHAN A. VAN SCHALKWYK. "THE WHITE CAMEL OF THE MAKGABENG." Journal of African History 43, no. 2 (2002): 235–54. http://dx.doi.org/10.1017/s002185370100799x.

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Research in the Northern Province of South Africa has revealed a most surprising new rock art find: a painting of a camel. This paper investigates how and why a camel came to be painted in the remote rock art of the Makgabeng hills. Analysis of archival material allows one to attribute the painting to a Northern Sotho artist who was active in the first decade of the twentieth century. The purpose of the painting is revealed in its context; it forms part of a collection of paintings which ridicule elements of ineptness in the ways of the new white intruders. We argue that this pointed humour helped the Makgabeng community to overcome some of the trauma of the displacement and violence which characterized the era of the first white settlement in northern South Africa.

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Bonneau, A., F. Brock, T. Higham, D. G. Pearce, and A. M. Pollard. "An Improved Pretreatment Protocol for Radiocarbon Dating Black Pigments in San Rock Art." Radiocarbon 53, no. 3 (2011): 419–28. http://dx.doi.org/10.1017/s003382220003455x.

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The dating of South African rock art using radiocarbon is a considerable challenge and only 1 direct date has so far been obtained, on black pigments from Sonia's Cave Upper, Boontjieskloof. The main problem with direct dating these paintings is the presence of calcium oxalates behind, on, and within the pigment layers. Calcium oxalates are formed through lichen and bacterial action on the rock face. These reactions can sometimes take place over long periods and can incorporate carbon of a younger age into the pigments. This study aims to date black pigments from a rockshelter, RSA TYN2 (Eastern Cape, South Africa), by removing the calcium oxalate contamination. Two different protocols were tried: density separation and acidification. The latter successfully removed calcium oxalates and was therefore applied to 3 black pigment samples from the rockshelter. After acid pretreatment, accelerator mass spectrometry (AMS) dating was undertaken on the remaining residues. Three results were obtained (2072 ± 28 BP, 2100 ± 40 BP, and 2083 ± 32 BP), which constitute the oldest results so far obtained for direct dates on South African rock art. The most likely calibrated date range for the painting at this site is between 2120 and 1890 cal BP. The ages are in close agreement with each other and this consistency suggests that our preparation protocol has successfully removed the majority of the carbon contaminants.

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Prins, Marguerite. "Exposé or misconstrual? Unresolved issues of authorship and the authenticity of GW Stow’s ‘forgery’ of a rock art painting." Journal for Transdisciplinary Research in Southern Africa 1, no. 1 (2005): 16. http://dx.doi.org/10.4102/td.v1i1.302.

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George William Stow (1822-1882) is today considered to have been one of the founding fathers of rock art research and conservation in Southern Africa. He arrived from England in 1843 and settled on the frontier of the Eastern Cape where he gradually started specializing in geological exploration, the ethnological history of the early peoples of the subcontinent and the rock art of the region.By the 1870s he was responsible for the discovery of the coalfields in the Vaal Triangle of South Africa.In recent years Stow’s legacy has been the subject of academic suspicion. Some rock art experts claim that he made himself guilty of ‘forgery’. In the article the authors argues in favour of restoring the status of Stow by pointing to the fact that two mutually exclusive interpretational approaches of rock art, than it is about an alleged forgery, are at the heart of the attempts at discrediting his work. In the process, irreparable and undeserving harm has been done to the name of George William Stow and his contribution to rock art research and conservation in South Africa.

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Lewis-Williams, David, Thomas A. Dowson, and Janette Deacon. "Rock art and changing perceptions of southern Africa's past: Ezeljagdspoort reviewed." Antiquity 67, no. 255 (1993): 273–91. http://dx.doi.org/10.1017/s0003598x0004535x.

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Since 1835 travellers and scholars have been looking at, and ‘reading’, a strange painting of apparently fish-tailed figures at Ezeljagdspoort, in the southern part of the Cape Province, South Africa. Each reading has been made within some external frame-of-reference, whether supposed histories of racial conflict or Jungian archetypes of child-like primitive insight. These set aside, a surer route to an ‘inside’ reading may be based on our knowledge of Bushman shamanism.

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Woodhouse, H. C. "Utilization of Rock Face Features in the Rock Paintings of South Africa." South African Archaeological Bulletin 45, no. 152 (1990): 112. http://dx.doi.org/10.2307/3887970.

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Williamson, B. S. "Direct Testing of Rock Painting Pigments for Traces of Haemoglobin at Rose Cottage Cave, South Africa." Journal of Archaeological Science 27, no. 9 (2000): 755–62. http://dx.doi.org/10.1006/jasc.1999.0489.

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Yates, Royden, and Anthony Manhire. "Shamanism and Rock Paintings: Aspects of the Use of Rock Art in the South-Western Cape, South Africa." South African Archaeological Bulletin 46, no. 153 (1991): 3. http://dx.doi.org/10.2307/3889007.

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Hampson, Jamie. "The Materiality of Rock Art and Quartz: a Case Study from Mpumalanga Province, South Africa." Cambridge Archaeological Journal 23, no. 3 (2013): 363–72. http://dx.doi.org/10.1017/s0959774313000498.

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A San rock-art site in northeastern South Africa includes several intriguing features, including rubbed patches of pigment and a red line painted on top of a quartz vein. This article interrogates the relationships between hunter-gatherer beliefs, materiality and rock paintings, and suggests that San painters and viewers engaged with the unique Mpumalangan site for specific ritualistic purposes.

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Hollmann, Jeremy. "Preliminary Report on the Koebee Rock Paintings, Western Cape Province, South Africa." South African Archaeological Bulletin 48, no. 157 (1993): 16. http://dx.doi.org/10.2307/3888872.

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McCall, Grant S. "Altitude Adjustments: More on Didima Gorge and New Directions in Rock Art Research." American Antiquity 77, no. 4 (2012): 813–17. http://dx.doi.org/10.7183/0002-7316.77.4.813.

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AbstractIn their comment, Challis et al. (this issue) find fault with several aspects of my earlier paper on rock paintings in the Didima Gorge, South Africa (McCall 2010). In this reply, I acknowledge that they may be correct in certain assertions concerning rock shelter altitudes. I argue, however, that the significance of these “altitude adjustments” for my broader arguments concerning variability in San rock art site use patterns is minor. I close by considering more substantive challenges for the use of quantitative analytical methods in the examination rock art assemblage composition and landscape-scale variation.

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Dissertations / Theses on the topic "Rock painting – South Africa"

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Cosser, Marijke. "Images of a changing frontier worldview in Eastern Cape art from Bushman rock art to 1875." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002196.

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A discussion of the concept of worldview shows that how an artist conceives the world in his images is governed by his worldview - an amalgam of the worldview of the group of which he is a part modified by his own ideas, beliefs, attitudes, perceptions and upbringing. The author proposes that studying an artist's work can reveal his, and hence his group's, worldview and thus the attitudes prevalent when the work was produced. A brief historical sketch of the Eastern Cape to 1834 introduces the various settlers in the area. Though no known examples of Black, Boer or Khoi pictorial art are extant, both the Bushmen and the British left such records. A short analysis of rock art shows how the worldview of the Bushman is inherent in their images which reflect man's world as seen with the "inner" eye of the spirit. In white settler art, the author submits that spatial relationships changed in response to a growing confidence as the "savage" land was "civilised" and that the position, pose and size of figures - and the inclusion or exclusion of certain groups - reflect socio-political changes. The two foremost nineteenth-century Eastern Cape artists, Thomas Baines and Frederick I'Ons, succeeded in capturing the atmosphere of Frontier life but are shown to interpret their surroundings through the rose-tinted spectacles of British Romanticism. They also reveal individuality in approach - Baines preferring expansive views while I'Ons's landscapes tend to be "closed-in", strictly following the coulisse scheme of Picturesque painting. Perhaps, the author postulates, such differences result from the very different environments, i.e. Norfolk and London, in which the two grew up. I'Ons is shown typically to use generalised landscapes as backdrops for his foreground figures, while comparing Baines's scenes with modern photographs shows that he adjusted the spacial elements of the topography as well as the temporal sequence of events to suit aesthetic considerations. Lithographed reports of his work contain even further adjustments. The author concludes that the use of Africana art as historical records must be treated with great caution.

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Ndlovu, Ndukuyakhe. "Incorporating indigenous management in rock art sites in KwaZulu -Natal /." Thesis, Rhodes University, 2005. http://eprints.ru.ac.za/1380/.

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Solomon, Anne Catherine. "Division of the earth : gender, symbolism and the archaeology of the southern San." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/21818.

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Bibliography: pages 180-207.<br>Gender studies in various disciplines, particularly anthropology, have shown that the opposition of masculine : feminine is commonly used to structure other cultural contrasts, and that the representation of this opposition in cultural products is in turn implicated in the cultural construction of gender content. This bidirectional problematic, supplementing the more limited critique of gender 'bias' and masculinist models, is the focus of this research into archaeological materials. Rock art is the principal archaeological 'trace' analysed. Because the impetus to gender studies comes principally from the critical standpoint of feminism, analyses of gender and gendering in archaeological materials are evaluated in the context of gender issues in the present day, in terms of archaeological 'reconstructions' as legitimising the existing gender order. Theoretical influences include feminism, hermeneutics, marxism, (post)- structuralism, semiotics, and discourse theory. Aspects of language, and, particularly, the oral narratives of various San groups - the /Xam, G /wi, !Kung, Nharo, and others - are examined in order to establish the way in which masculinity and femininity are/have been conceptualised and differentiated by San peoples. This is followed by an assessment of the manner of and extent to which the masculine: feminine opposition informs narrative content and structure. The analysis of language texts permits an approach to the representation of this opposition in non-language cultural texts (such as visual art, space). Particular constructions of masculinity and femininity, and a number of gendered contrasts (pertaining to form, orientation, time, number, quality) are identified. Gender symbolism is linked to the themes of rain and fertility/ continuity, and analysed in political terms, according to the feminist materialist contention that, in non-class societies, gender opposition is potentially the impetus to social change. Gender(ing) is more fundamental to San cultural texts than has been, recognised, being present in a range of beliefs which are linked by their gender symbolism. I utilise a 'fertility hypothesis', derived from a reading of the ethnographies, in order to explain various elements of Southern African rock art, Well-preserved (thus relatively recent) paintings, principally from sites in the Drakensberg and south-western Cape, were selected. Features interpreted via this hypothesis include: images of humans, the motif of the thin red line fringed with white dots, 'elephants in boxes', therianthropic figures, and 'androgynous' figures, including the eland. The spatial organisation of the art, the significance of non-realistic perspectives, and the problem of the numerical male dominance of the art are also interpreted from this standpoint. The analysis permits critique, of the theorisation of gender and ideology in rock art studies, and of the biophysical determinism implicit in current rock art studies, in which attempts are made to explain many features of the art by reference to trance states, altered consciousness and neurophysiological constitution. Rain, rather than trance, is proposed as the central element of San ritual/religious practices. Finally, the treatment of (or failure to consider) gender(ing) in the archaeological record is situated in relatio.n to contemporary gender ideologies, in the contexts of archaeological theory and practice.

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Rust, Renee. "The rock art of the Anysberg Nature Reserve, Western Cape : a sense of place and rainmaking." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/52016.

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Thesis (MA)-- Stellenbosch University, 2000.<br>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.<br>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.

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Fordred, Claire Louisa. "The management and conservation of rock art sites and paintings in the uKhahlamba-Drakensberg Park, KwaZulu-Natal, South Africa." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/23428.

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The uKhahlamba-Drakensberg Park (UDP) is a World Heritage Site known for its cultural San heritage and its natural beauty, which is advertised as a world tourist attraction. Tourism is a debatable issue with regards to its negative and/or positive impacts on rock art along with commodification aspects. Negatively, visitation of sites increased natural deterioration of the site, the art and challenges for cultural resource management. While increased awareness of rock art conservation is a positive aspect through tourism and developments, contributes optimistically. San heritage is unique, defining our cultural identity and has the power to encourage national unification. The aim of this project is to assess the complexities of tourism developments and its immediate impacts at different rock art sites in the UDP through an analysis of management and conservation methods. The monitoring of these mentioned methods applied is important as it evaluates the effectiveness of past techniques and provides suggestions for other rock art sites. The current conditions at nine study sites in the UDP were investigated under three main criteria; deterioration of the sites and paintings through natural and human impacts, tourism developments and management. Data collection followed principles such as; site mapping, narrative recording, graphic documentation, and is represented in evaluation tables. Results concluded that common management methods were implemented at sites to provide standard conservation practices, but every site had room for improvement. The results have led to the formulation of recommendations that can be applied at other rock art sites and can contribute to future management and conservation protocols. The study highlights the unique demands made on rock art sites by tourism and concludes with final comments and recommendations.<br>Dissertation (MA)--University of Pretoria, 2012.<br>Geography, Geoinformatics and Meteorology<br>MA<br>Unrestricted

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Morris, David Roger Neacalbann Mcintyre. "Driekopseiland and the 'rain's magic power': history and landscape in a new interpretation of a Northern Cape rock engraving." Thesis, University of the Western Cape, 2002. http://hdl.handle.net/11394/1597.

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The rock engraving site of Driekopseiland, west of Kimberley in the Northern Cape is distinctively situated on glaciated basement rock in the bed of the Riet River, and has a wealth of over 3500 engravings, preponderantly geometric images. Most other sites in the region have greater proportions of, or are dominated by, animal imagery. In early interpretations, it was often considered that ethnicity was the principal factor in this variabilty. From the 1960s the focus shifted more to establishing a quantative definition of the site, and an emperical understanding of it within the emerging cultural and environmental history of the region.<br>Magister Artium - MA (Anthropology/Sociology)

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Morris, David Roger Neacalbánn McIntyre. "Driekopseiland and the 'rain's magic power': history and landscape in a new interpretation of a Northern Cape rock engraving." Thesis, University of Westen Cape, 2002. http://hdl.handle.net/11394/151.

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The rock engraving site of Driekopseiland, west of Kimberley in the Northern Cape is distinctively situated on glaciated basement rock in the bed of the Riet River, and has a wealth of over 3500 engravings, preponderantly geometric images. Most other sites in the region have greater proportions of, or are dominated by, animal imagery. In early interpretations, it was often considered that ethnicity was the principal factor in this variabilty. From the 1960s the focus shifted more to establishing a quantative definition of the site, and an emperical understanding of it within the emerging cultural and environmental history of the region.

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Anderson, Gavin Craig. "The social and gender identity of gatherer-hunters and herders in the Southwestern Cape." Master's thesis, University of Cape Town, 1996. http://hdl.handle.net/11427/22515.

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Bibliography: pages 134-166.<br>Southern African archaeology has experienced several changes in theoretical perspectives over the past few decades. More recently there have been renewed calls for a more social and theoretical approach to the analysis of the prehistoric past, especially the Late Stone Age. This thesis is an account of the last 4000 years in the southwestern Cape, where material culture is analysed in terms of contextual meaning. Contextual meaning is used in conjunction with social identity theory to analyse the interaction between Khoi herders and San gatherer-hunters. I use the active processes of identity formation and maintenance to argue that both the isolationist and revisionist arguments have simplified the concepts of identity, where identity is seen to have a passive role in interaction. I argue that identity is dynamic and changeable, and that individuals have several social identities which are made salient according to the context of interaction. I use specific fine line images in the rock art to argue that these images, in conjunction with scraper styles, were used as strategies by San males to increase their self-esteem. I further argue that interaction would result in unequal gender relations and San females used specific adzes to reassert their gender identity within San society. I further argue that finger paintings and handprints may have been painted by Khoi females as part of their menstruation and/or menarche rituals. I use both the gender and social identities from the Khoi and the San to argue that these are interrelated and cannot be separated. I argue that interaction would result in unequal gender and social practices and these practices would be expressed in the material culture of that group.

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Duminy, Sylvia Ida. "Die ontwikkeling van 'n modulêre en vervoerbare beligtingsinstrument vir die dokumentasie van Suid-Afrikaanse rotskuns." Thesis, [Bloemfontein?] : Central University of Technology, Free State, 2006. http://hdl.handle.net/11462/82.

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Thesis (M. Tech.) -- Central University of Technology, Free State, 2007<br>The lack of a standardized lighting instrument to be used in conjunction with existing photographic methods to document rock art, is a problem experienced in archaeological circles. Through interviews with archaeologists and an investigation into existing photographic methods concerning the photographing of rock art, a demand for a portable and modular lighting instrument was confirmed. The aim of this study, then, was to develop a prototype lighting instrument to fill this void. The design and manufacture of the modular lighting instrument entailed the harnessing of the technological advances made in the field of rapid prototyping. A brief overview of the San/Bushmen of Southern Africa is given to stress the importance of this study and to emphasise the importance of the art of the Bushman in our collective art heritage. An overview of the documenting of rock art and therewith an investigation into documented works of rock art and rock engravings by the San/Bushmen serves as a point of departure for the present inquiry. Tests undertaken with the modular lighting instrument, and a comparison of the results so obtained with existing photographic methods, showed that with the use of the modular lighting instrument, an improvement in illumination, rock-face texture and colour contrast in the images was obtained. The modular lighting instrument helps to create and regulate a suitable lighting environment irrespective of natural lighting circumstances and environments. It produces better results when it comes to documenting rock art in comparison to existing methods of documentation. Continued study for the development of the modular lighting instrument is recommended in order to produce more constant results.

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Steynberg, Peter John. "A survey of San paintings from the southern Natal Drakensberg." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004918.

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From Introduction: The study of San rock art has undergone several different phases in approach to the interpretation of art. Two approaches are currently in use. The first emphasises the art as narrative or literal representations of San life and its proponents may be called the "art for art's sake" school. Adherents to the second approach make detailed use of the San ethnography on the belief system of these people and are highly critical of the literalists because they provide no such context. The second approach has rapidly gained ascendancy and replaced the "art for art's sake" school over the last twenty years. The watershed came with the researches of Vinnicombe (1967) in the southern Drakensberg and Maggs (1967) in the Western Cape who both embarked upon programs of research which had quantification and numerical analysis at their core, so that they could present "...some objective observations on a given sample of rock paintings in a particular area..." in order to compare and contrast paintings from geographically different areas. What Vinnicombe's numerical analyses clearly showed was that the eland was the most frequently depicted antelope and that it must have played a fundamental role "...in both the economy and the rellgious beliefs of the painters...", which opened up the search for what those beliefs might be and how they could be related to the rock art itself. In order to understand what the rock art was all about it was recognised that researchers had to meaningfully contextualise the art within the social and religious framework of the artists themselves. Without the provision of such a relevant context, as many different interpretations of the paintings could be made as there were people with imaginations. Such a piecemeal approach provides a meaningless jumble of subjective fancy which tells us something about the interpreters but nothing about the rock art. It is unfortunate that the advent of this explicitly social and anthropological approach marks the end of the amateur as a serious interpreter of San rock art, for the juxtaposition of the ethnography with the rock art requires a proper training in which the intricacies of symbol and metaphor can be recognised.

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Books on the topic "Rock painting – South Africa"

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Rock paintings of South Africa: Revealing a legacy. David Philip, 2001.

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Rudner, Ione. The conservation of rock art in South Africa. National Monuments Council, 1989.

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Painting in South Africa. Southern Book Publishers, 1993.

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Oxley, John. Stained glass in South Africa. William Waterman Publications, 1994.

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Painting Cape Town: Graffiti from South Africa. Shelflife Store, 2013.

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Fabian, Anita. Wild flowers of northern South Africa. Fernwood Press, 1997.

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Coetzee, Cyril. T'kama-Adamastor: Inventions of Africa in a South African painting. University of the Witwatersrand, 2000.

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Art & aspirations: The Randlords of South Africa and their collections. Fernwood Press, 2002.

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MacLean, Barbara Hutmacher. Strike a woman, strike a rock: Fighting for freedom in South Africa. Africa World Press, 2004.

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Rock shelter: Some cave and cliff structures in Lesotho and South Africa. Vernacularch, 2010.

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Book chapters on the topic "Rock painting – South Africa"

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Ndlovu, Ndukuyakhe. "uKhahlamba-Drakensberg Park (South Africa), Rock Art At." In Encyclopedia of Global Archaeology. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-51726-1_2833-1.

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Ndlovu, Ndukuyakhe. "uKhahlamba-Drakensberg Park (South Africa), Rock Art at." In Encyclopedia of Global Archaeology. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_2833.

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Šílený, Jan, and Alexander Milev. "Mechanism of mining-associated seismic events recorded at Driefontein – Sibanye gold mine in South Africa." In Rock Mechanics and Engineering. CRC Press, 2017. http://dx.doi.org/10.1201/9781315364223-11.

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Castilla, J. C., G. M. Branch, and A. Barkai. "Exploitation of Two Critical Predators: The Gastropod Concholepas concholepas and the Rock Lobster Jasus lalandii." In Rocky Shores: Exploitation in Chile and South Africa. Springer Berlin Heidelberg, 1994. http://dx.doi.org/10.1007/978-3-642-78283-1_6.

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Hampson, Jamie G. "Conflict on the Frontier: San Rock Art, Spirituality, and Historical Narrative in the Free State Province, South Africa." In Rock Art and Sacred Landscapes. Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-8406-6_7.

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Mare, Admire. "‘Caught Between a Rock and a Hard Place’? A Comparative Study of How Business Journalists Negotiate Ethical Policies in Kenya and South Africa." In Newsmaking Cultures in Africa. Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-54109-3_10.

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Ofori-Sarpong, Grace, and Richard Amankwah. "Potential of Mine Waste Rock to Generate Acid Mine Drainage – A Case Study in South-Western Ghana." In New Frontiers in Natural Resources Management in Africa. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-11857-0_6.

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Fröbisch, Jörg. "Synapsid Diversity and the Rock Record in the Permian-Triassic Beaufort Group (Karoo Supergroup), South Africa." In Vertebrate Paleobiology and Paleoanthropology. Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-6841-3_18.

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Martin, D. C., N. S. L. Steenkamp, and J. W. Lill. "Application of a statistical analysis technique for design of high rock slopes at Palabora mine, South Africa." In Mining Latin America / Minería Latinoamericana. Springer Netherlands, 1986. http://dx.doi.org/10.1007/978-94-017-2286-5_23.

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Khoza, Khethani Reason, Egerton Daniel Christian Hingston, Sihle Mtshali, Cebolenkosi Khumalo, and Nomonde Mabogo. "The Use of JBlock in the Analysis of Potential Rock Falls at the Magdalena Colliery, Dundee, South Africa." In IAEG/AEG Annual Meeting Proceedings, San Francisco, California, 2018 - Volume 1. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93124-1_13.

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Conference papers on the topic "Rock painting – South Africa"

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"Static Test-Based Acid Rock Drainage Formation Potential of Metalliferous Tailings from O’Kiep, South Africa." In Nov. 18-19, 2019 Johannesburg (South Africa). Eminent Association of Pioneers, 2019. http://dx.doi.org/10.17758/eares8.eap1119262.

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Salufu, Samuel, Rita Onolemhemhen, and Sunday Isehunwa. "Hydrocarbon Generation Indication from Source Rock to Reservoir Rock: Case Studies of Anambra and Abakaliki Basins South-Eastern Nigeria." In SPE/AAPG Africa Energy and Technology Conference. SPE, 2016. http://dx.doi.org/10.2118/afrc-2560967-ms.

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ABSTRACT This paper sought to use information from outcrop sections to characterize the source and reservoir rocks in a basin in order to give indication(s) for hydrocarbon generation potential in a basin in minimizing uncertainty and risk that are allied with exploration and field development of oil and gas, using subsurface data from well logs, well sections, seismic and core. The methods of study includes detailed geological, stratigraphical, geochemical, structural,, petro-graphical, and sedimentological studies of rock units from outcrop sections within two basins; Anambra Basin and Abakaliki Basin were used as case studies. Thirty eight samples of shale were collected from these Basins; geochemical analysis (rockeval) was performed on the samples to determine the total organic content (TOC) and to assess the oil generating window. The results were analyzed using Rock wares, Origin, and Surfer software in order to properly characterize the potential source rock(s) and reservoir rock(s) in the basins, and factor(s) that can favour hydrocarbon traps. The results of the geological, stratigraphical, sedimentological, geochemical, and structural, were used to developed a new model for hydrocarbon generation in the Basins. The result of the geochemical analysis of shale samples from the Anambra Basin shows that the TOC values are ≥ 1wt%, Tmax ≥ 431°C, Vitrinite reflectance values are ≥ 0.6%, and S1+S2 values are &gt; 2.5mg/g for Mamu Formation while shale samples from other formations within Anambra Basin fall out of these ranges. The shale unit in the Mamu Formation is the major source rock for oil generation in the Anambra Basin while others have potential for gas generation with very little oil generation. The shale samples from Abakaliki Basin shows that S1+S2 values range from&lt; 1 – 20mg/g, TOC values range from 0.31-4.55wt%, vitrinite reflectance ranges from 0.41-1.24% and Tmax ranges from423°C – 466°C. This result also shows that there is no source rock for oil generation in Abakaliki Basin; it is either gas or graphite. This observation indicates that all the source rocks within Abakaliki Basin have exceeded petroleum generating stage due to high geothermal heat resulting from deep depth or the shale units have not attained catagenesis stage as a result of S1+S2 values lesser than 2.5mg/g despite TOC values of ≥ 0.5wt% and vitrinite reflectance values of ≥ 0.6%. The novelty of this study is that the study has been able to show that here there is much more oil than the previous authors claimed, and the distribution of this oil and gas in the basins is controlled by two major factors; the pattern of distribution of the materials of the source rock prior to subsidence and during the subsidence period in the basin, and the pattern and the rate of tectonic activities, and heat flow in the basin. If these factors are known, it would help to reduce the uncertainties associated with exploration for oil and gas in the two basins.

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Schlotfeldt, Paul. "A Method for Rockfall Hazard Assessments — Chapmans Peak Drive, Cape Town, South Africa." In First Southern Hemisphere International Rock Mechanics Symposium. Australian Centre for Geomechanics, Perth, 2008. http://dx.doi.org/10.36487/acg_repo/808_140.

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Westgate, M., M. Manzi, and G. Cooper. "Symmetry as an Alternative Seismic Attribute: Case Studies from the Hard Rock and Soft Rock Environments, South Africa." In 80th EAGE Conference and Exhibition 2018. EAGE Publications BV, 2018. http://dx.doi.org/10.3997/2214-4609.201801723.

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Westgate*, Michael, and Musa Manzi. "Theoretical overview of complex seismic attributes: Applications to soft and hard rock environments in South Africa." In International Geophysical Conference, Qingdao, China, 17-20 April 2017. Society of Exploration Geophysicists and Chinese Petroleum Society, 2017. http://dx.doi.org/10.1190/igc2017-034.

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Scholz, Christopher A. "Advancing Models of Facies Variability and Lacustrine Source Rock Accumulation in Rifts: Implications for Exploration." In SPE/AAPG Africa Energy and Technology Conference. SPE, 2016. http://dx.doi.org/10.2118/afrc-2577056-ms.

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ABSTRACT Important syn-rift hydrocarbon discoveries in the Tertiary East African Rift and in the South Atlantic subsalt basins have in recent years promoted renewed interest in the variability of source and reservoir rock facies in continental rifts. This talk considers several important new observations and developments in our understanding of the sedimentary evolution of lacustrine rift basins. Offshore subsalt basins in the South Atlantic demonstrate the importance of lacustrine carbonates, and especially microbialites, as reservoir facies in extensional systems. The role of rift-related magmatism is significant in these basins, both as drivers of hydrothermal systems around and within rift lakes, and as a source of solutes that facilitate carbonate accumulations. In the Tertiary East African Rift, substantial new hydrocarbon resources have been identified, including onshore siliciclastic reservoirs in remarkably young and shallow parts of the sedimentary section in the Albertine Graben. Rollover anticlines and fault-related folds serve as important structures for several new fields in the East African Rift, but larger structures affiliated with accommodation zones, in many instances located far offshore in the modern lakes, remain untested. Lacustrine source rocks that accumulated in stratified lake basins are the source of the oil and gas in these systems, however there is still much to be learned about their spatial and temporal variability. There is observed considerable variation in the character of organic matter on the floors of modern African lake basins, even adjacent ones. A number of factors likely govern the amount of total organic carbon preserved within the basins. These include 1) primary productivity; 2) degree of siliciclastic dilution, which is controlled in part by offshore slopes and the extent of onshore catchments, and 3) physical limnology, controlled by climate and basin-scale physiography, and the fetch-depth ratio of the lakes, which determines the likelihood of water column stratification. Scientific drilling in the African Rift lake basins is providing considerable information on the high temporal hydroclimate variability of the region, especially in the later Tertiary and Quaternary, which substantially controls basin lithofacies.

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Ogasawara, Hiroshi, Masao Nakatani, Raymond Durrheim, et al. "Observational studies of the rock mass response to mining in highly stressed gold mines in South Africa." In Seventh International Conference on Deep and High Stress Mining. Australian Centre for Geomechanics, Perth, 2014. http://dx.doi.org/10.36487/acg_rep/1410_06_ogasawara.

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Thamae, Mohlomi, and Clifford Nxumalo. "Challenges affecting structural stability in the design and construction of waste rock dumps at Nkomati Mine, South Africa." In First International Seminar on the Reduction of Risk in the Management of Tailings and Mine Waste. Australian Centre for Geomechanics, Perth, 2010. http://dx.doi.org/10.36487/acg_rep/1008_11_thamae.

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Arnold, Andy, and A. Akinlua. "Source Rock Potential, Palaeoenvironment & Thermal Maturity of the Lower Ecca Group, South Africa: Implications for Hydrocarbon Exploration." In 11th SAGA Biennial Technical Meeting and Exhibition. European Association of Geoscientists & Engineers, 2009. http://dx.doi.org/10.3997/2214-4609-pdb.241.arnold_abstract.

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Banerjee, Anupam, and Madhusoodhan Satish-Kumar. "Whole-Rock Nd, Sr and Multiple S Isotopic Compositions of Carbonatites and Alkaline Silicate Rocks from the Phalaborwa Complex, South Africa." In Goldschmidt2020. Geochemical Society, 2020. http://dx.doi.org/10.46427/gold2020.120.

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