Myth, Motive, and Selection in Southern African Rock Art

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Abstract
Opening Paragraph: Recent publications on the rock art of Africa have again focused attention on the tremendous wealth of painted and engraved sites in that continent (Brentjes, 1969; Cooke, 1969; Lee and Woodhouse, 1970; Rudner, 1970). At the same time, however, it is made all too clear that the collection of data is largely unsystematic and subjective and, because of the incomplete nature of the evidence, valid analysis or comparison is difficult. Small wonder, then, that there is such a diversity of often conflicting views on the significance of the art (Vinnicombe, 1972).

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