Catherine Namono
Biographic Data
| ID | 176758 |
|---|---|
| NAME | Catherine Namono |
| GIVEN NAMES | Catherine |
| FAMILY NAME | Namono |
| SIGNATURE | NAMONO C |
| AFFILIATIONS | University of the Witwatersrand |
| ORCID | 0000-0001-7320-3333 |
| VERIFIED | Yes |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 15 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 2 |
The rock art of Kakapel Shelter, western Kenya
Osaga Odak first described the Kakapel rock art of western Kenya in 1977. His sketch concentrated on the site’s main central panel, capturing only the clearer images and he categorised the images present into humans, animals, artefacts and non-representational designs, proposing a sequence of two styles painted by two different groups. Odak further argued that Kakapel’s paintings were drawn before the arrival in the region of the Kalenjin, placin…
Trains, Tracks, Transition: Ambivalence in Northern Sotho Colonial Contact-Period Rock Art, the Makgabeng, South Africa
This article explores impacts of, and reactions to, colonial intrusion and migrancy on and among the Northern Sotho on the Makgabeng, South Africa. We reflect on the role rock art sites play as spaces in which the Northern Sotho articulated their agency responding to new colonial objects – wagons, trains, and trucks – and how these objects were re-signified and integrated into Northern Sotho iconography of initiation rock art. A close analysis of…
Curation as Engagement: Boulder Exhibits at the Origins Centre, South Africa
This paper is a reflection on curation as engagement that encourages a rethinking of how objects are displayed in museums, using the example of the engraving and boulder displays at the Origins Centre museum. Reflecting on the colonial legacy of museums, the paper examines the provenance, curation and display of the boulders with/without rock art at the Origins Centre and whether these colonial approaches impact object value and authenticity, and…
It’s Not Gelling: Conservation Mitigation at Bonne Esperance 016 Rock Art Site, Makgabeng, South Africa
South Africa is richly endowed with rock art but interest in its conservation has not been given much priority. The country has been slow in developing adequate and effective conservation protocols due to lack of research interest in conservation. There are three main challenges that affect the conservation of rock art: 1) absence of coherent monitoring systems for conservation interventions; 2) lack of local expertise in rock art conservation; a…
Digital Technology and a Community Framework for Heritage Rock Art Tourism, Makgabeng Plateau, South Africa
Soaring spirits: Rock art, initiation and theSorsecret society of spirit mediums of Karamoja, Uganda
This paper challenges two ideas in understanding the naturalistic rock art of Karamoja, Uganda, namely: 1) that its authors were probably the Iworopom or Later Stone Age (LSA) hunter-gatherers; and 2) that it depicts warriors holding bows and shields. In the absence of any knowledge of the meaning and authors of the rock art amongst present communities some suggestions are drawn from an analysis of the images depicted. A new rock art site at Kana…
Dumbbells and circles: Symbolism of Pygmy rock art of Uganda
This article offers an interpretation of dumbbell and circular shapes in the rock art repertoire of Uganda using a contextual interpretive approach based on Pygmy ethnographies. It provides a key to unlocking how Pygmy groups experienced their cosmos and demonstrates the associations of rock art images in Pygmy thought in an attempt to explain their symbolism. In so doing, the rock art in Uganda is placed into a new conceptual framework stressing…
Pongosymbolism in the geometric rock art of Uganda
In this paper the author places the rock art of Uganda in context. It probably belongs to the Late Stone Age period to the Holocene and its symbolism may be interpreted in the light of later belief systems recorded amongst the historical Pygmy people.Pongois the bark cloth used to make the distinctive loin cloths of men and aprons of women.Pongoare probably depicted in the rock art to evoke the fecundity ofndura, linking the real and supernatural…
Resolving the Authorship of the Geometric Rock Art of Uganda
The rock art of Uganda has not been extensively explored and its authorship has remained uncertain due to its obscure geometric iconography and unknown date. This paper, developed out of my PhD thesis, provides an analysis of the geometric rock art of Uganda and describes its relationship with similar rock art in the east and central African region. This association provides a strong basis for a new ascription of Pygmy hunter-gatherer authorship
Surrogate surfaces: A contextual interpretive approach to the rock art of Uganda
nRock art in Uganda is under-researched, and where research has been done the \nrock art was erroneously attributed to ‘Bushman-like’ people. This misattribution \nresulted in flawed interpretations. Uganda forms part of the geometric art zone \nthat spreads across central Africa, including Angola, northern Mozambique, \nZambia, Malawi and the Democratic Republic of Congo. Using a contextual \ninterpretive approach, this thesis considers the mean…
Resolving the Authorship of the Geometric Rock Art of Uganda
The rock art of Uganda has not been extensively explored and its authorship has remained uncertain due to its obscure geometric iconography and unknown date. This paper, developed out of my PhD thesis, provides an analysis of the geometric rock art of Uganda and describes its relationship with similar rock art in the east and central African region. This association provides a strong basis for a new ascription of Pygmy hunter-gatherer authorship
Surrogate surfaces: A contextual interpretive approach to the rock art of Uganda
nRock art in Uganda is under-researched, and where research has been done the \nrock art was erroneously attributed to ‘Bushman-like’ people. This misattribution \nresulted in flawed interpretations. Uganda forms part of the geometric art zone \nthat spreads across central Africa, including Angola, northern Mozambique, \nZambia, Malawi and the Democratic Republic of Congo. Using a contextual \ninterpretive approach, this thesis considers the mean…
Dumbbells and circles: Symbolism of Pygmy rock art of Uganda
This article offers an interpretation of dumbbell and circular shapes in the rock art repertoire of Uganda using a contextual interpretive approach based on Pygmy ethnographies. It provides a key to unlocking how Pygmy groups experienced their cosmos and demonstrates the associations of rock art images in Pygmy thought in an attempt to explain their symbolism. In so doing, the rock art in Uganda is placed into a new conceptual framework stressing…
Digital Technology and a Community Framework for Heritage Rock Art Tourism, Makgabeng Plateau, South Africa
Pongosymbolism in the geometric rock art of Uganda
In this paper the author places the rock art of Uganda in context. It probably belongs to the Late Stone Age period to the Holocene and its symbolism may be interpreted in the light of later belief systems recorded amongst the historical Pygmy people.Pongois the bark cloth used to make the distinctive loin cloths of men and aprons of women.Pongoare probably depicted in the rock art to evoke the fecundity ofndura, linking the real and supernatural…
Resolving the Authorship of the Geometric Rock Art of Uganda
The rock art of Uganda has not been extensively explored and its authorship has remained uncertain due to its obscure geometric iconography and unknown date. This paper, developed out of my PhD thesis, provides an analysis of the geometric rock art of Uganda and describes its relationship with similar rock art in the east and central African region. This association provides a strong basis for a new ascription of Pygmy hunter-gatherer authorship
Surrogate surfaces: A contextual interpretive approach to the rock art of Uganda
nRock art in Uganda is under-researched, and where research has been done the \nrock art was erroneously attributed to ‘Bushman-like’ people. This misattribution \nresulted in flawed interpretations. Uganda forms part of the geometric art zone \nthat spreads across central Africa, including Angola, northern Mozambique, \nZambia, Malawi and the Democratic Republic of Congo. Using a contextual \ninterpretive approach, this thesis considers the mean…
Pongosymbolism in the geometric rock art of Uganda
In this paper the author places the rock art of Uganda in context. It probably belongs to the Late Stone Age period to the Holocene and its symbolism may be interpreted in the light of later belief systems recorded amongst the historical Pygmy people.Pongois the bark cloth used to make the distinctive loin cloths of men and aprons of women.Pongoare probably depicted in the rock art to evoke the fecundity ofndura, linking the real and supernatural…
Dumbbells and circles: Symbolism of Pygmy rock art of Uganda
This article offers an interpretation of dumbbell and circular shapes in the rock art repertoire of Uganda using a contextual interpretive approach based on Pygmy ethnographies. It provides a key to unlocking how Pygmy groups experienced their cosmos and demonstrates the associations of rock art images in Pygmy thought in an attempt to explain their symbolism. In so doing, the rock art in Uganda is placed into a new conceptual framework stressing…
Soaring spirits: Rock art, initiation and theSorsecret society of spirit mediums of Karamoja, Uganda
This paper challenges two ideas in understanding the naturalistic rock art of Karamoja, Uganda, namely: 1) that its authors were probably the Iworopom or Later Stone Age (LSA) hunter-gatherers; and 2) that it depicts warriors holding bows and shields. In the absence of any knowledge of the meaning and authors of the rock art amongst present communities some suggestions are drawn from an analysis of the images depicted. A new rock art site at Kana…
Digital Technology and a Community Framework for Heritage Rock Art Tourism, Makgabeng Plateau, South Africa
It’s Not Gelling: Conservation Mitigation at Bonne Esperance 016 Rock Art Site, Makgabeng, South Africa
South Africa is richly endowed with rock art but interest in its conservation has not been given much priority. The country has been slow in developing adequate and effective conservation protocols due to lack of research interest in conservation. There are three main challenges that affect the conservation of rock art: 1) absence of coherent monitoring systems for conservation interventions; 2) lack of local expertise in rock art conservation; a…
Curation as Engagement: Boulder Exhibits at the Origins Centre, South Africa
This paper is a reflection on curation as engagement that encourages a rethinking of how objects are displayed in museums, using the example of the engraving and boulder displays at the Origins Centre museum. Reflecting on the colonial legacy of museums, the paper examines the provenance, curation and display of the boulders with/without rock art at the Origins Centre and whether these colonial approaches impact object value and authenticity, and…
Trains, Tracks, Transition: Ambivalence in Northern Sotho Colonial Contact-Period Rock Art, the Makgabeng, South Africa
This article explores impacts of, and reactions to, colonial intrusion and migrancy on and among the Northern Sotho on the Makgabeng, South Africa. We reflect on the role rock art sites play as spaces in which the Northern Sotho articulated their agency responding to new colonial objects – wagons, trains, and trucks – and how these objects were re-signified and integrated into Northern Sotho iconography of initiation rock art. A close analysis of…
The rock art of Kakapel Shelter, western Kenya
Osaga Odak first described the Kakapel rock art of western Kenya in 1977. His sketch concentrated on the site’s main central panel, capturing only the clearer images and he categorised the images present into humans, animals, artefacts and non-representational designs, proposing a sequence of two styles painted by two different groups. Odak further argued that Kakapel’s paintings were drawn before the arrival in the region of the Kalenjin, placin…
Archaeology and Rock Art Studies (10 works) · Archaeology (9 works) · Rock art (9 works) · History (7 works) · Art (6 works) · Pleistocene-Era Hominins and Archaeology (6 works) · Geography (5 works) · History (5 works) · Cultural Heritage Management and Preservation (4 works) · Anthropological Studies and Insights (3 works)