Pieter Jolly
Biographic Data
| ID | 98892 |
|---|---|
| NAME | Pieter Jolly |
| GIVEN NAMES | Pieter |
| FAMILY NAME | Jolly |
| SIGNATURE | JOLLY P |
| AFFILIATIONS | University of Cape Town |
| VERIFIED | No |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 95 |
| AUTHOR COUNT | 12 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1986 |
| LATEST PUBLICATION YEAR | 2007 |
| H-INDEX | 5 |
Before farming? Cattle kept and painted by the southeastern San
Cattle form a distinctive theme in the later rock art of many San groups. In this paperthe symbolism of these animals in the art is explored with particular reference to the cultural influence of Nguni and Sotho cattle-breeders on the San. Evidence is presented for the acquisition of cattle on a permanent basis by some San groups, including some of the San groups who occupied areas where paintings of cattle occur. The influence of neighbouring pa…
Dancing with Two Sticks: Investigating the Origin of a Southern African Rite
Photographs of San descendants from Prieska, Northern Cape, form part of the Bleek Collection, Oppenheimer Library, University of Cape Town. They show some of the Prieska San performing a dance and were taken by Dorothea Bleek in late 1910, or possibly early 1911. A particular posture adopted by dancers in some of these photographs, stooped and supported by two sticks, is represented in San rock paintings. It has also been observed in the rites o…
On San and the Media
Recently I came across an article by Keyan Tomaselli [2002] in this journal which includes a review and discussion of the video film In God's Places, directed by Richard Wicksteed. This short comme
On the Definition of Shamanism
Therianthropes in San Rock Art
San paintings of therianthropes, beings that combine human and non-human features, are described and analysed in order to formulate a theory concerning the meaning of these paintings for the people who made and viewed them. The range of therianthrope paintings is described. Four explanations, or theories, concerning the therianthropes are discussed and evaluated in relation to San religious rites and beliefs and the physical forms taken by theria…
The Identity of San Informants from the Tsolo District, Eastern Cape
Interaction between South-Eastern San and Southern Nguni and Sotho Communities c.1400 to c.1880
(1996). Interaction between South-Eastern San and Southern Nguni and Sotho Communities c.1400 to c.1880. South African Historical Journal: Vol. 35, No. 1, pp. 30-61
Symbiotic Interaction Between Black Farmers and South-Eastern San: Implications for Southern African Rock Art Studies, Ethnographic Analogy, and Hunter-Gatherer Cultural Identity
Melikane and Upper Mangolong Revisited: The Possible Effects on San Art of Symbiotic Contact between South-Eastern San and Southern Sotho and Nguni Communities
M: A Further Assessment
Some Photographs of Late Nineteenth Century San Rainmakers
Previously unpublished photographs of San men and women, dating from the nineteenth century, have been located in the Stanford Papers, Jagger Library, University of Cape Town. The names of these people, written on the back of the photographs, allow us to identify them as a San family encountered by Stanford in 1886 near the Tsitsa River, Transkei. The family were employed as rainmakers by their agropastoralist neighbours - a role which descendant…
A First Generation Descendant of the Transkei San
Symbiotic Interaction Between Black Farmers and South-Eastern San: Implications for Southern African Rock Art Studies, Ethnographic Analogy, and Hunter-Gatherer Cultural Identity
A First Generation Descendant of the Transkei San
Therianthropes in San Rock Art
San paintings of therianthropes, beings that combine human and non-human features, are described and analysed in order to formulate a theory concerning the meaning of these paintings for the people who made and viewed them. The range of therianthrope paintings is described. Four explanations, or theories, concerning the therianthropes are discussed and evaluated in relation to San religious rites and beliefs and the physical forms taken by theria…
Melikane and Upper Mangolong Revisited: The Possible Effects on San Art of Symbiotic Contact between South-Eastern San and Southern Sotho and Nguni Communities
Before farming? Cattle kept and painted by the southeastern San
Cattle form a distinctive theme in the later rock art of many San groups. In this paperthe symbolism of these animals in the art is explored with particular reference to the cultural influence of Nguni and Sotho cattle-breeders on the San. Evidence is presented for the acquisition of cattle on a permanent basis by some San groups, including some of the San groups who occupied areas where paintings of cattle occur. The influence of neighbouring pa…
On the Definition of Shamanism
Dancing with Two Sticks: Investigating the Origin of a Southern African Rite
Photographs of San descendants from Prieska, Northern Cape, form part of the Bleek Collection, Oppenheimer Library, University of Cape Town. They show some of the Prieska San performing a dance and were taken by Dorothea Bleek in late 1910, or possibly early 1911. A particular posture adopted by dancers in some of these photographs, stooped and supported by two sticks, is represented in San rock paintings. It has also been observed in the rites o…
Interaction between South-Eastern San and Southern Nguni and Sotho Communities c.1400 to c.1880
(1996). Interaction between South-Eastern San and Southern Nguni and Sotho Communities c.1400 to c.1880. South African Historical Journal: Vol. 35, No. 1, pp. 30-61
M: A Further Assessment
Some Photographs of Late Nineteenth Century San Rainmakers
Previously unpublished photographs of San men and women, dating from the nineteenth century, have been located in the Stanford Papers, Jagger Library, University of Cape Town. The names of these people, written on the back of the photographs, allow us to identify them as a San family encountered by Stanford in 1886 near the Tsitsa River, Transkei. The family were employed as rainmakers by their agropastoralist neighbours - a role which descendant…
A First Generation Descendant of the Transkei San
Some Photographs of Late Nineteenth Century San Rainmakers
Previously unpublished photographs of San men and women, dating from the nineteenth century, have been located in the Stanford Papers, Jagger Library, University of Cape Town. The names of these people, written on the back of the photographs, allow us to identify them as a San family encountered by Stanford in 1886 near the Tsitsa River, Transkei. The family were employed as rainmakers by their agropastoralist neighbours - a role which descendant…
M: A Further Assessment
Melikane and Upper Mangolong Revisited: The Possible Effects on San Art of Symbiotic Contact between South-Eastern San and Southern Sotho and Nguni Communities
Interaction between South-Eastern San and Southern Nguni and Sotho Communities c.1400 to c.1880
(1996). Interaction between South-Eastern San and Southern Nguni and Sotho Communities c.1400 to c.1880. South African Historical Journal: Vol. 35, No. 1, pp. 30-61
Symbiotic Interaction Between Black Farmers and South-Eastern San: Implications for Southern African Rock Art Studies, Ethnographic Analogy, and Hunter-Gatherer Cultural Identity
The Identity of San Informants from the Tsolo District, Eastern Cape
Therianthropes in San Rock Art
San paintings of therianthropes, beings that combine human and non-human features, are described and analysed in order to formulate a theory concerning the meaning of these paintings for the people who made and viewed them. The range of therianthrope paintings is described. Four explanations, or theories, concerning the therianthropes are discussed and evaluated in relation to San religious rites and beliefs and the physical forms taken by theria…
On the Definition of Shamanism
Dancing with Two Sticks: Investigating the Origin of a Southern African Rite
Photographs of San descendants from Prieska, Northern Cape, form part of the Bleek Collection, Oppenheimer Library, University of Cape Town. They show some of the Prieska San performing a dance and were taken by Dorothea Bleek in late 1910, or possibly early 1911. A particular posture adopted by dancers in some of these photographs, stooped and supported by two sticks, is represented in San rock paintings. It has also been observed in the rites o…
On San and the Media
Recently I came across an article by Keyan Tomaselli [2002] in this journal which includes a review and discussion of the video film In God's Places, directed by Richard Wicksteed. This short comme
Before farming? Cattle kept and painted by the southeastern San
Cattle form a distinctive theme in the later rock art of many San groups. In this paperthe symbolism of these animals in the art is explored with particular reference to the cultural influence of Nguni and Sotho cattle-breeders on the San. Evidence is presented for the acquisition of cattle on a permanent basis by some San groups, including some of the San groups who occupied areas where paintings of cattle occur. The influence of neighbouring pa…
Archaeology and Rock Art Studies (11 works) · Archaeology (10 works) · Geography (9 works) · Anthropological Studies and Insights (8 works) · History (8 works) · History (8 works) · Sociology (6 works) · Ethnology (5 works) · Anthropology (4 works) · Art (4 works)