Browse
Recent Submissions
Item Two hairline engravings in The Dome Gorge, Daureb, Namibia(South African Archaeological Bulletin, 2010) Lenseed-Erz, T.; Gwasira, GoodmanItem Rock art site management in Namibia with particular focus at Twyfelfontein(Pictogram, 2000) Gwasira, GoodmanItem Namibian prehistory: Apollo 11 art, the oldest rock art in the world(African Magazine, 2006) Gwasira, GoodmanMore than three quarters of human history remains unwritten either buried underground or simply encoded in archaeological features and artefacts on the surface of the ground or underwater. Archaeology enables people to interpret and write history by using methods that allow them to decode information from material culture that was left millions of years ago and that which was discarded in recent historical times. Namibia has one of the longest recognisable sequences of archaeological evidence stretching from about 3 million years to the present; thus, the largest part of Namibian history is unwritten which leaves the task of documenting it to archaeologists. In Southern Africa in general written history is very recent compared to the length of time that humans have lived in this part of the continent.Item The rider monument(The African, 2004) Gwasira, Goodman; Kangumu, Bennett; Likando, Gilbert N.Item Reading between the lines(National Museum of Namibia, 2001) Gwasira, GoodmanI .arge artifacts such as buildings, statues and open spaces are patterned through time in particularpolitical, social and economic circumstances. The dialectics of power, domination and resistance that characterised the period in which the artifacts were fashiontd can be understood by reading the artifacts as silent text. If we dedpl1er the grammar, metaphors rmd the symbolism that is embedded in the large artifacts then we can understand their meaning. By developing tools that can enable us to understand the spatial setting, time and social contexts of monuments, i t becomes possible to unravel lhe puzzle of their extralinguistic character. This paper discusses some of the issues that appear to be communicated through the symbolism of three statues from the University of Cape Town (U.CL).