MR NESTLE 3005 posted a photo:
Alex Mupondi, hangs one dollar notes on a drying line after washing them in Harare, Zimbabwe, Tuesday, July 6, 2010. The washing machine cycle takes about 45 minutes _ and George Washington comes out much cleaner than before in Zimbabwe-style laundering of dirty money. Zimbabweans trading in the American currency since their own hyperinflationary notes were abandoned last year say washing their dirtiest cash works.(AP Photo/Tsvangirayi Mukwazhi)
Bayhaus posted a photo:
Scene overlooking Union Square with the Harare skyscape in the background with the Reserve bank of Zimbabwe in the background, Zimbabwes tallest building.
dajavous posted a photo:
This is a single photo of the whole panel, painted on the cobra-shaped boulder overhang. Interpretations are taken from Garlake’s book, ‘A Hunter’s Vision’ (plates XXXI - XXXV).
The upper part of the panel is dominated by a huge recumbent trancing figure with sable antelope markings, painted with white flecks of potency and with a large ovoid of potency attached to his back. The positions of his limbs indicate that he is conscious, though unable to stand, and he holds up an oval object. Garlake believes that the objects on his head are elephant tusks, not horns, and the lines falling from his head may be suggesting a lion’s mane.
He is surrounded by a few medium-sized figures, one also recumbent and a pair dancing.
Below this are a mass of small figures formed into two scenes – the upper is a domestic scene and below is a Sable Dance. The majority of the figures are enhanced with white and a few animals are included, including a larger dark animal which lies under the figures and is presumably older.
The upper domestic scene includes baskets, skins and gourds enhanced with white dots of potency – the curved lines may represent windbreaks or shelters.
Lines of dark figures are painted with white to identify them with the sable antelope -chests bellies and the undersides of their limbs, facial stripes and eye surrounds. The Sable dance has reached a climax – the great figure is trancing and dots of potency enhance the genitals of the dancers. The dog like figure is also decorated with markings and tusks and may possibly represent a transformation of the dancers.
Shamanism and trance dancing by the San people was first recognised to be a key concept in interpreting the (mainly younger) rock art from South Africa by J D Lewis Williams. Garlake describes the current practice amongst the San and discusses how this can be used to illuminate the much older Zimbabwean paintings.
dajavous posted a photo:
This is a composite photo of the whole panel, from the three individual photos, so more detail should be visible. Interpretations are taken from Garlake’s book, ‘A Hunter’s Vision’ (plates XXXI - XXXV), with some additional comments.
The upper part of the panel is dominated by a huge recumbent trancing figure with sable antelope markings on his face, painted with white flecks of potency and with a large ovoid of potency attached to his back. The positions of his limbs indicate that he is conscious, though unable to stand, and he holds up an oval object. Garlake believes that the objects on his head are elephant tusks, not horns, and the lines falling from his head may be suggesting a lion’s mane. A tendril emerges from his penis, passes behind his legs and end in a characteristic tuft, presumably indicating potency.
He is surrounded by a few medium-sized figures, the largest of which is also recumbent and also trancing, as he also holds up an object and has two ovoids either side of his abdomen. The pair of figures near the main figure’s raised leg both have stiff outstretched arms, and a tufted line running from their heads, also indicating trance dancing.
Below this is a dense mass of small figures formed into two scenes – the upper is a domestic scene including baskets, skins and gourds enhanced with white dots of potency – the curved lines may represent windbreaks or shelters.
Below is a Sable Dance. The majority of the figures are enhanced with white and a few animals are included, including a larger dark animal which lies under the figures and is presumably older. At least three colours of figures occur – the dark ones enhanced with white, red brown and yellow-ochre coloured on the left.
Lines of dark figures are painted with white to identify them with the sable antelope -chests bellies and the undersides of their limbs, facial stripes and eye surrounds. The Sable dance has reached a climax – the great figure is trancing and dots of potency enhance the genitals of the dancers. The dog like figure is also decorated with markings and tusks and may possibly represent a transformation of the dancers. A number of parallel lines can be seen, including one dark snake-like motif that runs vertically to the right of a dark white enhanced figure (next to the large dark animal).
Garlake describes the trance dance as practised by the San people:
Participants dance in a line, often very close together, bending slightly forward and taking short pounding steps. Some dancers hold their arms rigid … as the dance progresses through the night the atmosphere becomes highly charged … Those fully committed to trancing will dance together supporting and encouraging each other and transmitting their rising potency between themselves. A few will then enter trance, stagger, collapse, fall and lie rigid or limp. All sweat profusely and some bleed from their noses. Those trancing (full of potency) will be moved away where they are able to begin to heal patients, leave their bodies, become transformed, enter or take on the bodily forms of animals etc. In these forms they may prowl round and guard the camp or travel great distances to gain information about other groups, movements of game herds, locations of edible plants or rain clouds. They may enter the spirit world to combat spirits of the dead or gods to overcome evils sent into the community.
During the trance dance, potency is everywhere and free - it can pass from one trancer to another, or sparking trance in the dancers. Animals with a high degree of potency and spirits will gather on the outskirts of the dance as invisible participants.
dajavous posted a photo:
This is one of the best preserved and well-known rock art sites in Makoni, Zimbabwe. A panel of ~ 85 sq ft, painted on the overhang of a dramatic huge boulder, shaped like a cobra’s head (for scale, I am 5ft 6in tall). A nearby stone passage leads to a much later sacred site, a terraced platform built into a kopje.
Interpretations are taken from Garlake’s book, ‘A Hunter’s Vision’ (plates XXXI - XXXV). The upper part of the panel is dominated by a huge recumbent trancing figure with sable antelope markings, painted with white flecks of potency and with a large ovoid attached to his back. He is surrounded by a few medium-sized figures, one also recumbent and a pair dancing.
Below this are a mass of small figures formed into two scenes – the upper is a domestic scene and below is a Sable Dance. The majority of the figures are enhanced with white and a few animals are included, including a larger dark animal which lies under the figures and is presumably older.
Shamanism and trance dancing by the San people was first recognised to be a key concept in interpreting the (mainly younger) rock art from South Africa by J D Lewis Williams. Garlake describes the current practice amongst the San, and discusses how this can be used to illuminate the much older Zimbabwean paintings.
A picture on Pg90 of African Rock Art by David Coulson and Alec Cambell shows the overhang more clearly in relation to the surrounding ground and boulders.
dajavous posted a photo:
This is a photo used in the composite one. Interpretations are taken from Garlake’s book, ‘A Hunter’s Vision’ (plates XXXI - XXXV), with some additional comments.
The upper part of the panel is dominated by a huge recumbent trancing figure with sable antelope markings on his face/muzzle. His body is painted with white flecks of potency and with a large ovoid of potency is attached to his back. The positions of his limbs indicate that he is conscious, though unable to stand, and he holds up an oval object. Garlake believes that the objects on his head are elephant tusks, not horns, and the lines falling from his head may be suggesting a lion’s mane. A tendril emerges from his penis, passes behind his legs and end in a characteristic tuft (presumably indicating potency).
For a great shot of a sable antelope from chuber22 showing their facial markings follow this link:
www.flickr.com/photos/ojuicearts/1569922630/in/faves-5024...
The main figure is surrounded by a few medium-sized figures, the largest of which is also recumbent and presumably trancing, as he also holds up an object and has two ovoids either side of his abdomen. Next to the main figure’s raised leg a pair of figures have stiff outstretched arms and a tufted line running from their heads, also indicating trance dancing.
Shamanism and trance dancing by the San people was first recognised to be a key concept in interpreting the (mainly younger) rock art from South Africa by J D Lewis Williams. Garlake describes the current practice in the San people:
Participants dance in a line, often very close together, bending slightly forward and taking short pounding steps. Some dancers hold their arms rigid … as the dance progresses through the night the atmosphere becomes highly charged … Those fully committed to trancing will dance together supporting and encouraging each other and transmitting their rising potency between themselves. A few will then enter trance, stagger, collapse, fall and lie rigid or limp. All sweat profusely and some bleed from their noses.
Those trancing (full of potency) will be moved away where they are able to begin to heal patients, leave their bodies, become transformed, enter or take on the bodily forms of animals etc. In these forms they may prowl round and guard the camp or travel great distances to gain information about other groups, movements of game herds, locations of edible plants or rain clouds. They may enter the spirit world to combat spirits of the dead or gods to overcome evils sent into the community.
During the trance dance, potency is everywhere and free - it can pass from one trancer to another, or sparking trance in the dancers. Animals with a high degree of potency and spirits will gather on the outskirts of the dance as invisible participants.
There is a good description of trancing amongst modern bushfolk, in Nick Walker's book (from page 65-68 The Painted Hills - Rock Art of the Matopos 1996 ISBN 0 86922 638, published Mambo Press, Gweru Zimbabwe.) - an Amazon search indicated that unfortunately this is rare and unlikely to be obtainable outside of southern africa.
dajavous posted a photo:
This is a photo used in the composite one. Interpretations are taken from Garlake’s book, ‘A Hunter’s Vision’ (plates XXXI - XXXV), with some additional comments.
Below the large figure are a mass of small figures formed into two scenes – the upper is a domestic scene and below is a Sable Dance. The majority of the figures are enhanced with white and a few animals are included, including a larger dark animal which lies under the figures and is presumably older.
The upper domestic scene includes baskets, skins and gourds enhanced with white dots of potency – the curved lines may represent windbreaks or shelters. This could possibly represent preparations for the Sable Dance.
Lines of dark figures are painted with white to identify them with the sable antelope -chests bellies and the undersides of their limbs, facial stripes and eye surrounds. The Sable dance has reached a climax – the great figure is trancing and dots of potency enhance the genitals of the dancers. The dog like figure is also decorated with markings and tusks and may possibly represent a transformation of the dancers.
Follow the link for a great picture of a group of sable by wildcaster
www.flickr.com/photos/wildcast/227505365/
dajavous posted a photo:
This is a photo used in the composite one. Interpretations are taken from Garlake’s book, ‘A Hunter’s Vision’ (plates XXXI - XXXV), with some additional comments.
Below the large figure are a mass of small figures formed into two scenes – the upper is a domestic scene and below is a Sable Dance. The majority of the figures are enhanced with white and a few animals are included, including a larger dark animal which lies under the figures and is presumably older.
The upper domestic scene includes baskets, skins and gourds enhanced with white dots of potency – the curved lines may represent windbreaks or shelters. This could possibly represent preparations for the Sable Dance.
Lines of dark figures are painted with white to identify them with the sable antelope -chests bellies and the undersides of their limbs, facial stripes and eye surrounds. The Sable dance has reached a climax – the great figure is trancing and dots of potency enhance the genitals of the dancers. The dog like figure is also decorated with markings and tusks and may possibly represent a transformation of the dancers.
Garlake describes the current practice of trance dancing by the San people:
Participants dance in a line, often very close together, bending slightly forward and taking short pounding steps. Some dancers hold their arms rigid … as the dance progresses through the night the atmosphere becomes highly charged … Those fully committed to trancing will dance together supporting and encouraging each other and transmitting their rising potency between themselves. A few will then enter trance, stagger, collapse, fall and lie rigid or limp. All sweat profusely and some bleed from their noses. Those trancing (full of potency) will be moved away where they are able to begin to heal patients, leave their bodies, become transformed, enter or take on the bodily forms of animals etc. In these forms they may prowl round and guard the camp or travel great distances to gain information about other groups, movements of game herds, locations of edible plants or rain clouds. They may enter the spirit world to combat spirits of the dead or gods to overcome evils sent into the community.
During the trance dance, potency is everywhere and free - it can pass from one trancer to another, or sparking trance in the dancers. Animals with a high degree of potency and spirits will gather on the outskirts of the dance as invisible participants
Numismatic Bibliomania Society posted a photo:
Alex Mupondi, hangs one dollar notes on a drying line after washing them in Harare, Zimbabwe, Tuesday, July 6, 2010. The washing machine cycle takes about 45 minutes _ and George Washington comes out much cleaner than before in Zimbabwe-style laundering of dirty money. Zimbabweans trading in the American currency since their own hyperinflationary notes were abandoned last year say washing their dirtiest cash works.(AP Photo/Tsvangirayi Mukwazhi)
news.yahoo.com/s/ap/af_zimbabwe_money_laundering;_ylt=AnB...
Numismatic Bibliomania Society posted a photo:
In this Friday, July 2, 2010 picture an unidentified man shows dirty one dollar notes before washing them in Harare, Zimbabwe. The washing machine cycle takes about 45 minutes _ and George Washington comes out much cleaner than before in Zimbabwe-style laundering of dirty money. Zimbabweans trading in the American currency since their own hyperinflationary notes were abandoned last year say washing their dirtiest cash works.(AP Photo/Tsvangirayi Mukwazhi)
news.yahoo.com/s/ap/af_zimbabwe_money_laundering;_ylt=AnB...
Steve Bennett 100 posted a photo:
Eland antelope at Lake McIlwaine Game Reserve (renamed Lake Chivero Recreational Area)
Steve Bennett 100 posted a photo:
Zebra with foal at Lake McIlwaine Game Reserve (renamed Lake Chivero Recreational Area)
dajavous posted a photo:
A medium to large piece, which would require shipping. Soapstone is very dense and soft. This shows the contrast between roughcut and polished surface.
ACE Study Tour 1997.
dajavous posted a photo:
A medium to large piece, which would require shipping. Soapstone is very dense and soft.
ACE Study Tour, 1997.
dajavous posted a photo:
Out of town soapstone carving community/seller, near Harare, Mashonaland.
Sara Champion, tour leader in the distance.
ACE Study Tour, 1997.
dajavous posted a photo:
I believe that this group of three figures is from the same site as the better-known 'Trancer - Sable Dance' panel.
The largest figure is carrying a circular object and the lowest one appears to be sitting.
Support Us
Add a Travel Gem
