The visual art of Botswana has varied among the different ethnic groups and throughout history. Historically it has fallen into two main categories: that of the San peoples (also known as the Bushmen) and that of the Bantu-derived peoples such as the Batswana.
The first is of greater antiquity in origin and includes the decoration of many of the devices and equipment the San needed for desert existence. Items such as ostrich shells, clay water filters, animal skins, arrows, bows and pots often received added decoration by way of incised or relief decoration, imprinted pottery decoration, beading and carving. These tribes also carved art objects that had no other function, most often animals.
More ancient art is that of San rock art, for which the San are justifiably famous: right across the South-East African region their ancestors left dynamic paintings on rock faces and cave walls, executed in unknown and highly resilient pigments that have lasted millennia. Depictions of animals, hunts, ceremonies and dances are common. The Tsodilo Hills in Botswana were recognised as a UNESCO World Heritage Site in 2001, containing some 4,500 rock paintings in total; not all the art covered by this designation is by San people or their ancestors. Most paintings may be from the last 1000 or 2000 years, although much older dates are sometimes claimed. [1] It is difficult to date most paintings; often radiocarbon dating methods can be used for materials on the floor of a shelter, but these may not relate to the dates of the art. [2]
Tswana and other Bantu peoples' art is more similar to that of Bantu peoples in the rest of southeastern Africa. Sophisticated carvings of stone and wood (usually of animals or people), sculptures and pottery; 'township' art made of disca instruments, carved walking sticks, knobkerries and many other art forms. One art that is particularly developed in Botswana is the preparation and marketing of hides and furs that have been stitched together, often combined in decorative panels using the different fur types and colours from different animals. These can have a definite use as well, being derived originally from the 'kaross' or desert blanket suited to the very cold conditions of the Kalahari at night and in winter. Woollen and crocheted blankets in local patterns are also popular. Basket weaving is also carried out to a high level of skill and variation. [3]
There is a great deal of overlap between the two groups' artwork: for example the wire, ironwork and beads used in San items would have been obtained by trade from Bantu peoples, who themselves would have obtained some of their raw art material such as skins and animal horns from the San.[ citation needed ]
These days the art industry thrives in the production of items for tourist consumption. The Okavango swamp, some parts of the Kalahari desert tourist trail and various game reserves all support active local art industries. The major towns also have tourist galleries. [4] Some artists, including white Botswana residents, paint two dimensional pictures of wildlife for the same market, which also includes various items such as T-shirts, hunting knives, shoes and hats. Leather-work is also popular, as are items made from legally culled or utilitarian urban objects such as bottle tops and wire; drums, beading, rattles, musical instruments such as the mbira and stringed animals such as elephant hair bracelets.
During Apartheid, South African artists in exile gathered in Botswana under the name Medu Art Ensemble to produce political artwork. [5] The National Art Gallery at the Botswana National Museum displays traditional and contemporary art. [6]
The Kalahari Desert is a large semi-arid sandy savanna in Southern Africa extending for 900,000 square kilometres (350,000 sq mi), covering much of Botswana, as well as parts of Namibia and South Africa.
Islamic art is a part of Islamic culture and encompasses the visual arts produced since the 7th century CE by people who lived within territories inhabited or ruled by Muslim populations. Referring to characteristic traditions across a wide range of lands, periods, and genres, Islamic art is a concept used first by Western art historians in the late 19th century. Public Islamic art is traditionally non-representational, except for the widespread use of plant forms, usually in varieties of the spiralling arabesque. These are often combined with Islamic calligraphy, geometric patterns in styles that are typically found in a wide variety of media, from small objects in ceramic or metalwork to large decorative schemes in tiling on the outside and inside of large buildings, including mosques. Other forms of Islamic art include Islamic miniature painting, artefacts like Islamic glass or pottery, and textile arts, such as carpets and embroidery.
KhoisanKOY-sahn, or Khoe-Sān, is a catch-all term for the indigenous peoples of Southern Africa who traditionally speak non-Bantu languages, combining the Khoekhoen and the Sān peoples. Khoisan populations traditionally speak click languages and are considered to be the historical communities throughout Southern Africa, remaining predominant until European colonisation in areas climatically unfavorable to Bantu (sorghum-based) agriculture, such as the Cape region, through to Namibia, where Khoekhoe populations of Nama and Damara people are prevalent groups, and Botswana. Considerable mingling with Bantu-speaking groups is evidenced by prevalence of click phonemes in many especially Xhosa Southern African Bantu languages.
The San peoples, or Bushmen, are the members of any of the indigenous hunter-gatherer cultures of southern Africa, and the oldest surviving cultures of the region. Their recent ancestral territories span Botswana, Namibia, Angola, Zambia, Zimbabwe, Lesotho, and South Africa.
African art describes the modern and historical paintings, sculptures, installations, and other visual culture from native or indigenous Africans and the African continent. The definition may also include the art of the African diasporas, such as: African-American, Caribbean or art in South American societies inspired by African traditions. Despite this diversity, there are unifying artistic themes present when considering the totality of the visual culture from the continent of Africa.
In the history of art, prehistoric art is all art produced in preliterate, prehistorical cultures beginning somewhere in very late geological history, and generally continuing until that culture either develops writing or other methods of record-keeping, or makes significant contact with another culture that has, and that makes some record of major historical events. At this point ancient art begins, for the older literate cultures. The end-date for what is covered by the term thus varies greatly between different parts of the world.
In archaeology, rock art is human-made markings placed on natural surfaces, typically vertical stone surfaces. A high proportion of surviving historic and prehistoric rock art is found in caves or partly enclosed rock shelters; this type also may be called cave art or parietal art. A global phenomenon, rock art is found in many culturally diverse regions of the world. It has been produced in many contexts throughout human history. In terms of technique, the four main groups are:
Kgalagadi Transfrontier Park is a large wildlife preserve and conservation area in southern Africa.
Besides referring to the language of the dominant people groups in Botswana, Setswana is the adjective used to describe the rich cultural traditions of the Batswana - whether construed as members of the Setswana ethnic groups or of all citizens of Botswana. the Batswana believe in the rich culture of Botho-Ubuntu, ‘‘People are not individuals, living in a state of independence, but part of a community, living in relationships and interdependence.’ Batswana believe in working together and in being united.
The Tsodilo Hills are a UNESCO World Heritage Site (WHS), consisting of rock art, rock shelters, depressions, and caves in southern Africa. It gained its WHS listing in 2001 because of its unique religious and spiritual significance to local peoples, as well as its unique record of human settlement over many millennia. UNESCO estimates there are over 4500 rock paintings at the site. The site consists of a few main hills known as the Child Hill, Female Hill, and Male Hill.
The KhoiKWAY languages are the largest of the non-Bantu language families indigenous to Southern Africa. They were once considered to be a branch of a Khoisan language family, and were known as Central Khoisan in that scenario. Though Khoisan is now rejected as a family, the name is retained as a term of convenience.
A santo ('saint') is a religious statue in the Catholic traditions of Spain and the former Spanish Empire. They are usually made of wood or sometimes ivory and may be fitted with textile clothing. They depict the Virgin Mary, Jesus, saints, or angels. A santero is a craftsperson who makes the image. Some santos which have gained greater public devotion among the faithful have also merited papal approval through canonical coronations. Santos remain a living tradition of religious iconography and folk art in Mexico, the Philippines, Puerto Rico and some other Caribbean islands, South and Central America, and the Southwestern United States, especially New Mexico.
Twyfelfontein, officially known as ǀUi-ǁAis, is a site of ancient rock engravings in the Kunene Region of north-western Namibia. It consists of a spring in a valley flanked by the slopes of a sandstone table mountain that receives very little rainfall and has a wide range of diurnal temperatures.
Zimbabwean art includes decorative esthetics applied to many aspects of life, including art objects as such, utilitarian objects, objects used in religion, warfare, in propaganda, and in many other spheres. Within this broad arena, Zimbabwe has several identifiable categories of art. It is a hallmark of African cultures in general that art touches many aspects of life, and most tribes have a vigorous and often recognisable canon of styles and a great range of art-worked objects. These can include masks, drums, textile decoration, beadwork, carving, sculpture, ceramic in various forms, housing and the person themselves. Decoration of the body in permanent ways such as scarification or tattoo or impermanently as in painting the body for a ceremony is a common feature of African cultures.
The visual arts of the Indigenous peoples of the Americas encompasses the visual artistic practices of the Indigenous peoples of the Americas from ancient times to the present. These include works from South America and North America, which includes Central America and Greenland. The Siberian Yupiit, who have great cultural overlap with Native Alaskan Yupiit, are also included.
Huichol art broadly groups the most traditional and most recent innovations in the folk art and handcrafts produced by the Huichol people, who live in the states of Jalisco, Durango, Zacatecas and Nayarit in Mexico. The unifying factor of the work is the colorful decoration using symbols and designs which date back centuries. The most common and commercially successful products are "yarn paintings" and objects decorated with small commercially produced beads. Yarn paintings consist of commercial yarn pressed into boards coated with wax and resin and are derived from a ceremonial tablet called a neirika. The Huichol have a long history of beading, making the beads from clay, shells, corals, seeds and more and using them to make jewelry and to decorate bowls and other items. The "modern" beadwork usually consists of masks and wood sculptures covered in small, brightly colored commercial beads fastened with wax and resin.
The San, or Bushmen, are indigenous people in Southern Africa particularly in what is now South Africa and Botswana. Their ancient rock paintings and carvings are found in caves and on rock shelters. The artwork depicts non-human beings, hunters, and half-human half-animal hybrids. The half-human hybrids are believed to be medicine men or healers involved in a healing dance. Gall writes, "The Laurens van der Post panel at Tsodilo is one of the most famous rock paintings." High on this rock face in Botswana is the image of a "magnificent red eland bull" painted, according to Van der Post, "only as a Bushman who had a deep identification with the eland could have painted him." Also on this rock face is a female giraffe that is motionless, as if alarmed by a predator. Several other images of animals are depicted there, along with the flesh blood-red handprints that are the signature of the unknown artist. The Drakensberg and Lesotho are particularly well known for their San rock art. Tsodilo was recognised as a UNESCO World Heritage Site in 2001; not all the art covered by this is by San people or their ancestors.
The San religion is the traditional religion and mythology of the San people. It is poorly attested due to their interactions with Christianity.
The Kalahari Debate is a series of back and forth arguments that began in the 1980s amongst anthropologists, archaeologists, and historians about how the San people and hunter-gatherer societies in southern Africa have lived in the past. On one side of the debate were scholars led by Richard Borshay Lee and Irven DeVore, considered traditionalists or "isolationists." On the other side of the debate were scholars led by Edwin Wilmsen and James Denbow, considered revisionists or "integrationists."
The Manyana Rock Paintings are a collection of rock art and caves located at the Kolobeng hills, neighbouring Manyana, Southern District, Botswana. It is believed that the artworks were made by the Khoikhoi or the San people between 1100 AD and 1700 AD. The paintings are found on five cliff areas around the rocky hill. Today, the site is fenced and protected as a National Monument.