With one of the highest concentrations of rock art in the world, Tsodilo has been called the ''Louvre of the Desert''. Over 4,500 paintings are preserved in an area of only 10 km2 of the Kalahari Desert. The archaeological record of the area gives a chronological account of human activities and environmental changes over at least 100,000 years. Local communities in this hostile environment respect Tsodilo as a place of worship frequented by ancestral spirits.
Avec l’une des plus fortes concentrations d’art rupestre au monde, Tsodilo est parfois appelé le ''Louvre du désert''. Plus de 4 500 peintures sont conservées dans une zone de seulement 10km2 dans le désert du Kalahari. Le site renferme la mémoire de l’évolution humaine et environnementale sur une durée d’au moins 100 000 ans. Les communautés qui vivent encore dans cet environnement hostile respectent Tsodilo en tant que lieu de culte peuplé des esprits ancestraux.
يحتوي موقع تسوديلو على أكبر مجموعة من الفن الصخري في العالم لدرجة أنّه يُطلق عليه أحياناً لقب "لوفر الصحراء". وهو يضم أكثر من 4500 رسمة في مساحة لا تزيد على 10 كم٢ فقط في صحراء كالاهاري. ويختصر هذا الموقع ذاكرة التطور البشري والبيئي على مرّ100000 سنة على الأقل. ولا تزال المجتمعات المحلية التي تقطن هذه البيئة المعادية تحترم تسوديلو كمكان عبادة تسكنه أرواح الأجداد والأسلاف.
Наскальная живопись в районе Цодило
Район Цодило, обладающий одним из самых значительных в мире собраний доисторического наскального искусства, называют «Лувром в пустыне». Свыше 4,5 тыс. изображений сохранилось на территории всего 10 кв. км в пустыне Калахари. Археологические находки этого района отражают хронологию деятельности человека и изменений природной среды на протяжении периода, по крайней мере, в 100 тыс. лет. Туземцы, проживающие в трудных условиях пустыни, считают Цодило священным местом и верят, что его посещают духи их предков.
Llamado a veces el ”Louvre del desierto“, Tsodilo cuenta con una de las mayores concentraciones de arte rupestre del mundo. En una zona de unos 10 kmÂ² escasos del desierto de Kalahari se conservan mí¡s de 4.500 pinturas. Este sitio conserva la memoria de las actividades humanas y las mutaciones del medio ambiente de los últimos 100.000 años por lo menos. Las comunidades que viven hoy en día en este medio hostil veneran Tsodilo por considerarlo un lugar de culto habitado por espíritus ancestrales.
Met een van de hoogste concentraties van rotskunst in de wereld is Tsodilo ook wel het ‘Louvre van de woestijn’. Meer dan 4.500 schilderijen zijn bewaard gebleven in een gebied van slechts tien vierkante kilometer van de Kalahari woestijn. De heuvels van Tsodilo liggen in het noordwesten van Botswana in de buurt van de grens met Namibië en boden mensen meer dan 100.000 jaar onderdak en andere middelen. De archeologische vondsten van het gebied geven een chronologisch verslag van de menselijke activiteiten en milieuveranderingen gedurende deze lange periode. De lokale gemeenschappen in deze vijandige omgeving beschouwen Tsodilo als een plaats van voorouderverering.
Outstanding Universal Value
Located in north-west Botswana near the Namibian Border in Okavango Sub-District, the Tsodilo Hills are a small area of massive quartzite rock formations that rise from ancient sand dunes to the east and a dry fossil lake bed to the west in the Kalahari Desert. The Hills have provided shelter and other resources to people for over 100,000 years. It now retains a remarkable record, in its archaeology, its rock art, and its continuing traditions, not only of this use but also of the development of human culture and of a symbiotic nature/human relationship over many thousands of years.
The archaeological record of the site gives a chronological account of human activities and environmental changes over at least 100,000 years, although not continuously.
Often large and imposing rock paintings exist in the shelters and caves, and although not accurately dated appear to span from the Stone Age right through to the 19th century. In addition, within the site sediments, there is considerable information pertaining to the paleo-environment. This combination provides an insight into early ways of human life, and how people interacted with their environment both through time and space.
The local communities revere Tsodilo as a place of worship and as a home for ancestral spirits. Its water holes and hills are revered as a sacred cultural landscape, by the Hambukushu and San communities.
Criterion (i):For many thousands of years the rocky outcrops of Tsodilo in the harsh landscape of the Kalahari Desert have been visited and settled by humans, who have left rich traces of their presence in the form of outstanding rock art.
Criterion (iii):Tsodilo is a site that has witnessed visits and settlement by successive human communities for many millennia.
Criterion (vi):The Tsodilo outcrops have immense symbolic and religious significance for the human communities who continue to survive in this hostile environment.
The boundaries contain all the main sites. Three basic long-term facts have contributed to Tsodilo’s outstanding state of preservation: its remoteness, its low population density, and the high degree of resistance to erosion of its quartzitic rock. The considerable archaeological evidence is generally well preserved. All excavations are controlled in accordance with the national legislation. Previous excavations have been properly backfilled and, in most instances, leaving intact deposits and strata as a resource for future research.
The property attracts increasing visitor numbers, resulting in the need to manage the threat of increased litter. Despite these increased visits, there have been limited reports of vandalism and graffiti due to the compulsive guided tour regulations put in place.
The authenticity of the rock art in terms of materials, techniques, setting and workmanship is impeccable and, other than some impact caused by natural deterioration and visitors, it remains as original as the time of its creation. Conservation work has been limited to preventive strategies without altering the art and its substrate.
The intangible values of the site continue to be practiced thereby authenticating them as sacred and relevant to local communities. This approach ensures their continued evolvement in line with traditional protection systems.
Protection and management requirements (2011)
The site owned by the Government is currently protected in terms of the Monuments & Relics Act 2001, and by conditions of the Anthropological Research Act 1967, National Parks Act 1967, and Tribal Act 1968.
Declared a National Monument in 1927, the responsibility for looking after Tsodilo Hills rests with the Department of National Museum and Monuments in collaboration with the Tsodilo Management Authority, an independent advisory group comprising the Tsodilo Community Trust, community based organizations, NGOs and selected critical government based Departments.
To ensure the conservation of all the site attributes, in 1997, a revised Integrated Management Plan was developed and approved by stakeholders. An Integrated management Plan detailing community initiatives was developed in 2007 and currently being implemented in the buffer area of the site. With the assistance of the African World Heritage Fund, a Core Area Management Plan was developed for the site in 2009.
The main objective of the previous and the current management plans is to ensure the conservation of the values of the site. In addition to the existing site office, and the Tsodilo Management Authority Trust, the Government has opened a regional Monument office to directly oversee the implementation of the management plan for the site.
For many thousands of years the rocky outcrops of Tsodilo in the harsh landscape of the Kalahari Desert have been visited and settled by humans, who have left rich traces of their presence in the form of outstanding rock art. The outcrops have immense symbolic and religious significance for the human communities who continued to survive in this hostile environment.
Tsodilo is situated in the north-western corner of Botswana near the Namibian Border. Its massive quartzite rock formations rise from ancient sand dunes to the east and a dry fossil lake bed to the west. They are prominent isolated residual small mountains surrounded by an extensive lowland erosion surface in a hot dry region, known as inselbergs. Their height, shape and spatial relationship have given rise to a distinctive name for each: Male, Female, Child, Grandchild.
Caves and shelters are one of the main resources of the rock outcrop from the human point of view. Where excavated, they show a long sequence of occupation beginning in some cases as early as 100,000 years ago. They indicate repeated use thereafter, the artefact densities appearing to reflect visits, perhaps seasonal, by small mobile group of people. Divuyu and Nqoma are two excavated settlements of particular significance in the 1st millennium AD. Divuyu lies in a saddle at the top of Female; Nqoma is on plateaux below. A general pattern of public housing and living space, flanked by communal middens and perhaps burial areas, seemed to be the settlement plan, suggesting similarities with the spatial patterning of villages of central Africa.
The rock-art paintings are executed in red ochre derived from hematite occurring in the local rock. Much of the red art is naturalistic in subject and schematic in style, characterized by a variety of geometric symbols, distinctive treatment of the human figure, and exaggerated body proportions of many animals. In terms of style and content the art has much in common with paintings of similar antiquity in Zambia and Angola rather than neighbouring Namibia, Zimbabwe and South Africa. A distinctive series of white paintings occurs at only twelve sites: animals in white are rarer and include more domestic species than the reds. Human figures are common, as are geometric designs.
The art is not well dated, although some of it could be more than 2,000 years old. Pictures with cattle are regarded as 600-1200, following the introduction of cattle to Tsodilo after the 6th century AD; geometric art is generally regarded as about 1,000 years old. The latest paintings date to the 19th century on oral evidence. Some white paintings appear to be riders on horses, unknown until the 1850s.
Cup- and canoe-shaped hollows in rock, a common phenomenon throughout the continent, are particularly numerous at Tsodilo. One group, interpreted as a trail of animal footprints, is spread over several hundred metres and is one of the largest rock pictures in the world. These hollows may have been made in the late Stone Age, about 2,000 years ago.
The extent and intensity of mining activity on the mountains to recover ochre, specularite and green stone, used for decorative purposes, is impressive. The mines are clearly pre-colonial.Source: UNESCO/CLT/WHC
Present evidence indicates the earliest occupants at Tsodilo probably in the Middle Stone Age, perhaps around 100,000 years ago or earlier. A Late Stone Age cultural presence is dated around 70,000 years ago. In general, repeated use over an extensive period of time appears to reflect small mobile groups of people camping briefly, perhaps on seasonal visits, for example when the fruit of the mongongo tree, Ricinodendron rautanenii, ripens. Local quartz as well as exotic stone were used for tool-making in both the Middle and Late Stone Ages. The use of non-local raw material suggests that contact and some form of exchange have existed at Tsodilo for tens of thousands of years. The Middle Stone Age is marked by the appearance of large stone blades. Tsodilo is unique in demonstrating an extensive record of freshwater fish exploitation in a now arid landscape where rivers formerly flowed. Barbed bone points were probably used to tip fish-spears; bone toolmaking at Tsodilo may well go back 40,000 years.
Fishbone and stone artefacts decrease in the Late Stone Age (c 30,000 BP). The appearance of ostrich eggs in archaeological deposits around that time indicates the development of a new strategy for acquiring a new resource for food and artefact-making. In particular, a tradition of making beads of ostrich egg-shell began then and continues today. Until as recently as c AD 600, the people of Tsodilo lived entirely by hunting, fishing, and foraging for wild food.
By the 7th century AD, however, the pace of change in technology, subsistence, and settlement organization increased as iron and copper metallurgy were introduced. This phase is also marked by the introduction of cattle. Interaction between Late Stone Age foragers and Early Iron Age agro-pastoralists occurred. Settlement took the form of apparently unique social structures. Divuyu itself is the richest site yet discovered in southern Africa for this period. Copper and iron beads, bracelets, and other ornaments became common. All the metal was imported - the copper probably from southern Zaire or north-eastern South Africa, the iron perhaps from only 40km distant - and worked locally. Nqoma at the end of the 1st millennium has the richest variety of metal jewellery of any known contemporary site in southern Africa.
The same two sites in particular, Divuyu and Nqoma, have indicated domestic herding and a settled lifestyle as early as the 7th-8th centuries AD from evidence of middens and house foundations. Cultivated crops such as sorghum and millet were added to the diet. Sheep and goats augmented the few domestic cattle kept by earlier foraging communities. Pottery was produced for a range of domestic purposes and personal adornment became common and often elaborate. Mining for specularite was extensive in 800-1000, and continued into the 19th century. The output was enormous, doubtless contributing to the amount of jewellery and cattle owned by the Nqoma people. The rich elements of Tsodilo Iron Age culture continued well into the 13th century when Nqoma declined, possibly because of drought or war. No further durable exotic objects seem to have entered the Tsodilo region until the effects of the European Atlantic trade began to be felt in the 18th century. Tsodilo became part of the Portuguese Congo-Angola trade axis.
Historically, the Tsodilo area was occupied by the N/hae, who left in the mid-19th century. Its first appearance on a map was in 1857, as a result of information collected by Livingstone during his explorations in 1849-56. In the 1850s the earliest known horsemen, Griqua ivory hunters, passed through the region. The !Kung arrived in the area and made at least a few of the paintings, possibly some of those showing horsemen. The rock art was first sketched and brought to Western attention in 1907 by Siegfried Passarge, a German geologist.
The two, present-day local communities, Hambukushu and !Kung, arrived as recently as c 1860. Nevertheless, they both have creation myths associated with Tsodilo, and they both have strong traditional beliefs that involve respect for Tsodilo as a place of worship and ancestral spirits. The spirituality of the place has become best known to non-local people through the writings of Laurens van der Post, notably The Lost World of the Kalahari (1958). Today, local churches and traditional doctors travel to Tsodilo for prayers, meditation, and medication. Most visitors arrive for religious reasons.Source: Advisory Body Evaluation