The rock art of Caraculo, Namibe province, Angola

Abstract

The province of Namibe, in south-western Angola, is rich in rock art, which is distributed throughout the region, from the municipality of Camucuio, with its Cipopilo sites, to the Caraculo area, which has the largest number of shelters with rock art. The distribution extends throughout the region, including the municipality of Virei, where the Citundu-Hulu shelter stands out, and the commune of Iona, with the Monte Negro rock art site. To date, the Caraculo region has the largest number of rock art sites identified in Angola. In this paper, we will discuss the general state of rock art studies in Namibe province and, of the various shelters found in the region. We will focus our study on four new sites firstly published in this paper, as they are a good illustration of the diversity of rock art in the region: Muliolila, Múcua II, Kandombolo and Cikotoue. These four shelters were subjected to a digital documentation protocol that is fundamental to the preservation and understanding of these archaeological sites. The methodology involved the application of a digital documentation protocol that included digital photography of the site, panels, figures and surrounding landscape, digital image processing, enhancement of the visualisation and interpretation of the rock art images using DStretch® software, and digital tracing using Adobe Photoshop© software. This documentation protocol will be used not only to provide accurate and up-to-date information about the site (thus raising awareness of the cultural and historical importance of these sites), but also to identify hazards and threats that may affect the site, to monitor possible damage and to take measures to protect the site. The motifs represented are very diverse, emphasizing zoomorphic figures such as antelopes, cats and serpentine figures, anthropomorphic forms, geometric forms (simple lines, combined lines, and circular forms) and indeterminate figures. The figures are both monochromatic and bichromatic, with white, black and red being the shades that can be observed (although these vary within each colour). The predominant technique is finger painting. Hunting scenes can be seen, either in isolation or in combination. One suggests that there may be indications that figures were made by at least two culturally distinct groups, even if in this paper the authors do not present any scientific proof for this statement but only different characteristics of the rock art. The rock art sites in the Namibe are of great cultural and historical importance, both for Angola and the world. They provide valuable information about the lives and traditions of the peoples who created them and help to promote awareness and conservation of Angola's cultural heritage. It is essential that intensive documentation and awareness of the importance of this Angolan rock art heritage be promoted and practiced on a large scale.