This article explores the formation of mounted frontier raiding groups of diverse origins in the mountains of the north-eastern Cape Colony. It addresses concepts of creolisation, identity formation and image making (rock art) with special reference to nineteenth-century frontier conditions, and examines the ways in which 'contact period' rock art has been perceived until now. Certain frontier raiding groups often referred to simply as 'Bushmen' are revealed to comprise members from many formerly distinct 'ethnicities' 2 , and include the progeny resulting from subsequent inter-marriage. Cultural and 'ethnic' mixing, the advent of the horse and the need for identity to adapt to these changes, results in a creolisation process probably more common to South Africa than has previously been allowed.In nineteenth-century southern Africa, 'Bushmen' of a new order appeared along the colonial, and African, frontiers whose economies, life-ways and beliefs reflected adaptations and reactions to the times in which they found themselves living. Armed with muskets, bows and spears, wearing feathered headgear, wide-brimmed hats and riding horses, they raided their neighbours for cattle and horses, and exchanged them for corn, tobacco and dogs 3 much like raiding groups on other nineteenth-century frontiers -especially in

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Over the last four decades archaeological and historical research has the Maloti-Drakensberg Mountains as a refuge for Bushmen as the nineteenth-century colonial frontier constricted their lifeways and movements. Recent research has expanded on this characterisation of mountains-as-refugia, focusing on ethnically heterogeneous raiding bands (including San) forging new cultural identities in this marginal context. Here, we propose another view of the Maloti-Drakensberg: a dynamic political theatre in which polities that engaged in illicit activities like raiding set the terms of colonial encounters. We employ the concept of landscape friction to re-cast the environmentally marginal Maloti-Drakensberg as a region that fostered the growth of heterodox cultural, subsistence, and political behaviours. We introduce historical, rock art, and 'dirt' archaeological evidence and synthesise earlier research to illustrate the significance of the Maloti-Drakensberg during the colonial period. We offer a revised southeast-African colonial landscape and directions for future research.

The ethnographic decipherment of the Bushman (San) rock art of southern Africa instigated a revolution in our understanding of hunter-gatherer rock arts worldwide, even in regions widely separated from the original context of the model. Crucial to this decipherment were the narratives of the Bushman Qing, an inhabitant of the nineteenth-century Maloti-Drakensberg. This article returns to Qing's testimony to investigate why it is that a putative ‘hunter-gatherer’ of the Maloti-Drakensberg should have chosen to express the relationship between ritual specialists (‘shamans’) and non-human entities (game animals and the rain) through taming idioms. It discusses the wider context of ‘taming’ and ‘wildness’ in Southern Bushman thought, responding to calls to consider these communities and their visual arts in light of the perspectives of the ‘new animisms’. It explores how these idioms help us to understand particular visual tropes in the rock art of the Maloti-Drakensberg and highlights the integrated nature of ‘ritual’ and hunting specialists in Southern Bushman life.

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