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An association between round or oval features and linear features has been noted in South African Pleistocene coastal deposits, in apparent association with elephant tracks. The round or oval features sometimes exhibit concentric rings, and the latter often comprise near-parallel grooves and ridges. In one case the concentric rings and parallel grooves are closely connected. Such an association requires interpretation, even if this remains hypothetical until further sites are identified. Elephants are the heaviest extant land mammals, and their capacity to impart substantial forces onto the substrates on which they tread is well documented. Such forces include a seismic component, and seismic communication between elephants has received considerable attention in recent decades. Comparisons with dinosaur tracks are instructive in interpreting the available ichnological evidence. In the absence of plausible alternatives, the possibility that the noted features represent an ichnological signature of elephant seismicity or seismic communication needs to be considered. The rock art record in southern Africa suggests that ancestral humans were aware of elephant seismic communication. A comprehensive approach to elephant seismicity can involve not just research into the habits of extant elephants, but also the rock art record and the trace fossil record. To illustrate these concepts, findings from South African trace fossil sites and rock art sites are presented. [ABSTRACT FROM AUTHOR]

Even though music is inextricably part of the social fabric of past and present societies, it has not received in-depth attention in the archaeological literature from South Africa. This topic received the most attention in rock art studies, where images are mainly discussed concerning the trance dance and musical bow playing. Here we focus on flute playing in rock art depictions from the Cape region. To contextualise our data on flute playing in the rock art imagery, we discuss South African ethnographic instances of reed flute playing. We describe four rock art scenes, from the Attakwas and Ezeljagdspoort sites in the Klein Karoo, and Zimri Shelter and the Procession Shelter in the Cederberg, with figures that are playing what is highly likely to be flutes. [ABSTRACT FROM AUTHOR]

Compared with other parts of the world, the study of geomythology in southern Africa, and the associated documentation of non-western awareness of palaeontological and geological phenomena, is in an early phase. We focus on examples of rocks and fossils as items of special interest and curiosity, and we search for evidence of an indigenous palaeontology and geology. We review twenty-one sites or cases for which published accounts exist, and we describe a newly identified trilobite manuport site. In combination these sites provide various levels of evidence of palaeontological and geological awareness exhibited by non-western cultures in southern Africa, and how these cultures incorporated this knowledge into their understanding of their world. We anticipate that in time a diverse heritage of such 'natural knowledge' may become evident in southern Africa, aided in part by recognition of the possibility that rock art images may be associated with awareness of body fossils and trace fossils. We suggest ways in which further analysis may bolster this contention. [ABSTRACT FROM AUTHOR]