Black Wars and White Settlement: the Conflict over Space in the Australian Commemorative Landscape

The relationships of the peoples of southern Africa after the establishment and expansion of the white settlement in the mid-seventeenth century can be seen in terms of both conflict and interdependence, both resistance and collaboration. The conflict often split over into warfare, not only between black and white, but also within both groups. As time passed, firearms came to be used by ever-widening circles of the combatants, often as much the result of the increased collaboration and interdependence between peoples as of the increased conflict. As Inez Sutton has pointed out, ‘in contrast to most of the rest of [sub-Saharan] Africa, the presence of a settler population ensured that the supply of arms was the most modern rather than the most obsolete’, and on the whole non-whites were acutely aware of changes in the manufacture of firearms in the nineteenth century.

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White Settlement in the Tropics: Review

Geographical Journal ◽

10.2307/1788329 ◽

1939 ◽

Vol 94 (3) ◽

pp. 237

Author(s):

C. B. W. ◽

A. Grenfell Price

Keyword(s):

The Tropics ◽

White Settlement

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LOVE AND THE LIONS: THE IMAGE OF WHITE SETTLEMENT IN KENYA IN POPULAR FICTION, 1919–1939

African Affairs ◽

10.1093/oxfordjournals.afraf.a098441 ◽

1991 ◽

Vol 90 (360) ◽

pp. 427-438 ◽

Cited By ~ 5

Author(s):

C.J.D. DUDER

Keyword(s):

Popular Fiction ◽

White Settlement

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Conrad Martens and the Bush of South-East Queensland

Queensland Review ◽

10.1017/s1321816600002737 ◽

2002 ◽

Vol 9 (1) ◽

pp. 49-58

Author(s):

Rod Fensham

Keyword(s):

Criminal Conviction ◽

White Settlement

The work of colonial artists has provided precious insights into the nature of the Australian landscape as it was at the time immediately following white settlement. The works of Glover, Lewin and von Guérard, for example, have been employed by historical geographers and have fuelled some fascinating debates about the nature of the landscape as it was under Aboriginal management. Of course, the work of some of these artists forms more faithful historical documentation than that of others. The stylised works of J.S. Lycett, the emancipated convict turned painter, are almost certainly unreliable as accurate landscape documentation, as his criminal conviction for forgery may suggest (Plate 1). It is likely that Lycett never visited some of the locations he painted and much of his work was probably commissioned as immigration propaganda, intended to placate the fears of the Britons equivocating about a move to the awesome and intimidating southern land.

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THE WHITE CAMEL OF THE MAKGABENG

The Journal of African History ◽

10.1017/s002185370100799x ◽

2002 ◽

Vol 43 (2) ◽

pp. 235-254 ◽

Cited By ~ 10

Author(s):

BENJAMIN W. SMITH ◽

JOHAN A. VAN SCHALKWYK

Keyword(s):

South Africa ◽

Twentieth Century ◽

Rock Art ◽

Northern Province ◽

Archival Material ◽

Northern Sotho ◽

White Settlement

Research in the Northern Province of South Africa has revealed a most surprising new rock art find: a painting of a camel. This paper investigates how and why a camel came to be painted in the remote rock art of the Makgabeng hills. Analysis of archival material allows one to attribute the painting to a Northern Sotho artist who was active in the first decade of the twentieth century. The purpose of the painting is revealed in its context; it forms part of a collection of paintings which ridicule elements of ineptness in the ways of the new white intruders. We argue that this pointed humour helped the Makgabeng community to overcome some of the trauma of the displacement and violence which characterized the era of the first white settlement in northern South Africa.

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