Edited by renowned scholars Thomas A. Dowson and David Lewis-Williams, the book serves as a critical collection of papers that re-evaluates traditional interpretations of Southern African rock art.
The "Trance Hypothesis": It brings together various scholars to engage with the shamanic or "trance hypothesis" developed by David Lewis-Williams. While the contributors generally reach a consensus that the hypothesis is a valid framework, they use the book to debate its finer details and its applicability across different regions and styles of rock art.
The chapters bridge rock art studies with other fields like linguistics, folklore studies, and archaeology, demonstrating how these disciplines collectively enhance our understanding of ancient San ideology and settlement.
At the time of its publication, the book played a key role in moving rock art research away from being viewed as "quaint" or "primitive" representations, instead treating it as a complex historical record that rejects colonial-era biases.
It highlights the diversity of art forms beyond the well-known paintings of the Drakensberg, including analyses of geometric art and engravings from sites like Tsodilo and the Northern Cape
