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The research area as indicated here extends over some 20 km in east-west direction. 1). 2). Animate motifs constitute 75% of the art, wherein again 75% depict humans while 25% are animals, mainly the large game of the wider region (but not of the mountain area itself). Among the 25% of inanimate motifs there are to a very large extent remains and nonrepresentational depictions. Human figures are usually shown in scenes of superficially little specificity, mainly being on the move in single file.
1975. Strukturen der Lebenswelt. Neuwied: Luchterhand (English: The Structures of the Lifeworld [translated by R. M. Zaner and H. T. Engehardt]. Evanston: Northwestern University Press). Shostak, M. 1981. Kung Woman. Cambridge, MA: Harvard University Press. Silberbauer, G. 1981. Hunter and Habitat in the Central Kalahari Desert. Cambridge: Cambridge University Press. Stoffle, R. , L. Loendorf, D. E. Austin, D. B. Halmo, and A. Bulletts. 2000. ‘Ghost dancing the Grand Canyon – Southern Paiute rock art ceremony and cultural landscapes’, Current Anthropology 41(1):11–38.
Renfrew and E. B. W. ), The Ancient Mind – Elements of Cognitive Archaeology. Cambridge: Cambridge University Press, 95–106. , F. C. Boado, and R. F. Valcarce. 1994. ‘Rock art research as landscape archaeology: A pilot study in Galicia, northwest Spain’, World Archaeology 25(3):374–90. Breunig, P. 1989. ‘Archaeological investigations into the settlement history of the Brandberg’. In H. ), The Rock Paintings of the Upper Brandberg, Part I – Amis Gorge. Köln: Heinrich-Barth-Institut, 17–45. ———. 2003.