Sudan is a vast country marked by heterogeneity, dissimilarities, and diversities in its climates, topography, natural features, cultures, and people. Sudan’s multiplicity of cultures and communities is steeped in history and heritage as remarkable as anywhere else in the ancient world and the rest of Africa. Despite this, Africa’s heritage has been overlooked for centuries as a result of prejudice and stereotyping. The 19th and 20th centuries were characterized by supposition and fixation on an external origin of African civilizations, a focus that was based on European ethnocentrism and a sense of racial superiority. In common with the rest of Africa, archaeology was founded during the colonial period and, to a large extent, remained unchanged, retaining past management and interpretative approaches and influencing current practices and planning policies. Sudan’s rich and outstanding heritage, the home of the first great civilizations in Sub-Saharan Africa, was frequently overlooked. When discussing the civilizations of the Nile Valley, many historians and archaeologists focus entirely on the role of Egypt. Ancient civilizations in Sudan were constantly interpreted as the work of colonizers and were believed to be less advanced than Egyptian civilizations. The building of the Aswan High Dam threatened the lives of Nubians and their heritage. It necessitated the forced displacement of Nubian and Bushareen nomadic tribes from their homelands and submerged considerable heritage. Nonetheless, this was the first time an organized survey was undertaken in Sudanese Nubia. The rescue campaign provided archaeological evidence and replaced ethnic prehistory with new theories. Archaeology in Sudan underwent a dreadful experience throughout the thirty years it was under the governance of the ousted dictatorial regime. The government in power in 1989–2019, an autocratic rule with a different political ideology, took control over Sudan’s heritage. Along with an oil boom, fast modernization, urbanization, and unrest in the country, all these factors had a tremendous impact on archaeology and heritage and on the operation of the National Corporation for Antiquities and Museums (NCAM). Moreover, the military forces, which used archaeological sites as military bases, took control over and demolished significant heritage and disconnected local communities from their heritage. From the 1980s, the number of native archaeologists and departments of archaeology increased. This period witnessed an expansion in research projects, themes, topics, periods, methods, and regions explored by Sudanese and foreign teams. There is a move away from focusing on single sites to understanding and exploring past environments and landscapes using new scientific methods of investigation. There are multiple challenges ahead, including climate change (flooding, destratification, shifting sands), globalization, mega-developments, lack of sufficient funding and resources, and, most recently, Covid-19. These are complex issues to deal with, especially for poor counties. Development and unrest in Sudan continue to force communities to move from their homelands and threaten the loss of traditional knowledge, diversity of culture, and connectedness with the land.
Ahmed Adam and Shadia Taha
The definition of heritage in West Africa must adopt a wider perspective of incorporating tangible and intangible heritage as recognized and defined by UNESCO. Generally, the West African region does not feature monumental heritage as in Europe and the Americas. The few monumental heritage properties belong to the historic period and are located in the Sahel zone (Mali in particular), while the coastal regions possess monumental heritage properties that were essentially relics of the period of European contact and colonialism (Benin Republic, Ghana, Nigeria, and Senegal). Heritage resources in West Africa are therefore essentially discrete and nondiscrete prehistoric and historic archaeological sites which include rock shelters, relics of ancient settlements, mounds, earthworks, industrial relics such as furnaces and surface finds, isolated historic buildings and spaces, and tangible (traditional architecture and artifacts) and intangible (language, poetry, songs, dances, festivals, beliefs, and value systems) ethnographic resources. Some studies in the 2010s have included heritage resources of all archival materials such as recorded audiovisuals of events and entertainments of the colonial and early postcolonial periods. Heritage management in the West African region has been problematic due to various factors that could be both historical and attitudinal, which include colonialism, intrusion of foreign religions and ideologies, economic and social conditions, insufficient and noneffective legal and policy frameworks for protection and conservation of heritage resources, and a general lack of awareness and interest in matters of heritage by the populace. In spite of these factors, some efforts have been made toward managing heritage in ways that can be interrogated. Government efforts at promoting heritage are more evident in the areas of cultural festivals, dance, and music with the establishment of cultural troupes at various political and administrative levels, thus creating the impression that heritage is limited to intangible cultural resources. Museums are few and far in between, priceless artifacts are still looted and illegally exported to foreign museums to join those looted during the colonial era, and facilities are limited and not standard, while the staff is poorly trained and unmotivated. In the face of expanding infrastructural developments and urbanization, the most appropriate management strategy and practice would be conservation through recording archaeological sites and historic properties.
In Zimbabwe, the term “rock art” refers mainly to prehistoric engravings and paintings that were executed on the walls of shallow caves, rock shelters, or faces of boulders across the country. Rock paintings were executed using pigments in a variety of colors and textures while engravings were etched into the rock using incisions, polishing, or pecking methods. The paintings dominate the corpus of rock art in the country. They are found within the granitic boulders that cover much of the country while rock engravings are confined to narrow belts in the eastern, southern, and southwestern parts where the sandstone is found. The spatial distribution of rock art in Zimbabwe helps to show that geology was the influential factor in choosing whether to paint or to engrave. In terms of subject matter, the rock art of Zimbabwe is mostly dominated by what is known as hunter-gatherer art, with a few sites having what has been termed “farmer art.” There is a possibility of some of the art having been made by herders but this requires further research and conformation. The hunter-gatherer art is made up of mostly animals and humans. Nevertheless, the occurrence of plants and geometric figures, especially the “formlings,” sets the rock art of Zimbabwe apart from that of other areas in southern Africa. Farmer art has animal and human figures, mostly in white kaolin and usually found superpositioned on top of the hunter-gatherer images. The color and superpositions led the art to be termed the Late Whites. The possibility of herder art has been raised due to the occurrence of depictions such as handprints and finger-painted dots. These images are associated with herders in neighboring countries such as South Africa and Botswana. Research in Zimbabwe has tended to favor the dominant aspects of rock art. As such, rock paintings have been extensively investigated at the expense of engravings. In the same vein, hunter-gatherer research art has been preponderant as compared to the study of farmer and possibly herder art. Nevertheless, it is important to note that although a lot of strides have been made in rock art research, fewer researchers, especially among the indigenous, have had an interest in these aspects of the Zimbabwean past. Rock art is often overshadowed by the archaeology of the farming communities, which has Zimbabwe culture and particularly Great Zimbabwe as its hallmark. However, it is encouraging to note that there has been an upsurge in students working on projects concerning rock art, which foretells good prospects for the uptake of rock art research in the future
There are many different and distinct types of religious waters: holy, sacred, neutral, and even evil. The ways various divinities invest waters with specific qualities and capacities depend upon a wide range of ecological, theological, and eschatological factors; some are shaped by the environment while others are purely ontological and concerned with otherworldly realms, and often there is an intimate relation between the mundane and the divine. Rivers, rain, lakes, springs, and waterfalls are some specific forms of religious water, which also relate to seasonality and changing hydrological cycles. All these variations create different dependencies not only to ecological factors but more importantly to divine actors. Religious water may heal and bless individuals and be a communal source for fertility and plentiful harvests, but may also work as a penalty, wreaking havoc on society as floods or the absence of the life-giving rains in agricultural communities. Given the great variation of religious waters throughout history where even the same water may attain different qualities and divine embodiments, divine waters define structuring practices and principles in ecology and cosmology.