The uKhahlamba-Drakensberg was inscribed as the 4th South African World Heritage Site in November 2000 after meeting four selection criteria, two each for natural and cultural significance (Derwent and colleagues 2001). The inscription of this majestic mountain range, the highest south of Kilimanjaro, has challenged the formerly low profile of rock art presentation in the area. Both the UNESCO declaration and the rapid overall rise in the South African tourism industry after the democratic transition, have significantly increased tourist numbers in the uKhahlamba- Drakensberg, and brought a greater demand for the presentation of rock art. The southern African San rock art that is characteristic of this area is dominated by fine-line shaded polychrome images. These paintings are considered not only to be of high aesthetic significance, but also imbued with spiritual power (Vinnicombe 1976; Lewis-Williams 1977, 1981, 1983, 1990; Pearse 1989; Deacon & Deacon 1999; Mguni 2002).

Furthermore, uKhahlamba-Drakensberg is one of the areas with the highest density of prehistoric rock art in the world, with an estimated 40 000 individual images in over 600 known sites (Derwent and colleagues 2001). A number of tourism destinations market uKhahlamba-Drakensberg not only for its pristine environment, but also as a rock art destination. This form of marketing has increased the demand for visits to painted rock art sites. The Didima Camp at Cathedral Peak Nature Reserve, named after the famous Didima (Ndedema) gorge, and themed around the art of the San, has a panel from the famous Eland Cave as its logo (Fig. 21.1.). This growing interest has both positive and negative repercussions. In a country faced with rural poverty, the job opportunities created by the tourism industry are always welcomed. However, increased tourism visitation puts rock art sites under considerable human threat, especially in the absence of proactive measures to protect this valuable resource.

At the Freedom Day celebrations on 27 April 2000, President Thabo Mbeki unveiled the new South African coat of arms, designed by Ian Bekker, which replaced that which had been in use since 17 September 1910. The coat of arms, effectively the highest visual symbol of the State, has two human figures derived from the Linton Panel (Fig. 21.2.), a panel of rock art now on display in the South African Museum.