Rock art researches in Tanzania have concentrated in regions known since pre- and postcolonial
eras. These include central, north-central and Lake Victoria Basin (LVB). In LVB,
the focuses of rock art researches have been in Bukoba (Kagera) and Mwanza regions.
Recently, such researches have been expanded to Mara region. Many of these pre- and postcolonial
rock art studies are devoid of recent digital techniques to record, document and
analyze the paintings. In order to correct the geographic imbalances in rock art researches,
this study was conducted in a recently defined region of Simiyu in LVB. This study area was
selected for survey, recording and documentation following brief reports by game rangers
about the possible existences of rock paintings in Maswa Game Reserve (GR), Makao
Wildlife Managed Area (WMA), Mwiba Ranch and nearby areas. The study was conducted
for three weeks. Methodologically, the study combined use of informants and traditional
archaeological surveys in recovering the sites. A total of four sites were recorded and
documented. Given time, logistic and financial constraints, the use of informants proved to be
the most productive method that yielded three of the four rock art sites. These rock sites
include Kijashu in Maswa GR, Gululu in Mwiba Ranch, Nyungu in Makao WMA and
Butimba in nearby village of Sungu. The study shows that Simiyu region contains rock
paintings that belong to three major rock art traditions (see Mabulla and Gidna 2014). These
include Hunter-Forager, Red Geometric (H-F, RG) Art tradition occurring at Kijashu and
Nyungu rock art sites, Bantu-Language Speaker Art tradition at Butimba site and Maasai
Olpul Art tradition occurring at Gululu site. The later is historic while the former are
prehistoric. Of the two prehistoric rock art traditions, H-F, RG is considered the oldest
(Masao 1979; Anati 1986; Mabulla and Gidna 2014). At Kijashu and Nyungu, the H-F, RG
paintings are characterized by concentric circles with externally radiating rays, circles with
externally radiating lines or “sun-like” designs, circles and semi-circles with internally
vertical lines, bands of lines arranged in row, “stick” human figures, wild animals, birds, and
reptiles. These are painted in monochrome and in fine lines possibly using brushes.
Moreover, they are depicted in semi-naturalistic and stylized styles and in shades of duskyred,
light red and orange colours. The Bantu-Language Speaker Art is represented by
geometric designs, reptiles and stylized human figures and/or cattle brands. These are crudely
painted in monochrome using fingers and all in dirty-white colour. The Maasai ‘Olpul’ Art
tradition is represented by semi-naturalistic human figures, wild animals, domestic animals
and weapons. These are painted in monochrome and biochrome shades of dusky-red and
black colours. Detailed analysis of Kijashu site using ImageJ (DStretch Plugin) and
Photoshop C5 identified four phases of painting. The first is represented by concentric circles
with externally radiating lines, few wild animals, 20 small human figures and three human
figures that are interpreted to represent a family (father, mother and child), all in dusky-red
colour. The second phase is represented by the majority of wild animals and birds, all in
light-red colour. The third phase is represented by abundant “stick” human figures some of
which are attenuated and others in forward-bending positions, all in light-red colour. The last
painting phase is represented geometric designs, all in orange colour. The long-range
survival and sustainability of the sites and paintings are threatened by both anthropogenic,
physical and biological agents. The states of preservation of the sites and paintings range
from fair, good to very good. Accordingly, some these sites are suitable for public displays
and archaeo-tourism. Nonetheless, this study calls for the establishment of site management
plans and training of heritage guides before they are opened for public displays and archaeotourism.
Also, the study recommends integrating the local communities in the management
and displays of the sites and that the local communities should benefit from the accrued
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revenues from archaeo-tourism. Lastly, the study recommends conducting fresh researches to
record, document and analyze old and new rock art sites and paintings using the available
state of the art digital techniques.