red through to primary yellow. Common subjects include hunting, often depicting with great accuracy large animals which no longer inhabit the same region in the modern era, as well as: warfare among humans, dancing, domestic scenes, multiple images of various animals, including giraffes, antelope of many kinds, and snakes. The last of these works are poignant in their representation of larger, darker people and even of white hunters on horseback, both of whom would supplant the "Bushman" peoples. Many of the "dancing" figures are decorated with unusual patterns and may be wearing masks and other festive clothing. Other paintings, depicting patterned quadrilaterals and other symbols, are obscure in their meaning and may be non-representational. Similar symbols are seen in shamanistic art worldwide. This art form is distributed from Angola in the west to Mozambique and Kenya, throughout Zimbabwe and South Africa and throughout Botswana wherever cave conditions have favoured preservation from the elements. Contemporary art in South Africa The contemporary art scene in South Africa is as diverse and vibrant as the population and vast cultures in the country. Contemporary artists in South Africa have adopted new media technologies to produce varied and creative bodies of work, as seen in the work of Dineo Seshee Bopape and CUSS Group. Their art gives insight into the pressing issues of South African society. On a global scale, contemporary South African art is relevant and sought-after. A charcoal and oil on canvas work by leading South African contemporary artist William Kentridge was sold on auction for R3,5 million in London in 2012. Black art post-apartheid The Bantu Education Act of 1955 barred Black South Africans from receiving formal art training during the years of apartheid and as a result, the artistic movements that had originated from this community have, until recently, been distinctly classified as “craft” rather than “art.” Informal art centers, that were funded by European states, became one of the few avenues in which Black South Africans could receive some form of artistic development. Throughout this time period from 1947 to the mid-1990s, the first practitioners to receive this informal training began passing down their knowledge to younger generations of practitioners. However, the traditional canon of African art, categorized as “fine art” had been formed in the 20th century by European and U.S. art audiences. South Africa's inequality gap is larger than that of other countries in the world so the