The ethnographic decipherment of the Bushman (San) rock art of southern Africa instigated a revolution in our understanding of hunter-gatherer rock arts worldwide, even in regions widely separated from the original context of the model. Crucial to this decipherment were the narratives of the Bushman Qing, an inhabitant of the nineteenth-century Maloti-Drakensberg. This article returns to Qing's testimony to investigate why it is that a putative ‘hunter-gatherer’ of the Maloti-Drakensberg should have chosen to express the relationship between ritual specialists (‘shamans’) and non-human entities (game animals and the rain) through taming idioms. It discusses the wider context of ‘taming’ and ‘wildness’ in Southern Bushman thought, responding to calls to consider these communities and their visual arts in light of the perspectives of the ‘new animisms’. It explores how these idioms help us to understand particular visual tropes in the rock art of the Maloti-Drakensberg and highlights the integrated nature of ‘ritual’ and hunting specialists in Southern Bushman life.