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Isipili sentombazana nenkwenkwe
No full textTwo intricately crafted mirrors are strung together on a necklace, designed to be a stylish accessory for both teenage boys and girls. The mirrors are adorned with a combination of white, navy, and red beads, and are further embellished with eight beaded strings featuring playful pink pompoms. The design of the mirrors indicates that they are tailored for the mid-teenage demographic, particularly for 15-16-year-olds.Purchased from Mrs Joan BrosterForms part of: Walter Sisulu University Beadwork Collectio
Iphoco
No full textThe symbolic necklace features three charms, each representing a young woman. Beyond being a mere accessory, it encapsulates the very spirit of femininity, resilience, and solidarity. When worn, it serves as a reminder of the bond of sisterhood and the shared experiences of womanhood. It symbolizes the tangible connection between individuals and serves as a celebration of both their unique identities and their collective unity.Purchased from Mrs Joan BrosterForms part of: Walter Sisulu University Beadwork Collectio
Ubulunga obusisiyaca
No full textThe fringe is made up of a cluster of lengthy white hairs, resembling a necklace, sourced from the tail of a heifer cow known as "inkomo yobulunga" in the isiXhosa-speaking community. This distinctive necklace is traditionally created for both men and women and is thought to have the ability to alleviate ailments and enhance unfavourable conditions, such as poor health or distress.Purchased from Mrs Joan BrosterForms part of: Walter Sisulu University Beadwork Collectio
Isidlokolo seGqirha
No full textThe headgear of a Diviner is a traditional piece crafted from wildcat skin and soft cotton. It features a fringed base adorned with a white beaded flat tab, embellished with a modern geometric design in navy, red, and yellow. White beaded streamers cover the wearer's forehead, while two chin straps, also adorned with white beads, complete the piece. The back of the headgear is overlaid with a red diagonal design strip and four long white beaded streamers. This headgear is traditionally worn by male and female traditional doctors who have completed their training.Purchased from Mrs Joan BrosterForms part of: Walter Sisulu University Beadwork Collectio
IBhekile yophatha izinto zokutshaya
No full textThe billy can is a charming and petite tin container specifically crafted for the purpose of carrying smoking accessories. This delightful can feature three elegant bead bands adorning its exterior, complemented by a sturdy wire handle for easy portability. The container is further embellished with dainty pearl buttons and soft pink wool pompoms, adding a touch of whimsy and sophistication. Notably, the lid of the can is left unadorned, creating a pleasing contrast to the intricate beadwork. Primarily intended for individuals aged 18 and above, the billy can is ideal for storing an assortment of items such as sweets, tobacco, and matches, making it a versatile and practical accessory for adults.Purchased from Mrs Joan BrosterForms part of: Walter Sisulu University Beadwork Collectio
Inckiyo yentsana
No full textThe attire of an infant female, specifically within the age range of six to ten months, comprises a girdle intricately crafted from beads. This girdle, known as "Inkciyo" in isiXhosa cultural contexts serves a decorative purpose but also supports a fringed apron through the use of stranded beads. This traditional garment, rich in cultural significance, underlines the early introduction of adornment and cultural identity within the communities that practice this tradition, instilling a sense of tradition from a tender age.Purchased from Mrs Joan BrosterForms part of: Walter Sisulu University Beadwork Collectio
Isigcina ntliziyo
No full textThe necklace in question, which is described as the keeper of the heart “Isigcina ntliziyo”, comprises a necklace adorned with a flat, tab-bead fringe. At the core of this intricately beaded necklace, a tab prominently features a design of a female figure. This piece is crafted with a remarkable level of skill, utilising sinew, indicative of its considerable age. The depiction is purportedly that of a man's spouse, adding a layer of personal and cultural significance to the work. This object serves as a testament to the craftsmanship and sentimental values of the society from which it originates.Purchased from Mrs Joan BrosterForms part of: Walter Sisulu University Beadwork Collectio
Uncumo lwabantu abadala
No full textA necklace with a beaded strand that hangs loosely, featuring 19 streamers covering the chest, each measuring 1 inch in length. It is intricately crafted with turquoise blue, navy, white, yellow, and clear beads. This design is intended for elderly men and women of abaThembu subcultural group within the isiXhosa-speaking community.Purchased from Mrs Joan BrosterForms part of: Walter Sisulu University Beadwork Collectio
IBhekile yophatha izinto zokutshayela
No full textThis exquisitely crafted decorative container is designed for smoking purposes. The small tin is meticulously covered in an array of colourful beads and is embellished with delicate pearl buttons and soft pink wool pompoms on its sides. It is equipped with a well-fitted lid and a sturdy wire handle for easy portability. This charming container is intended for individuals aged 18 and above and serves as a stylish storage solution for sweets, tobacco, and matches.Purchased from Mrs Joan BrosterForms part of: Walter Sisulu University Beadwork Collectio
A Quest for Ethnic Media: Form and Content in the Case of Muvhango
No full textThis chapter studies elements of ethnic media in Muvhango against dominant language ideologies in South African television. This chapter aims to show that Muvhango, through form and content, has offered low-status languages linguistic justice using elements of ethnic media. The intersection of form and content within ethnic media productions offers a unique lens to explore the complexities of representation, cultural preservation, and societal transformation