Introduction

As I will be using the Xhosa umakoti narrative for Chapter 3, it was important that I investigate Xhosa beadwork so as to go gain design background. I therefore visited the East London Museum and interviewed one of the anthropologists from the museum, who gave me a lot of historical facts concerning the Xhosa people especially their beadwork. This process allowed me better under some of the relevant terms and types of beading done within the Xhosa community, these will be addressed below.

As with any group of people, there are specific symbolisms held by each bead and inversely each beadwork, therefore the creators need to be aware of these when creating narrative work to produce a relevant piece  (Cosser, 2018; Glenda, 2018). Interestingly enough, even the various shapes and forms included in the overall design will influence the message the weaver may be trying to portray within the desired beadwork (Lidia D, 1998).

Figure1 Artist Unrecorded. Mid-20th century. Xhosa Collar. Glass seed beads. (ONLINE)

The earliest documented Xhosa beadwork dates back to the 1820^[1]s; in those days beads were a precious commodity and therefore were exclusive to the wealthy and were a sign of status, and it was also then included as part of a woman’s dowry.

Figure 10 is a picture of a traditional Xhosa collar which was crafted in the mid-20th century; it is currently part of the Wits Art Museum collection. Traditionally Xhosa beadwork was made from seeds of the coral tree, shell, bone or ivory, claws, and teeth.

One of the most predominant colours found in Xhosa beadwork is white, and most of the Xhosa beadwork designs use open as this allows for the beadwork to drape over the body to  act as a covering (Anon., n.d.).