A brief introduction to the history of beadwork in KwaZulu-Natal, followed by a description of contemporary beadwork made both for the market and for personal use. Once the domain of women, distinct regional styles of beadwork have developed, which were passed on from generation to generation.
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Summary
A brief introduction to the history of beadwork in KwaZulu-Natal, followed by a description of contemporary beadwork made both for the market and for personal use. Once the domain of women, distinct regional styles of beadwork have developed, which were passed on from generation to generation.
Description
Although these styles continue to be identifiable, particularly in massed dancing at national festivals, Zulu beadwork is increasingly eclectic and much of it is directed at the fast growing external market which now provides beadworkers with both a welcome source of personal income and a continuing stimulus to personal creativity. Zulu Beadwork tells the fascinating and important story of this transformation, and of the major players who were instrumental in bringing it about. Continuity and change in Zulu beadwork. Important collections of Zulu beadwork. Speaking with beads: Zulu 'Love Letters'. Bead making, bead messages and meaning. Expanding beadwork frontiers post 1980. Zulu beadwork for the new millennium. Zulu beadwork and Zulu and South African identity.
About the Author
Eleanor Preston-Whyte is a social anthropologist whose interest in Zulu beadwork dates from the 1960s when she undertook ethnographic research in the burgeoning craft markets that were beginning to line the highways to the north and south of the city of Durban. She is the author of a number of publications on the role of craftwork in informal money making and, in particular, on the part it has played in enabling Zulu women to build their own homes and educate generations of black children.
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