AFRIKAANS: Enkele tegniese skeppinge wat die Tsongavrou in die tradisionele lewenswyse vervaardig en wat prominent by die Tsongakraal-Opelugmuseum in die Hans Merensky-Natuurreservaat gedemonstreer word, is as studiemateriaal geselekteer. Weens die museologiese vereiste en noodsaaklikheid van goedgedokumenteerde voorwerpe is pottebakkery, soutontginning en kralewerk deeglik volgens vorm, funksie en vervaardigingswyse binne die museum sowel as in Gazankulu, tuiste van die Tsongavrou, nagevors. Dit is ook volkekundig binne funksionele kultuurverband behandel. Historiese gebeurtenisse is nagegaan wat die Tsonga van die huidige Gazankulu met die Tsonga van Mosambiek, hul oorspronklike tuiste vir baie eeue, verbind. Ook die kulturele lewe van die mense van wie in hierdie studie sprake is, is kortliks geskets. Beperkinge wat die museumopset op 'n lewensgetroue weergawe van 'n volk meebring, en die mate van kunsmatigheid wat wel voorkom, is kortliks bespreek. Pottebakkery by die Tsonga, alhoewel deur die omliggende stamme beïnvloed, toon 'n eie karakter, veral as daar meer gekonsentreer word op die oorspronklike Tsonga-keramiekware wat tot in Mosambiek nagevors kon word. Vervaardiging kom nie meer so algemeen voor nie, maar benutting is meer verspreid. 'n Hele stel potte wat kookpotte, bier- en waterpotte, eetbakke, waskomme en maalbakke insluit, word volgens vorm, funksie, voorkoms en vervaardigingswyse bespreek. Soutvervaardiging tref ons by die Tsonga aan, omdat daar 'n paar southoudende minerale warmwaterbronne in Gazankulu voorkom. Argeologiese en etnologiese gegewens dui daarop dat hierdie ontginningsproses alreeds vir die afgelope 1800 jaar bedryf word. Handel is met sout gedryf en hierdie sout is gesog, omdat magies-religieuse eienskappe daaraan toegeskryf word. Die Tsonga was die soutvervaardigers ten minste gedurende die afgelope 100 jaar. Die Tsonga beskik oor hul eiesoortige kralewerk wat as bykomstige versiering gedra word. Veral tydens feestelikhede word hierdie kleurvolle kralesierade vertoon. 'n Kralewerk-klassifikasie kon volgens voorkoms, funksie en vervaardigingswyse saamgestel word. Hierdie bedryf kan, as 'n aspek van die tegniese skeppinge van die Tsongavrou, met welslae in die opelugmuseum uitgebeeld en uitgebrei word. Daar is tot die gevolgtrekking gekom dat die Tsongakraal-Opelugmuseum definitief bestaansreg het, omdat die Tsonga 'n eiesoortige kultuurlewe openbaar. Met 'n weldeurdagte en goedbestuurde uitstallings-, vervaardigings-, en verkoopsaksie het hierdie opelugmuseum besliste uitbreidingsmoontlikhede en kan die bestaande funksies van versameling, bewaring en opvoeding deur middel van programme en uitstallings nog beter tot hul reg kom. Band II bestaan uit 'n fotodokumentasie wat die teks oor die vervaardigingswyse van tegniese skeppinge aanvul. Bylaes wat handel oor die vervaardigingswyse van tegniese skeppinge, Tsongabotanie, 'n Tsongawoordelys oor tegniese skeppings wat in hierdie studie genoem word, asook aanvullende historiese inligting en liggingskaarte word aangeheg. ENGLISH: A description is given of some aspects of the material culture of the Tsonga women of Gazankulu as demonstrated at the Tsongakraal Open-air Museum in the Hans Merensky Nature Reserve. Pottery, headwork and the salt extraction process have been described museologically according to form, function and the process of manufacture. Anthropologically the functional approach to culture has been followed. A short historic and cultural survey has been given of the Tsonga people who first lived in Mozambique, their role as traders over the centuries on the old trade routes through Gazankulu and their reason for settlement in present Gazankulu. The restrictions and superficiality in portraying a way of life within the museum has been discussed in short. Pottery has been influenced by the surrounding tribes, but a specific Tsonga pottery tradition has been identified, leading back to Mozambique. Although there seems to be a decline in the manufacture of pots, a whole range of ceramic ware which includes cooking pots, beer and water pots and bowls could be described according to form, function, manufacturing process and decorative patterns. Archaeological and ethnological references to the 1800 year old salt extraction industry from salt pans near mineral springs in Gazankulu, assisted in the reconstruction of the whole process with its uses and magico-religious properties. The Tsonga were the salt producers for at least the last one hundred years. Headwork as adornment features prominently amongst Tsonga women, especially during festivals. A classification system of all the headwork has been compiled and described according to appearance, function and manufacture. The manufacturing of headwork can be introduced as a further aspect of material culture in the open-air museum. The study concludes that the distinguishing material culture of the Tsonga gives purpose to the existence of the Tsongakraal Open-air Museum. With creativity and a well-planned management programme, the museological functions of collection, preservation and education (recreational programmes and displays) of this museum can be extended. Annexures include a detailed photographic record of the manufacturing of items of material culture, the ethno-botany of the Tsonga, a list of Tsonga cultural terms as well as maps and historical information. / Dissertation (MA)--University of Pretoria, 2013. / Anthropology and Archaeology / unrestricted