Submitted in fulfilment of the requirements for the Doctor of Philosophy in the Department of Isizulu naMagugu at the University of Zululand, 2006. / This study is an attempt at making a classiflcatory scrutiny of the art performed by the Ndebele people of South Africa. It sets out to identify and define Ndebele beadwork by looking very closely to its origin, how it survived the dark days of waging wars and made its way into the modern times. In its classification a clear distinction is drawn between the various periods of development and the characteristics of each period are described well. Several attempts have already been made by a number of scholars on the classification and analyses of Ndebele beadwork. In most analyses we find that very brought and general descriptions have been given. One hardly finds any definite patterns and methods used by a Ndebele bead worker. This study has attempted to describe Ndebele beadwork from the moment of planning to the next step when the first grain of bead is worked through the needle and cotton up to where a real shape is formed. It attempts to explain how the intricate Ndebele shapes are formed and coordinated. The use of the various colours is explained in detail. The wrong impression conceived by a big bulk of people that the Ndebele people use colours indiscriminately is corrected. An explanation is given on how some of the popular colours are linked to speech and how these colours are generally interpreted when used on a piece of beadwork article. It further rounds up the typical shapes popular with the Ndebele bead worker. It describes how each shape is formed and used. It also discusses the cultural beliefs and stereotypes attached to the usage of beads and the restrictions accompanying them. The future of Ndebele beadwork is looked into. Recommendations on how the beadwork trade can be turned into a giant industry are made. Postulatxons are made on what route can be followed that can lead small beadwork handlers into some of the world's greatest.