M.Tech. / The aim of my research is to discover how the garments, beadwork and accoutrements worn and used by proponents of the ukuthwasa1 subculture manifest meaning and significance amongst healers and initiates in the White River area, Eastern Mpumalanga. The visual language and style of traditional healers in this region is unique in South Africa, as it is informed by belief systems incorporating primarily the Nguni2 and the Emandzawe3 cultures. Also, they are influenced by the combined garment styles of the Swazi, and to a lesser extent the Shangaan and Tsonga people resident in this area. I suggest, therefore that ukuthwasa style in this region acts as a visual repository of these amalgamated cultures, which I visually substantiate through relevant photographic documentation. This study includes considerations of the way in which ritual objects, shrines and architectural spaces are dressed and decorated. Furthermore I examine how the beadwork and apparel aid in constructing and establishing identity and status within the designated society, and how, over and above the dictates of their tradition, personal preferences and different ways of teaching doctrine allow for individual interpretation. I also examine ways in which dress and beadwork serve as a site of knowledge and healing, and results in a fluidity of artistic expression, which defies categorisation and constantly invigorates the existing culture. Lastly, I consider change through urbanization and its impact on this culture.

Questioning notions of authenticity through the dynamics of Zulu culture as expressed by Zulu beadwork in the cultural tourism industry, allows this study to evaluate the historical perspectives of Zulu culture. It further provides a genealogical perspective of Zulu beadwork, and explains the nature of Zulu beadwork within the tourism industry of KwaZulu-Natal. The literature of this dissertation specifically evaluates the historical foundations of Zulu cultural history and heritage and further gives an evaluation of the literature related to issues of authenticity and cultural tourism. This dissertation is framed in the theories of identity and culture; borrowing from cultural anthropology studies; tourism studies and cultural communication studies. The dynamics of cultural tourism, which are created in the relationship between the bead makers and their prospective consumers (the tourist), are also to be the focus of this study as this will work to facilitate unpacking the reasons which add to tourism destinations offering cultural experiences and as well focus on development strategies that are in place for developing cultural tourism for economic gain. This study will employ a qualitative research methodology, which is concerned with non-statistical information about the notions of authenticity in cultural tourism; used as a medium to Zulu beadwork symbolism, as viewed by Zulu bead makers and the cultural tourists based in the Durban South and North beach regions. The aim of this thesis is to evaluate the notions of authenticity as applied through the tourism process that occurs in the KwaZulu-Natal, Durban’s beach front; through the stall keeping that occurs in the area, where Zulu beadwork is one of the key items sold to the tourist. / M. Soc. Sc. University of KwaZulu-Natal, Durban 2014.

Submitted for the fulfillment of the requirements for the degree Master of Arts In the Department of IsiZulu Namagugu at the University of Zululand, 2002. / The topic of this thesis is informed by the writer's observation of the trend wherein modemist and traditionalist Zulu women tend to wear. as style, colourfully beaded outfits to decorate their fashion and wear. The colourful regalia is found in ceremonial dress, like isidwaba (cow-hide skirt) and other forms of dress made of cloth and textile. and decorated in beads. The decoration. as observed, is often designed to fit in a particular mode of interpretation, thus promoting the notion of fashion as form of communication interaction and definition of status. It is the hypothesis of the present writer that beads. designed and patterned in a specific way tend not only to communicate certain literal and figurative or poetic meanings, but also to declare fashion as a medium of communication, very much like ordinary speech does. In the context of this thesis Zulu womens' beadwork is a form of colour coding, literary and poetic speech communication and a declaration of fashion as a medium of social interaction, status, and social display. Thus, wearing their colourfully designed beadwork and fashion, Zulu women are always highly visible and recognisable. The thesis is thus confined to introducing the angle of fashion as statement and medium of literary and poetic communication in the creation of the modem and traditional status of a Zulu woman through beadwork. Colourcoding is key because the power of beadwork to communicateThe focus on Zulu Women is for the sake of creating a focus group of study and more so due to the observation by the present writer that in the context of modemist and traditionalist Zulu society, real or imaginary, it is women who wear more beads compared, to any other social group. meaningfully very much depends on the design and patteming of colours.

Mathematics has become increasingly important, as it is a pre-requisite for careers like architecture, science, engineering and medicine. Therefore it becomes imperative for the learners to understand and love it. In other words a sound foundation of mathematical skills and knowledge in the early stages is required. Often we hear learners asking questions like "when and where are we going to use these symbols x and y in our lives? " These questions might indicate that learners cannot link mathematics with daily life occurrences or even their own background experiences. This study is an exploration through hands-on activities of mathematical concepts embedded in beadwork artifacts. Learners' background experiences on bead work artifacts are acknowledged and explored for mathematical understanding. It is a case study, consisting of 44 learners in Grade 9 in two schools in Grahamstown. An interpretive approach is used. In order for the learners to be able to explore beadwork artifacts, they visited the Albany Museum (AM) and Msithandane Women's Project (MWP) in the community. Learners gathered information from these two sources. Beadwork artifacts in this study were used as a mediation and integration tool between culture and mathematics. Beadwork artifacts are found in the learners' cultures serving different purposes. In this study the focus was on Xhosa bead work artifacts. The hands-on activities posed challenges to learners because of their different background experiences. Some were able to draw designs but were unable to thread what they designed, whereas others were able to thread beads but were unable to draw designs. In this study learners had to use both completed bead work artifacts and drawn up designs for the investigation of mathematical concepts. Learners were able to identify symmetries in dress and in South African flag designs. Number patterns discovered were linked to their prior number pattern knowledge. The economic value of beadwork artifacts linked mathematics to the economics learning area. This study ties up with the new curriculum (C2005) and RNCS, which advocate the inclusion and integration of learning areas. In this instance, art and culture were used in mathematical activities. The study also encouraged the inclusion of participants' cultural background as a starting point for motivating them towards utilizing mathematical resources existing in their real life situations. The purpose was to make them aware that mathematics is found everywhere around us.

Thesis (doctoral)--Universität Bayreuth, 2004. / Title from title screen (viewed June 10, 2009). Includes bibliographical references (p. 529-541).

Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art (Sculpture), Durban Institute of Technology, 2002. / Cloth bead sculptures are art objects made by female artists from cloth, beads, wood, wire and other materials that are stitched by hand. They are freestanding representations of the human figure, animals and inanimate objects and have traditionally been important ritual, as well as aesthetic, objects in Zulu communal life. The research for this dissertation was based on qualitative methods which brought together information from the women discussing their life and work. These discussions with individuals and groups looked at the women's own explanations of their work, including its traditional, ritual and communicative functions in rural Kwa Zulu Natal. They also discussed their experiences in selling their artwork in relation to the past discriminatory practices of apartheid South Africa, which was the context for their lives. From the 1970s some rural women brought some of these figures to Durban for sale in the streets to supplement their meagre resources. Later the African Art Centre became the main retail outlet for selling African Art and Craft and white people associated with it became the 'official' spokespersons and interpreters of such their art work. This had the consequence of depriving the rural women artists of their own voice. They were thus not able to give their own interpretation and explanation of their work. Interpretation of these sculptures in the dissertation has taken into account the traditional communicative role of bead figures and the symbolic function of colours, patterns and textures created by the beads and other materials. Cloth bead figures brought in for sale to local and international buyers always represented more than simple decorated figures to the artists themselves. Indeed these bead figures, like other works of art produced by black South Africans, became a vehicle for the / M

This thesis is an analysis of a creative design HIV/AIDS communication programme named Siyazama (we are trying) that works in association with rural traditional beaded cloth doll makers from KwaZulu-Natal province in South Africa. As a reflective thesis it represents a hermeneutic opportunity to ascertain the extent to which an interdisciplinary programme of HIV/AIDS education and training impacted on the lives of the women involved and how their expert skills of craftswomen were employed to understand and address the growing HIV/AIDS epidemic. What began in 1996 on invitation from the African Art Centre in Durban as a simple intervention to upgrade craft techniques and craft construction developed of its own accord into a unique HIV/AIDS intervention in 1999. The communication mode in which the rural women were skilled - beadwork - was long used by women in KwaZulu-Natal as a mode of communication to circumvent the Zulu cultural taboo on discussion of matters of emotional and sexual intimacy called hlonipha. In the modern era of HIV/AIDS, this same mode has been revived and reworked as a means for affecting communication about the many sensitive and taboo issues that surround this disease. There is much scientific evidence which points to the fact that women in this part of the world are far more susceptible than men to HIV infection, largely due to their lower social status, their economic dependence on men and their need to manage the large-scale poverty that affects them and their families. All of this contributes to increasing their vulnerability to AIDS. Ethnographic analysis of the experience of HIV/AIDS amongst Zulu-speaking craftswomen in KwaZulu-Natal has also revealed the nature of the complex cultural belief system that is alive and articulated in the local art and AIDS interface. This thesis describes the myriad ways in which a particular group of rural women of KwaZulu-Natal, owing to certain customary prescriptions, appear as largely silenced on sexual and sensitive relationship issues. Yet, their expert abilities in beadwork have afforded these women the opportunity to express innermost concerns about the epidemic in three dimensional forms. The historical record of KwaZulu-Natal shows us how beadwork was often used traditionally by women to take the place of speaking. The Siyazama Project beadwork exhibit, comprising over 300 pieces of individual beaded artifacts and collected between 1999 and 2005, provides verification of the continued existence of this form of expression. It is an archive of the fields of inquiry which were covered in the Siyazama educational programme starting with 'breaking the silence on AIDS' in 1999 and ending with anti-retroviral therapies (ART) in 2005. The relationship between the beaded crafts and the AIDS educational information which was received during the course of the Siyazama AIDS educational programme is explained through an analysis of this beaded collection. As an in depth qualitative study of the experiences and impact of the HIV/AIDS intervention with women beadworkers from rural communities in KwaZulu-Natal, this thesis represents an attempt to account for how a creative design HIV/AIDS communication programme has impacted on the lives of the women reached by the programme, and how their skills as craftswomen have been utilized to make sense of the local HIV/AIDS epidemic whilst raising awareness about AIDS in their communities. The overall aim of the study is to interpret the effect and effectiveness of beadwork craft as a visual metaphoric mode of expression, and to define the way the project sought to circumvent particular cultural taboos on the discussion of sexuality and other matters of personal intimacy. The study describes some of the common beliefs and attitudes that persisted at the time at which the project commenced and demonstrates how these have been 're-written and re-corded' in beadwork throughout the six-year duration of the intervention. My focus throughout is on assessing the value of this project through proposing the medium of beadwork as a contemporary and unique cultural archive that speaks to the complexities of HIV/AIDS in Southern Africa. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2006.

This research is devoted to beadwork applications on tradition textiles of definite regions of Bohemia and Moravia. The aim of the study is determination of significance of beadwork decoration in the traditional costume in final stage of tradition culture existence. Specificity of development of beadwork, requirements, and regional types are central subjects of this research. The thesis contains studies of relationship between glass technology development and circulation of glass beads in rural area. Impacts of cosmopolitan fashion tendencies on traditional costume, change of functions of beads in traditional dress are also considered. This research covers the period from second half of 19 sentries to first half of 20 centuries (interwar period). Key words: application, beads, beadwork applications, decoration, glass beads, seed beads, tradition costume, tradition textile.

Employing decolonized, Indigenous research methods, the author considers Métis Beadwork Practice through the analytical lens of Therapeutic Jurisprudence and establishes the practice as a holistic Indigenous Legal Pedagogy for knowledge creation and mobilization in legal education. The author agrees with Drs. Friedland and Napoleon who suggest that a significant challenge in and to Indigenous legal research is that such research occupies a space of “deep absence,” with the starting line moved back as a consequence of colonialism. Building on the work of Dr. Shawn Wilson, the author espouses an Indigenous Research Paradigm which requires a prioritization of the relationship to the ideas and making space for non-linear logic systems and Indigenous ways of knowing in scholarly research. In her work, the author prioritizes synthesis over deconstruction on the belief that deconstructing relationships to ideas for the purpose of analyzing them would have the effect of damaging the cognitive and emotional relationships developed through the research ceremony. While the work embodies the four essential elements of autoethnography, the author argues that the work of Indigenous scholars speaking in their own voices is sui generis in nature. She argues that Indigenous scholars who employ storytelling and other culturally-relevant knowledge mobilization practices are engaging a distinct Indigenous Research Method. This work ultimately progresses in a non-linear fashion and incorporates extra-intellectual knowledge including poetry, music, and photography. The use of multiple fonts and other formatting devices including right justification are used to underline shifts in voice and perspective throughout the work. These pedagogical choices valourize the ways of knowing of Indigenous women and honour the author’s Métis worldview, including her understanding that all things are interrelated. The author examines, and ultimately eschews, notions of neutral objectivity in research as colonial constructs that undermine Indigenous Knowledge Systems and contribute to the ongoing colonization of Indigenous peoples in post-secondary education. Following an introduction to the legal and social history of Forced Assimilative Education of Indigenous Peoples in Canada, the author reviews recent research into ongoing colonialism, racism, and ethno-stress experienced by Indigenous Learners in post-secondary education. The ii author subsequently explores the specific concern of the subjugation and erasure of Indigenous women’s knowledge in academia. She conducts a review of existing literature in the sphere of Feminist Legal Theory, examining and ultimately rejecting intersectionality and conceptualizations of sisterhood as possible remedies to discrimination faced by Indigenous women legal scholars. She argues that the lived experience of Indigenous women is situated not at an intersection, but rather in the centre of a colonialism collision. As a consequence, the author argues that existing Feminist Legal Theory does not create adequate space for Indigenous difference, experiences, or worldviews. Offering insight into legal education, legal ethics, and professionalization processes, the author also explores questions of lived experience of Indigenous lawyers beyond the legal academy. She argues that learning the language of law is but the first element in a complex professionalization process that engages structures of patriarchal hierarchy in addition to the other forces, including colonialism and racism, that shape the legal profession. She further argues that, for Indigenous peoples, learning to speak the linear, official language of legal education represents a collision of even more complex systems of dominance, with the regulated approach to learning and problem-solving standing in direct opposition to Indigenous ways of knowing. Consequently, Indigenous law Learners frequently experience an intellectual rupture when engaging in the professional assimilation process. The author offers an overview of Calls to Action 27, 28, 42, and 50 of the Truth and Reconciliation Commission of Canada and an introductory environmental scan of ongoing efforts to decolonize and indigenize law schools including land-based learning and the development of Indigenous Course Requirements (ICRs). The author subsequently considers the process of decolonizing the legal academy through the analytical lenses of Therapeutic Jurisprudence and Therapeutic Jurisprudence+. She ultimately positions the act of decolonizing legal education as an act grounded in decolonial love with the potential for healing individuals and communities struggling with ongoing colonialism and racism in the academy. Building on the work of the late Professor Patricia Monture-Angus and contemporary Indigenous legal scholars including Drs. Tracey Lindberg, Darcy Lindberg, Val Napoleon, and John Burrows, the author considers possibilities for reimaging legal education through the development and use of Indigenous Legal Pedagogies. The author argues that Beadwork Practice holds a distinctive language of possibility as an Indigenous Legal Pedagogical practice as a result of deeply entrenched links between beads and law. The author explores the social and legal history of beads as a tool for legal knowledge production and mobilization in the context of wampum belts and beyond, including the use of Métis beadwork as a mnemonic device to facilitate intergenerational knowledge transfer of stories and songs that carry law. Further, she examines colonial law and policy that served to undermine the legal value of beads, and canvases emerging trends in the revitalization of community beadwork practice. Finally, the author positions Beadwork Practice as a holistic Indigenous Legal Pedagogy to support not only the revitalization of Indigenous Legal Orders and the development of cross-cultural competency as required under Calls to Action 27 and 28, but also therapeutic objectives of individual and community healing.

Text in English / This study is a reflection on the culture and social life of Nguni women. The research is the interpretation and representation of how the Nguni culture and social values emerge as source of identity not a simple act of conformity. The manifestation of cultural values is presented through a body of artworks. The artworks seek to expose the complex nature of deep social bonds. These bonds are responsible for the creation of the ultimate value of aesthetic experience within a social and ethical context. The analysis addresses the significance and symbolic nature of traditional wedding rituals in relation to conformity and social identity. Various concepts and themes are discussed to ascertain how participating in these social and cultural performances helps individuals to pursue their own understanding and meaning of their experience within their lived environment. The main question this study addresses is how women make sense of their experience as mothers, wives, members of society and individuals. It is the study of cultural and social phenomena; their nature and meanings, and the focus is on the interpretation of the phenomena in terms of their individual experiences and how they relate lived experience to their identities. This is done by acknowledging the essence of meaningful nature of experiences that lead participating individuals into conformity and submission. Sculptural installation and performance are used to describe concepts in the production of visual presentation of this research. The visual installation in this research provides the symbolic meaning of nature of aesthetic experience which influences individual to connect with the society and thus creating impression of conformity. The reflection on cultural and social experience highlights the dilemma of containing conformity to an act of coercion while leaving the issue of human perception and understanding of value in relation to the experience of the body unattended. A phenomenological approach to this study has helped to address art installation as a stylistic phenomenon that is created and experienced visually in order to represents a relationship between artist and society. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)