san-apron-khalahari

 

In the blistering heat, hunting and running down the next meal can take days. So it is surprising that the San had the time, energy or will to make beads. The fact they did, conveys as much about the significance, symbolism and holistic function attributed to beads, as it does about the human need to heal and create beauty.

The San (ju/oansi or !kung) amongst others, are the earliest inhabitants of Southern Africa dating back 30 000 years. In the last 350 years, these hunter-gatherers were marginalized and harried to live in areas of Namibia, Botswana, South Africa and Zimbabwe, made inhospitable by desert or water born disease. But their historical journey is recorded on 15 000 sites in mountainous areas and on cliff faces.

Among the San … rock art is associated with the activities of San medicine people, or shamans. These people entered a state of trance at a medicine dance or in more solitary circumstances and, in that condition, cured the sick, went on out-of body journeys, made rain and controlled the movement of antelope herds.”   Prof. David Lewis Williams.

These wonderful cave paintings depicting animals and attenuated human figures that run, hunt or dance, offer us an insight into their lost world.  Some of these paintings highlight part of their material culture in the form of beads at the neck, waist, knees and ankles. Beads were acquired for: their protective function or medicinal qualities: Their bead choice was believed to heal, protect and harmonize the body with the environment and the spirit world. Organic items were included in beadwork for their potency and were added to necklaces and bracelets. This practice is still evident amongst Nguni traditional healers today.  San jewellery is therefore at the interface of magic and medicine and is an aspect of the healing tradition along with herbal remedies, smoke inhalation, cicatrization and trance dance. Through constant wear, beads become part of the body, symbolize wholeness, come from gift exchange, have shared histories with others, and are markers of aesthetics.

bushman-rattle

Beads were hand drilled and made from stone, bone, ostrich shell, marine shells, horns, teeth, quills, cocoons, monitor skin, hair, wood, plant fibre, roots and seeds. Beads and organic objects are assembled and strung together on: muscle fibre, leather cord, animal hair, cotton or gut. Percussion instruments in the form of cocoon shakers could be classified as beads. Metals such as gold, copper, iron may have originally been sourced but after 1800 together with brass were traded from the Nguni people or Europeans and made into adornments. Indigenous glass, a bi product of mining centuries ago, may have been used by the San, but today only European glass beads from the 18/1900s remain. Both genders wear beadwork, with marriageable girls being the most decorated. Women through a process of discourse developed beading techniques, patterns and a variety of designs.

sannecklace
Beadwork colours are determined by symbolism, an availability of materials and regional preferences. After 1800s, the predominant colour was white from ostrich egg shell. At the end of the 1800s, white, black and red in the form of: ostrich egg shell, seeds or glass beads were used. Since the 1900s, green, blue and yellow coloured glass beads were added

to the San repertoire.

san-beadwork4
Dress is always characterized by paucity and restraint. All parts of a hunt are utilized and springbok or steenbok skin, is tied at the hips into beaded aprons or thongs with leather tassels as an overall feature. A large kaross, shields the cold or acts as a baby carrier. Collection bags decorated with egg shell or glass beads gather roots, seeds and tobacco. San material culture therefore includes processes such as leather technology, beading skills, a knowledge of symbolism and aesthetics.

san-bead

However, the age of beaded artefacts is difficult to determine as many ornaments and accoutrements like cocoon rattles, portrayed in the masterpieces painted by San men are made in the same way today. Old and new materials and styles are used concurrently for reasons of preference or economic expediency. i.e: In Tsumkwe and other areas, ostrich egg shell is still preferred today to edge aprons.

However the encroachment of modernity is inevitable and the tourist industry is one of the few providing employment for the San. The men used their phenomenal ability to track and read the landscape and contribute to the existing understanding of the properties of medicinal plants. Besides this, a spin off of the tourist industry may be a requirement for the San culture to remain unchanged, “or frozen in time”, providing the necessary photographic opportunities to foreigners. One may view this aspect as less than an advantage however at least these efforts foster San culture in areas where they as a people are marginalized and without opportunity.

Continued in part 2.

 

BIBLIOGRAPHY

Brodie.M. (ed) 2014. The Joburg Book- A guide to the citys history, people & places. Prof. David Lewis-Williams. (pg: 15-17) Visions in stone: non reality in San rock art. Pan Macmillen. South Africa.

Cumes. D. 2004. Africa in my bones. A surgeon’s odyssey into the spirit world of African healing. ABC press. Cape Town.

Cowley. C. 1969. Fabled tribe. A Journey to Discover the River Bushmen of the Okavango Swamps. Longmans. Lowe and Brydone. London.

Eastwood. E & C. 2006. Capturing the spoor, an exploration of Southern African Rock Art Claremont. New Africa books Pty (ltd)

Hart. T. J. G. & Gribble. J. 1998. Unpublished report for Langebaan waterfront Pty Ltd Aco.Ver: Phase 2 Archaeological sampling of Late Stone age middens. Leentjieklip: 2 Langebaan.

Hart. T. J. G. & Gerardino. A. M. 1998. Unpublished report for CML Developers Aco. Uct: Phase 2 archaeological sampling of late Stone age archaeological site at paradise beach. Club Mykonos.

Hart. T. J. G. 2001. Unpublished report: Phase 2 mitigatory archaeological excavation Leentjieklip 3. Club Mykonos.

Hoogstraten. R.C. van. 1996. Preliminary report on field work amongst the bush people of the Okavango swamps. Witwatersrand University medical school, Johannesburg.

Marshall Thomas. E. 1959. The Harmless People. Seckler and Warburg. London

Nettleton. A. 2016. Beadwork art and the body. Dilo Tse Dintshi/Abundance.

Simmons. F. 2010. unpublished document. Ukuthwasa style: meaning, significance and change in beadwork and apparel in the white River area of Eastern Mpumalanga. University of Johannesburg.

Tyrrell. B. 1971. Tribal people of Southern Africa. Books of Africa.

Wilcox. A. R. 1984. The Drakensberg Bushmen and their Art, with a guide to the rock painting sites. Drakensberg publications. Natal

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