Scope and Contents 'The newly built up hair, or ‘isiqolo’, and the new ‘isidwaba’, black leather skirt are sure symbols of the new bride among Zulus and Swazis. The Natal Amangwane are Zulus with a Swazi tradition, Ngwane being the original name for the Swazi nation (‘ama’- the collective prefix). Individual Amangwane dress details are the bunches of leather thongs suspended from the waist on left and right and the dancing rattles of seed pods on the ankles. The bride wears no beadwork until after the...

Scope and Contents 'The Awangwane woman, after she has borne a child, wears her bright bead-fringed· cape as an apron suspended from the waist. This is worn as an apron until its colours have gone and the beadwork breaks up. A woman has only one of these bright capes in her lifetime, and she will preserve it for as long· as possible for gala wear. Another modern item of gala dress is the brilliant striped towel which features throughout South Africa as cape or hip draping. The matron's hair style may still be...

Scope and Contents 'Baca married women are heavily draped. Back and front half-skirts of goatskin are surmounted by a series of bright, beaded cloths. A red, upper apron, a black, lower apron and a shoulder cape are all necessary items for married wear. The head cap must also be worn over hair which is prepared in long strands and treated with red ochre and motor oil. A sausage-like ornament keeps the hair away from the face. Pins decorated with wool or beads form fantastic and colourful hair ornaments for...

Scope and Contents 'The Baca married woman always shows great enthusiasm at a party, and takes an animated part in the dancing. Her red-ochred hair, which symbolises marriage, is gaily decked with pins decorated with beads or wool. She wears a cap of beadwork and a heavy beaded roll on her forehead, both symbolic of marriage. Propriety demands that she wear a shoulder covering, this one being of a popular type of salempore. Typical of the Baca married woman's garb are the foundation skirt of two pieces of...

Scope and Contents 'Typical dress during the seclusion or puberty stage of girls in Basutoland consists of reed mask, waist thongs, angora skin apron and hairless leather back skirt. Each waist thong is made from one long plait of grass, the ends being joined together. Handmade clay beads are worn on whitened bodies. Bale schools consist of 5-10 girls, who are placed for instruction under the care of a special teacher, a married woman, to whom they are temporary slaves, and liable to brutal treatment if the...

Scope and Contents

'When a Baca girl becomes engaged, or reaches marriageable age, she trains her hair into long strands in preparation for the married state. She may not redden her hair with red ochre and motor oil until the full quota of ‘lobola’ or bridal cattle has been delivered. She may, however, be registered as married, and live in her husband's kraal while still in the engaged state. Necklaces of large beads holding a small horn at the throat are a very favourite ornament common to men and women.'

Scope and Contents 'The ‘isiqolo’ or built up headdress is the symbol of marriage among the Zulu people. It is commenced during the engagement period and increased in length after marriage. ‘Isiqolo’ shapes vary from one district to another, and a Zulu woman's home area may be judged by the shape of her coiffure, and the patterns of her beadwork. The headdress is composed of hair, teased out, reinforced with wool or grass and stitched, the cord ends being bound together at the back. The hair is also red-ochred...

Scope and Contents 'A Zulu youth, when out courting, proclaims his mission in very definite terms by wearing feathers in his hair, his love tokens in beads and by carrying a small courting shield. The two crossover bands of beadwork are the engaged token in his district and have their own story to tell. Small panels of beads worn at the throat are love letters and express clearly the feelings, hopes and fears of the girl who has made them. The meaning given to colours and their combinations vary from district...

Scope and Contents 'A typical ‘sangoma’ or witch-doctor of Zulus in Natal or Zululand, wears her hair long and beaded, bladders on the head, goat-skin over shoulders and chest, and carries the small dancing shield and beaded switch of wildebeeste wail. The ‘sangoma’ is usually a married woman, wearing the black oxhide skirt. A male ‘sangoma’ also affects the dress of a married woman, plus all the other regalia as illustrated. Red clay on face and limbs augments the mysterious aspect. Strings of grey seed pods...

Scope and Contents

'A Fingo girl when in the presence of men, must keep her torso covered. Girls of the Peddie area, where a large location of Fingos is situated, wear white for blankets, shoulder drapings and skirts. These give place to red ochred dress when marriageable age is reached. White skirts are short, being decorated with the usual braid, buttons, white beads and fur. Turbans are cleverly wound together in spectacular manner, with beads and bells to brighten the effect.'

Scope and Contents

Scope and Contents 'The Fingo and Xosa diviners are similar in their dress, wearing a tall hat of animal skin, white beads over the eyes, and at the throat a white shirt surmounted by a kilt of animal skin strips. On one wrist is worn a long string of white beads coiled in a neat band. This is first assumed after the diviner had the dream which marked him or her off as a future diviner. This white band of beads is the first indication to the community that the wearer has been selected by the spirits to become...

Scope and Contents '"White" is gala wear in Pondoland. Originally, white was a token of mourning, but after a long period in mourning for a chief it became the custom for gala wear. Modern use of "Reckitt's" blue produces "white" garments of many blue shades. The Pondo insists that these garments are ‘white’. They gleam with cleanliness, are laundered after every party, bushes and rocks at kraal sites usually being festooned with pale blue draperies after weekends when parties usually take place. The Pondo...

Scope and Contents 'The true Zulu girl wears only beads for dancing, her chief item of dress on these occasions being the heavy beaded belt worn low over the hips. It is made up of several beaded thongs and has in front a neat bead panel attached to it at its lower edge as small apron. Her waist is bright with loose fringes, and other types of fringes are slung over the shoulders. Bracelets, necklets, and anklets are also copiously worn. This dress is used only on important occasions, more especially weddings,...

Scope and Contents 'Hat making in Basutoland is the art of the men, in which certain men specialize. The professional hat-maker comes to town with his hats displayed all over his person and a sample worn on his head. He is patronised by both Basutos and Europeans, the hat being the only article of his attire which is still wholly native. Hats made by the Basuto are also sold in the trading stores. The hatmaker here depicted is a specialist in sun hats, for which he asked 1/9 each. The fowl in his haversack...

Scope and Contents

'The men, who are the hatmakers of the Basutoland Basutos, commence learning their craft during the leisurely hours of their herd boy years. The hat shown here is of amateurish design, the maker not yet having mastered the art of the rain hat and the sun hat. His blanket is worn in typical style, and he leans on his stick in true Basuto manner.'

Scope and Contents 'At the year's end, at the full moon, is the ceremony of the first fruits, or Incwala. It commences a month earlier with the ‘Little Incwala’ and culminates in a three day festival during which a black bull used to be pummeled to death by the warriors. Much of the ceremony is performed in deepest secrecy. Warriors' dress on the third day is extremely spectacular: bunches­ of plumes of black ostrich feathers and flying tufts of widow-birds' tail feathers, a neck ruffle of cows' tails, a...

Scope and Contents

'A popular hat in Basutoland is the conical, closely woven shape which is most effective as a rain hat. This design was formerly the prerogative of Chiefs, but is today in general use among men. The older man, as here depicted, wears a blanket of more somber hue than the regular, gay blanket of the average Basuto.'

Scope and Contents

'The rain hat as worn by the menfolk in Basutoland, is usually conical but may depart slightly in outline, and frequently develops a variety of handles and series of knobs. The type of man depicted here is of obviously Bushman origin, the Basutos of Basutoland being of very mixed strains.'

Scope and Contents 'Illness frequently overtakes the Kweta boy during the seclusion period which follows circumcision; illness not infrequently followed by death. A charm which is always worn against such danger is the necklace made by a witchdoctor with tail hairs from a particular cow. In each kraal is a cow kept for the making of charm necklaces, a cow which is treasured and cannot be bought at any price. When the Kweta leaves home for his initiation he wears and has perfect faith in his charm necklace....

Scope and Contents 'A sheepskin kaross is typical dress during the Kweta or circumcision stage of Xosa and Fingo youths. The whole body is whitened with powdered sandstone and no garment is worn. Schools assume various uniforms and pattern their faces to suit their whim. This sheepskin kaross is decorated with a bag motif, the black and white bag with its blue and red tabs being a favourite type during this stage. Hunting birds and small game is the usual pastime during seclusion and is the modern substitute...

Scope and Contents 'The makwelane traditionally is the instrument of girlhood days. It is popular throughout Zululand, Natal and Swaziland. In some districts it is considered bad form for a married woman to play the makwelane. It may also be played by men. It consists of a gourd with an opening nearest the body, and a wooden bow bent with tight wire caught at the gourd. Two notes are produced by tapping with reed above and below the gourd. Changes in tone and volume are achieved by muting with the fingers and...

Scope and Contents 'The male witch or ‘sangoma’ diviner, dresses in similar style to the female, wearing his hair long and beaded, the animal skins around his chest, and a married woman's skirt. He also carries the diviner's switch of wildebeeste tail. White beads and mauve berry seed pods are of magic significance, and the beadwork here depicted is typical of Amangwane design. This Sangoma though affecting a very effeminate manner when performing as a witch, yet was head of a flourishing kraal, had many...

Scope and Contents 'When marriageable age is reached it is customary for a Fingo girl to expose herself above the waist. In early girlhood and after marriage this is considered very bad form. Her shoulder blanket and skirt are the same as when married, being red ochred and decorated with white beads, braid, buttons and strips of fur. The head cloth is similar but is worn in more spectacular ways. Kneeling is a usual posture among these and other African tribes. Red ochre used as facial decoration is of Xosa...

Scope and Contents 'The Zulu mother-to-be wears an apron of buckskin prepared by the mother-in-law from the hide of a buck killed by the husband. A section of the hair is scraped off and decorated with brass studs. This apron is worn with considerable pride and is said to impart to the infant the strength, grace and beauty of an antelope. The apron when old and the studs removed, is used to carry the child on its mother's back. Use of this apron is fast disappearing. The black leather skirt and built up...