The current development and appreciation of this work, is kept within the paradigm of oral history (as it is undocumented) risking disappearance once this generation passes on:
Bead work: Today, beads used on hats and married womens garments are made from plastic, not glass. Plastic is cheaper implying a shift from traditional practice for economic expediency. But plastic beads also have other aesthetic qualities. Previously, beads were woven into square or rectangular designs as autonomous panels, then attached to garments. Now they are visually more fully integrated into the costume as part of the design. A larger scale of plastic bead is preferred suggesting a change to designs with organic shapes, as assembly is faster and pieces are easily recycled and adapted.
Coloured beads are encrusted into small groups directly sewn onto fabric adding a sculptural dimension to the garment. At night, this would be heightened when one imagines the magical effect of flickering firelight playing over the surface of this bead work. From the bottom of skirts the hanging additions of beads, small bells, curtain rings and pull tops, besides being kinetic, have an auditory effect. A happy sound.
The regular pace of walking for the wearer, creates a rhythmic beat when the beads slap against the stiff undergarments adding an additional sensory experience to these garments. The sheer weight of these costumes and hats causes the wearer to move slowly changing the body language, pace and movement of the individual. This aspect adds gravitas and grace to their bearing giving these women an air of dignity and authority. The importance of this unique work is that the roots of Zulu culture are nurtured and perpetuated for their children in contemporary times by the sheer will and artistic personality of these remarkable women.
