WSU B-Tech graduate hosts AmaXhosa beadwork

In an effort to preserve traditional legacies and provide a platform for the elderly to share their stories, 41-year-old Zodwa Tutani, a WSU Fine Art B-Tech graduate, recently curated an exhibition titled “Imbuyiselo” at the East London Museum.

 The exhibition showcased beadwork by the elderly from Nomzamo Old Age Centre in King Williams Town alongside documentaries highlighting their cultural significance and stories.

Tutani and her team embarked on this journey in 2018, drawing inspiration from her grandmother who, upon retiring, joined a group of elderly women engaged in beadwork to pass the time.

Recognizing that beadwork was more than just a craft but also a means of storytelling and passing on educational information, Tutani felt compelled to amplify the voices of the elderly.

“I worked on the exhibition and included the documentary because I wanted to give the elderly an opportunity to voice their stories as they have much to offer,” Tutani said.

She said the exhibition represented an opportunity to bridge generational gaps and create lasting memories.

Furthermore, it is essential to provide the younger generation with opportunities to learn from their elders in a society where busy lifestyles often limit intergenerational interactions.

“I wanted to create a memory that would last forever. Yes, the beadwork would always be available at the museum, but I wanted to go beyond and tell a story through these elderly women’s significant work,” she added.

Collaborating with young artists, Tutani underscored the significance of passing down beadwork traditions from generation to generation, highlighting that mastery of the craft could be achieved through learning from elders at home.

Nceba Mqolomba, a renowned figure in the film industry and director of the award-winning Eastern Cape Film Festival, produced the documentary for the exhibition. Recognizing the importance of capturing and documenting such cultural endeavours, Mqolomba stressed that visual records would endure for future generations, ensuring the preservation of black artistic heritage.

“It is important to capture and document such kind because people move on, but the visuals will forever be there for the next generations to come for reference,” Mqolomba affirmed.

Among the attendees was Zingiwe Singeni, an elderly bead worker who began her craft in the 1970s under the guidance of her late mother.

Singeni lauded the exhibition as a valuable educational experience, emphasizing that it taught beadwork and transmitted essential traditions and cultural knowledge.

“This is very important because the beading sessions teach not only the art of beading but also the significant traditions and information that need to be passed from generation to generation,” Singeni said.

The exhibition celebrated the artistry of beadwork and served as a testament to the resilience of cultural traditions and the value of intergenerational knowledge exchange.

 Through initiatives like Tutani’s exhibition, the rich tapestry of African heritage continues to be woven, ensuring its preservation for future generations.

By Yolanda Palezweni