Exhibition.

Final exhibition.

Throughout the year I setted out to achieve a simple goal,  to present jewellery that signifies the status of a Xhosa man. This body of work is the testimony that jewellery is not just for show, it does play a significant role in each and everyone's life. To conclude, I see my self refferencial jewellery assuming a significant role to those who are inspired by it.

Figure 1 - Rozani. B., (2019) End year exhibition display.

Figure 2 - Rozani. B., (2019) End year exhibition display. (iphoco neckpiece).

 Figure 3 - Rozani. B., (2019) End year exhibition display. (ikrwala neckpiece).

Figure 4 - Rozani. B., (2019) End year exhibition display.(umkhwetha bracelet).

Figure 5 - Rozani. B., (2019) End year exhibition display. (imbeleko bracelet).

Figure 6 - Rozani. B., (2019) End year exhibition display

Figure 7 - Rozani. B., (2019) End year exhibition display.(amabhaso centere collection)

Isagweba: [Scepter]

This is Isagweba [Scepter]. it is made of Ugqonci (Oakwood), silver and incorporating leather strips. Isagweba is created to inspire the new with something of the old. Isagweba is given to the young man after the umgidi the coming of age ceremony. This is the tool given to the young man at the milestone (Ikrwala). This innovation ventures to celebrate and serve as an educational tool (see figure 1) for the young men of the Xhosa speaking people. I will be writing and drawing the messages on the silver plates that are incorporated in the leather and wood( see figure 2)  of which the final product will have written bling effect on the silver plates.

Figure 1- Rozani, B., (2019) concept idea of the scepter.

Figure 2 - Rozani, B., (2019) The scepter working progress.

conclusion.

I am very pleased with the body of work I have created. In the events of their creation and by the end of their construction, I had learned a few things about my culture, each of them has their own unique look but they share the same notion of sentimental value. I was able to learn new philosophies that I can use in the future as a Xhosa man. Completing this chapter and the body of work has allowed me to come up with many new ideas for future pieces, contemporary and wearable artwork pieces. In future, I would like to let the new philosophies that I have learned during my B-tech to automatically roll-over into my personal work, to enhance the development of my handmade jewellery business and the Oaknovations brand. In addition, writing about my jewellery has allowed me to channel my own personal views of the way culture and social standing are viewed by other people. By creating descriptive indicators of status; through the visuals of the Xhosa beadwork, that has helped me to elaborate and ask myself thorough questions about the impact I want my Xhosa bling contemporary jewellery to have, including the role I want it to play in the social standing of a young Xhosa man.

conclusion/ realization.

At this very moment I'm giving jewellery a more serious and significant role, in bestowing it on my culture's essence, there is a realization that it has a great potential to tell and comment on social issues. This growing trend was confirmed by an exhibition "Briliant stories: American narrative jewellery of 1994. Dark sky of Imagination is a narrative piece of jewellery by Kardi Malk. It is derived from the suffering inherent in life, and all of that is expressed through a poetic use of materials. The piece is a mixture of precious and non-precious metals. Of which my Xhosa bling contemporary jewellery is expressed in precious and non-precious materials. I have come to a realization that there can be a successful breakthrough on a large volume of elaborate Xhosa beaded jewellery, which seems possible to infiltrate the fashion world.

When tradition technique is taken up again by an inquisitive and sensitive maker, and pushed a little bit further than its traditional use, I arrived at innovation. I had a plan to make bling jewellery that will use a lot of precious stones, which is a definite of bling-bling. That was the point of interest for me, the use of pave setting, but when I was learning about the Xhosa beaded jewellery I experienced a sense of pride that compelled me to experiment with them. The Xhosa bling jewellery that I have created aims at attention-seeking, a real attention of admiration and then a Xhosa story of a milestone is told. The decision to incorporate glass beads instead of precious stones symbolizes the value they carry to reflect an attempt for acceptance of the message they are created for. 

My designs add value and infinite essence of which they emanate from. They are simple and striking intense glamour to create a striking new look. They are a type of precious jewellery that originates from traditional aspects of my Anthropological milestones of a Xhosa man. I have drawn from notions of anthropology of a Xhosa man to create intricate large jewellery pieces that function as an indicator of status. I have realized that innovation does command attention and force people to look again, in turn, reconsider their assumptions about the wearer and the journey of their jewellery. Going forward conceptually, my jewellery production and style will be innovative contemporary, using my culture which is the embodiment of my existence. (Malk, K. 1994)

Introduction.

This research report aimed to use the anthropology of a Xhosa man to create contemporary jewellery. The whole process of this research report was done utilizing action research, looking at the anthropology of a Xhosa man, the Xhosa beaded jewellery, looking at bling jewellery, examining various papers, books, and articles written by accomplished jewellery artists in the field of contemporary jewellery. These papers, books, and articles have provided me with the terminology and definitions necessary to understand my research topic, and how I can achieve the goal I set out for my research topic. 

Chapter one was, therefore, an attempt to capture these Anthropological milestones in a way that the jewellery will reflective of each, to fully understand these anthropological milestones, the impact of the beadwork jewellery that is attached to them, as they express one specific aspect of the social standing of a Xhosa man. This chapter lays a path to finding artists that are making contemporary jewellery that has a similar intent as my own. 

Coming to chapter two, this is a chapter that consists of a literature review of the writings and images of jewellery pieces by other jewelers who I have used as references. Their jewellery pieces share similar characteristics to my jewellery pieces. I have tried to elaborate on how these jewelers use their work as indicators of status, how they put value in the look of their work, and how they pay attention to detail. 

Chapter three shows the jewellery pieces and the attachment they have to the anthropological milestones they are created for, which is the body of work for my research report. This chapter includes the meanings behind my jewellery pieces. This chapter uses the terminology and definitions learned in the first two chapters to explain the body of work that I have created.

Conclusion Chapter 1.

Having looked at the anthropological milestones of a Xhosa man in this chapter, I have realized that their common intent is the growth of a Xhosa man. Antagonistic to my initial knowledge, looking at these anthropological milestones of a Xhosa man I noticed that certain beadwork jewellery is attached to these milestones not only for celebration, these Xhosa beaded jewellery play a significant role in the  anthropological milestones as they are indicators of status, some as a form of spiritual meditation, and also those that formed Just as part of decoration, they are all a tool by means of communication.

Abstract.

This research report examines social and cultural impacts through an anthropology of a Xhosa man. By examining important of Xhosa beadwork jewellery as an indicator of status. I clarify the growth of a Xhosa man by the milestones which transform him. Social structures and the stages that he faces when he gets to do so. The time period studied includes the understanding of which Xhosa beadwork pieces are attached to a certain milestone, and which are just for glam, According to Broster j, 2008 “no matter how poor the home every man, woman, and the child wears at least one example of their art, and also wear a necklace or a headband with an appreciation of its beauty and a keen awareness of its rituals and traditional significance". my findings are through several pieces of jewellery that I have manufactured to archive a certain look, but no certainty has been reached. To determine the role of my Xhosa bling jewellery. I examined the effect by making a piece of jewellery and wearing it. There was an average of a lot of interest by the reaction I got. The intention was to make Xhosa bling jewellery that talks merely to the status of a Xhosa man, I looked at the ornamented accessories that are associated with his milestones, beadwork and carried accessories. 

Conclusion chapter 2.

These are artists that were researched in this chapter, Mbali creations, Graff, Jacob &Co., and Dylon Whyte. There are a few things that interested me from their artistry. The reasons to choose these artists was due to the look I had determined to achieve for my Xhosa bling jewellery. The unique interpretation of value and the technical aspects that they apply in their work. The choices of the end result and the impact of the end result strongly coincided with my research objective.

introduction.

Chapter one is defining terminology of topics that are spoken about and researched in this research report. This is to ensure that the reader has an understanding of the concepts that will be discussed throughout this research report. Terminologies discussed include Xhosa, Xhosa male jewellery, Bling, Anthropology, contemporary jewellery as defined by Quikendon, K., (2000), the magical world of the Xhosa as told by Elliot, which is a background explanation of the Xhosa people, this is followed by the selection of Anthropological milestones of a Xhosa man that I have researched. Under the topic of anthropological milestones, the following sub-topics are the anthropological milestones that I have researched: Izibulo, Inkulu, Inkwewnkwe, Umkhwetha, Ikrwala, Umfana, Unomgcana.  (Elliot, A (1967).

indlwana neck piece.

This is an Indlwana (birds nest) neckpiece made of silver an oval colored cabochon. This is a design that derives from the milestone (Inkwenkwe). On the notion of a boy at a stage where he has to look after his father’s livestock, he spends most of his time in the wild. The design process evolved to create a neckpiece that address the aspects of the boy finding a birds nest (see fig 1) and looking after it, the cabochon represent the birds' egg (see fig 2 )and the silver design represent the birds' nest that holds a birds egg ( see fig 3).

Fig 1 - Rozani, B., Birds nest.

fig 2 - Rozani. B., nest pendant in a birds nest.

fig 3 - Rozani. B., nest pendant with an oval dendrite.

Ikrwala.

This is a neckpiece made of colorful beads, and silver jump rings. The neckpiece is manufactured with the use of a simple stringing of colorful beads technique. The design process was focused on the milestone (Ikrwala) I wanted to create a neckpiece that addresses the aspects of that milestone, the beads tell a story of a new attitude to the new colorful world. This neckpiece is deeply rooted in the notion of a new beginning. Ikrwala is a stage where a young man, who has just come of age in the form of initiation has to start his life afresh. The intricate chain mail design portrays the hard work and ups and downs he will experience, the combination of colorful beads tells of a life of opportunities, success, responsibilities, and his family. 

fig 1- Rozani. B., Ikrwala neckpiece.

Ibhaso.

This is the Ibhaso bracelet made of sterling silver jump rings and a designed tube with melted balls. The tube is textured with a rough finish, The bracelet is manufactured with the use of a chain mail technique (see fig 1). The design process was focused on the milestone (unomgcana) I wanted to create a bracelet for the bride, the chain mail represents both families (see fig 1) and the rough tube design portrays the journey of marriage as the most hardest and exciting, time of her adult life.

fig 1 - Rozani. B., (2019) Ibhaso bracelet.

Isidanga: turquoise neck piece.

This is a ceremonial neckpiece made of blue turquoise beads, cow skin, and silver. The neckpiece is manufactured with the use of a simple stringing of beads technique. The design process was focused on the milestone (Unomgcana). I wanted to create a neckpiece that addresses the aspects of the ceremony under the milestone, the beads tell a story of a ritual done after before and after the cow is slaughtered at a ceremony. Beads are given to guests attending the ceremony, and after the sacrifice of a cow has been done, the beads are collected and this ceremonial neckpiece is manufactured from those beads.

Fig 1 - Rozani, B., (2019) Isidanga (ceremonial neck piece. 

Fig 2 - Rozani, B., (2019)  cow skin, and silver.

Umkhwetha Bracelet.

This is a bracelet made of sterling silver jump rings and a designed pierced plate incorporated with a leather strip. The bracelet is manufactured with the use of a simple designed chain mail technique (see fig 1). The design process was focused on the milestone (Umkhwetha). I wanted to create a bracelet that address the aspects of that milestone, the chain mail represent the short period of initiation (see fig 1) and the complex design of the pierced plate portrays the period as the most important time of his adult life (see fig 2).

 

fig 1 - Stirton. B., Xhosa initiates.

fig 2 - Rozani. B., (2019) Umkhwetha Bracelet.

Ikrwala Neck piece.

This is a neckpiece made in sterling silver jump rings and colored glass beads. The neckpiece is manufactured with the use of a complex designed chain mail technique. The design process was focused on the story of a Xhosa man at this milestone, (Ikrwala). I wanted to create a neckpiece that address the aspects of that milestone, the chain mail represents the complex journey of life and the colored beads tell a notion of a rainbow after every storm. 

fig 1 - Rozani. B., (2019) Ikrwala neck piece.

Iphoco: umfana neckpiece.

This is a necklace made out of silver and blue turquoise glass beads (see fig 1). The neckpiece is manufactured with a traditional stringing of beads and the use of chain mail techniques (see fig 2). The design process derives from the milestone (Umfana) (Iphoco) is a neckpiece that is worn by umfana. I wanted to create a replica of the (Iphoco) incorporating silver to attempt to give the piece value. This piece of jewellery shows the glamour of the Umfana lifestyle.

fig 1 - Rozani. B., (2019) Iphoco neck piece.

fig 2 - Rozani. B., (2019) Iphoco (chain mail) chain.

Isabhokhwe, (whip) bracelet.

This is a bracelet made of silver. The bracelet is manufactured with the use of chain mail technique (see fig 1). This is a design that derives from the milestone (Inkwenkwe). On the notion of a boy at a stage where he has to look after his father’s livestock, he needs a tool to fulfill that task, and a whip is the tool a boy use to look after livestock. The design process evolved to create a bracelet that address the aspects of the boys' milestone, the intricate chain mail design (see fig 1) represent the carefree spirit of a boy and also a big responsibility he has.

Fig 1 - Rozani. B., (2019) Isabhokhwe (whip) Bracelet.

Imbeleko, bracelet for Izibulo.

This is a bracelet made out of silver incorporating Amaso beads. The bracelet is manufactured with the use of chainmail technique. This is a design that originates from the ceremony (Imbeleko). The ceremony is performed for a young child on the milestone (Izibulo). I wanted to create a bracelet that address the aspects of that ceremony, the chainmail represent the community on the notion of a child is raised by a village and the beads represent the belief in spirituality.

Mdi is my nephew, his mother decided to do Imbeleko for him. Therefore, I decided to manufacture a bracelet for him (see fig 1). In this bracelet (fig 1) the emphasis was on the significance of the (Amaso) beads. After many explorations and learning about the first milestone of a Xhosa man, I found this stage as the fundamental that captures the spiritual in the form of these beads. At that point in my design process, it was clear to me as to why I felt compelled to keep them in their truest form. The intimate contact between him and the beads becomes a constant reminder of his protection. In spite of all technical sophistication, According to Metcalf, (1998) "jewellery is still used for much same reason as the most primitive African communities".

 

Figure 1 - Young Mdi wearing Xhosa bling.

Figure 2- Mdi’s mother preparing the gall bladder to make a ring for her baby.

 

Figure 3 - Mdi and his mother after the Imbeleko ceremony wearing a piece of jewellery that created.

Art jewellery:

The concept of art jewellery is used without hesitation, though in the US. In Susan Grant Lewin’s view’…its most salient feature is its involvement with the ideas of art: vision, intellect, and concept. In fact, it is more about art than bout jewellery”. According to Strauss in her book: Ornament of art, where she is showcasing Hele Druitt’s collection jewellery, thinks jewellery is art; it is ‘another art form” (Straus.C., 2007). Regarding art jewellery, I am mostly looking at how jewellery is used as an art form, the way the image creates a sense of movement. It is for this reason that I have chosen to view Rene Lalique Art Nouveau Galalith, enamel and pearl pendant necklace, (see fig 1). What has interested me most is how much  detail can be applied in a piece of art, stationery movement, 

Lalique, R., circa 1899-1901) Art Nouveau galalith, enamel and pearl pendant necklace, 

Studio jewellery:

According to Game, A. and Gore, E., 1998. “It is jewellery that is produced by individuals, working in their own studios, usually alone, at most one or two assistants, who deliberately control every aspect of producing a piece of jewellery from original idea to finished work” Online & on-trend jewellery studio jewellery. (Game, A. and Gore, E., 1998)

                                         

Fig 1 - Sterling silver rings and earrings: studio jewellery [ONLINE]

                               

Research jewellery:

It can be explained as a way to describe the artistic process. In the worlds of Italian art historian Maria Cristina Bergestio, research jewellery reaches:”... from research into forms and materials, onward to conceptual, philosophical reflections’. The idea of research jewellery is significant within the context of artistic research; the notion suffers from obscurity because it is mainly used in Italy. (Bergestio. M., 2006)

Wilson. S,. (2018)  two pendants, - Precious Metal Recovery from Electronic Waste,

 

Spiritual mediation.

According to Bruce Metcalf, 2008) “for as long as we all know jewellery has been associated with spiritual and the supernatural, thus appearing to offer magical power and protection to the wearer and to summarizing the relation between God and the wearer, which also served as constant reminder of one’s faith (see fig 1) most of these appear in every culture” The cross is a symbol of faith used by people who are Christians, (Metcalf, 1998)

Figure 1. black and gold tribal pendant.

Amaso are grayish beads that are believed to chase evil spirits away, in the Xhosa culture young children were made a necklace of these beads, the necklace is a condensed symbol (see fig 2) of his or her protection, for the child at a part of his or her life that is believed to be very a fragile stage.

Figure 2 - a string of beads called (Amaso).

Indicator of status.

According to Bruce Metcalf, (2008) “the most important subtext of jewelry is to mark social identity and status. Adornments are to either distinguish or merge the wearer with social groupings. The coded information that societies evolve for jewelry can be employed to make the wearer different from his neighbors or the same". Jewellery often represents a person’s status, both in today’s society and throughout history. People of higher social status or wealth often own and wear jewellery that is more valuable. They may own more jewellery than others may. I have incorporated these symbols and patterns to design a headband. I sketched (see figure 1) designed in telling the story of a man who wants to distinguish his social status in the environment he lives in. This is the Xhosa bling Idayimani (headband) (see figure 1 ). (Metcalf, (2008)

Figure 1 - Rozani B., (2019) drawing of  my design process.

Figure 3 - Rozani. B., Modern Xhosa Idayimani.

Symbolism.

According to den Besten (2011, p.12) “jewellery whether fine, costly, traditional or avant-garde, can be read as a symbol, precisely because it is brought into the public domain.”Symbolism is an indirect suggestion “to express ones ideas, social situation and identity.” (den Besten, 2011, p. 12) It is a fixed concept and a meaningful association with something else that generally refers to cultural or public interpretation of a sign. Gauding (2009, p. 8) also suggests a symbol not only represents something else but also “suggests a hiding or veiling of meaning.”

According to Mountz jewelers (2019), “Jewellery provides people with a physical symbol to represent meaning, ideas, values and rituals. Those symbols can change the way the owner feels while wearing the jewelry. A symbol of protection might make the wearer feel strong and safe, Jade, called the Stone of Heaven, play a significant role in the Chinese culture. Jade represents the balance of yin and yang”(see fig 1). (Mountz jewelers.2019)

Figure 1 – jade a symbol of balance.

Research jewellery:

It can be explained as a way to describe the artistic process. In the worlds of Italian art historian Maria Cristina Bergestio, research jewellery reaches:”... from research into forms and materials, onwards to conceptual, philosophical reflections’. The idea of research jewellery is significant within the context of artistic research; the notion suffers from obscurity because it is mainly used in Italy. 

According to the Journal of jewellery research (2017) "The journal is a peer-reviewed online and open-access publication that focuses on the design, theory, and praxis of jewellery studies. It promotes jewellery research into materials, techniques, technologies, methodologies, processes, concepts and aesthetics. The journal provides an interdisciplinary arena for the discussion and analysis of jewellery spanning the conceptual, practical, pedagogical and cultural across both contemporary and historical time frames to consider jewellery within the wealth of creative methodologies at the intersections between jewellery and other disciplines".(Journal of jewellery research (2017)

Cheung. L,. (2017)  - Pearl Necklace

These are four contemporary jewellery trends:

This is the list of contemporary jewellery trends, 

• Studio jewellery:
• Art jewellery:
• Research jewellery:
• Author jewellery:

Authour jewellery.

  

 Author jewellery is derived from the notion of the auteur film, which was introduced in the 1950’s in France by theorists such as Francois Truffaut and Andre Bazin. Cinema d’auteur refers to films that bear the artistic stamp and creative vision of the director or auteur. This notion indicates that film is an art form, equal to literature, fine art, theater, and the like. kinkel jewellery wrote on their blog June 12, 2018, about 3 reasons why every man should own a tie clip. 

figure 1 - Kinkel jewelry (2019) mans tie clip.

1. Tie clip will match a tie. The tie clip doesn't need to make a bold statement to be stylish ( see figure 1).
2. Tie clips actually exist for a reason. they prevent his tie from landing in a plate of food.
3. you can personalize it for him. Every guy deserves a personalized piece of bling.

Narrative Jewellery.

 

“Narrative” is the practice or art of telling stories. (Pearsall, 2002, p. 948) Narrative jewellery is “jewellery that communicates” Quickenden, K., (2000). It refers to the meaning, context or story behind a piece of jewellery (see fig 1) a fan brooch by Singured Bronger that represent a narrative that is significant to the environment created. Narrative jewellery is “engaging” as it offers the audience or wearer the opportunity to interact with the piece of jewellery and to “bring their own imagination and interpretation to bear on a piece.” (Olver, 2002, p. 119) Typically, the maker intends to provoke an emotional response from the wearer or observers. Quickenden, K., (2000).

Figure 1 – Bronger S,. (1998), Fan Brooch.

Introduction.

In chapter two I will discuss an artist, one contemporary jeweler, and two jewellery high-end houses. I have chosen these jewelers because their work relates to different aspects of the jewellery I want to create. one aspect is to create timeless pieces of jewellery and the other is to create jewellery that aspire to inspire people. I now fully understand that jewellery has to play a significant role to the wearer as it does to the maker. I would love to create pieces of jewellery that inspire me more than they inspire the wearer.

Below are the artists whose work I have chosen to talk about:

·        Mbali creations.

·       J&Co

·       Dylon Whyte.

Graff.

Anthropological Milestones.

According to Webster, M., "The word anthropology dates back to the late 16th century, but it was not until the 19th century that it was applied to the academic discipline that now bears its name. In the United States, this field of study is typically divided into four distinct branches: physical (or biological) anthropology, archaeology, cultural (or social) anthropology, and linguistic anthropology". My focus will be on the cultural (or social) anthropology.

Below is the list of anthropological milestones of a Xhosa man. I will be explaining their definitions in detail in the paragraphs that follow:

Izibulo: The first-born child of a married couple, either a boy or a girl.

Inkulu: Is the first-born boy child, the inheritor, even if born after girls.

Inkwenkwe: a boy. Herding livestock play clay oxen, stick fighting.

Umkhwetha: initiate, learns respect, and ways to honor ancestors.

Ikrwala: homecoming, small unimportant man, wears red ocher.

Umfana: a warrior.

Unomgcana: married man.