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.

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).

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.

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.

Bling jewellery.

I like to wear gold, chains (see fig 1) and diamond pendants (see fig 2), you may not even realize you are wearing what is considered ice jewelry. You likely hear the term Hip Hop jewelry all the time, but not many people know what exactly it is. If you are new to the streetwear jewelry scene, you need to know the essentials so you can keep your hip-hop swag straight. 

Figure 1. Bling, N., 2019.  Gold diamond chains. [ONLINE]

 figure 2 - Bling, N., 2019.  Gold diamond pendants. [ONLINE]

Purpose of the look.

The bling-bling look that I would like to achieve is not merely in a sense of elaborate precious jewellery, but precious in the purpose I will create it for. The Xhosa bling jewellery will be the jewellery that talks merely to the status of a Xhosa man, I will look at the ornamented accessories that are associated with his milestones, beadwork and carried accessories, worn or installed such as smoking pipes, isagweba (knobkerrie) (see fig 1) or small bags made of goatskin. I would like to attempt to manufacture jewellery that has these kinds of expressions. I look at bling-bling as too many things going on or happening at the same time of which has a similar look with the Xhosa beadwork. The colors and designs of traditional Xhosa beadwork inspire me.

Figure 1 – Broster, J and Marten A, (1970: ) Xhosa man. (African elegance)

 

Xhosa male jewellery.

Xhosa men wear wraparound skirts that run down from the waist to the feet. They throw a long scarf over one shoulder, which also serves as a cloak when it gets cold. They wear headdresses made from beads or cloth, depending on the customs of their tribes. According to Broster j, 2008 “no matter how poor the home every man, (see fig 2) woman, and the child wears at least one example of their art, wear a necklace or a headband with an appreciation of its beauty and a keen awareness of its rituals and traditional significance. (Broster, 2008)

Figure 2 – Broster, J and Marten A, (1970:? ) Xhosa young man. (African elegance)

Contemporary jewellery.

According to (Quickenden, K., (2000). Contemporary jewellery indicates that it is of now and that it is ‘of our time’ whereas it covers a period that has spans at least forty-five years and that has big shifts: therefore, it is not very precise. (Gasper, 2007, p. 12) and this type of jewellery must be “unique, once-off or be manufactured in limited quantities.” (Skinner, 2013, p .13) (Quickenden, (2000)

 These are four contemporary jewellery trends:

 1.     Studio jewellery:

 2.     Art jewellery:

3.     Research jewellery:

4.     Author jewellery:

Unomgcana.

Unomgcana is the last stage. He is a married man between the ages of 35 - 50 years. It is the stage where he has taken a wife and built a homestead. His main roles are to protect and provide.

Figure 1 - Elliot, A., (1970:47`) Unomgcana.( The Magical World of the Xhosa)

Figure 2 – Putter, A., (2013) Married man.

Traditionally he would wear a collection of over 75 pieces on his wedding day (see Figure 1), each with a specific name (Broster 1967) e.g. Isivalo, idiliza, isiyeye, ingqosha, inciyo, ithumbu, vulwakabini, isigcina, inqhonqo, and umgcebo. Some of these, he would wear every day, such as the vulwakabini which has significant color combinations, tie like with triangular patterns on it (see figure 2). I want to use these colors and patterns as a reference for designing my jewellery. In a ceremony called (amabhaso) gifts are exchanged between families, as her father the finest gift I can give her is an insight to the realities of marriage, this jewellery piece is the symbol of my love to her. (Broster, 2008)

Umfana

Umfana is the sixth stage of the Xhosa man milestones. It refers to a young man, this is at the age of 25-35, and he is a warrior. This is a stage where he is eligible to look for a wife.

Figure 1 – Ransburg, C., Publications (1976) Xhosa Umfana wearing (Iphoco)[ONLINE] Figure 2 - Brooklyn Museum (1930s-1940s) neck ornament Iphoco. Glass seed beads, fiber, 3 1/2 x 2 3/4 in. (8.9 x 7.0 cm.[ONLINE] Umfana's other roles are hunting and protecting his home and community. In this stage, he is wearing, a beaded headband, a halo that plays a significant role in protecting him, He is wearing several necklaces, one, in particular, is a rectangular necklace, (Iphoco) (see fig 1,2) which is a symbol of graduation from being (Ikrwala), he is carrying a bag with a smoking pipe and tobacco (see fig 3). Figure 3 - Elliot, A., (1970:75)  This is Umfana (a young man) He wears a kilt like a skirt that shows a special significance, given to him by his sweetheart (see fig 3). According to Elliot, A., (1970:75) “This defines his boast that he has made the conquest of a heart to his friends. (Elliot, 1970)

Ikwrala.

The fifth stage is Ikrwala. It refers to a young unimportant man. A newly graduate initiated young Xhosa male to manhood. This is at the age of around 25-35 years old. 

Figure 1 - Elliot, A., (1970:)  Ikrwala. ( The Magical World of the Xhosa) Ikrwala wears a western-style outfit of clothes, in which he will eventually go out in the world. The graduate is referred to as Ikrwala (a little unimportant man). Every day for a year he has to refresh his red ochre, he has to walk slowly, he may not run, as that is considered as arrogant. Ikrwala has to demonstrate his humility. (See fig 1). According to Elliot, A., (1970:137) “after 3 months, he has to give away his clothes and after 3 years, he can look for a wife”. In this stage, I will be looking at the significance of his behavior at this stage of his milestone as a young unimportant man. (Elliot, 1970)

Umkhwetha.

The fourth stage is Umkhwetha. It refers to the initiate of manhood. This stage refers to the ages of 18-25 years old. This is the stage of ending adolescence; it is a process in the form of circumcision.

Figure 1 - Elliot, A., (1970:137) This is an Umkhwetha. (The Magical World of the Xhosa)

Figure 2 - Elliot, A., (1970:83) young mothers building a grass hut for initiates. ( The Magical World of the Xhosa)

Figure 3 - Elliot, A., (1970:83) initiates sitting in front of a grass hut. ( The Magical World of the Xhosa)

The Abakhwetha (initiates-in-training) smear White clay on their bodies from head to toe (see fig 1). In addition, they live in special grass huts (see fig 2) isolated from villages or towns for several weeks. Elliot, A., (1970) “They are like soldiers inducted into the army, they have their heads shaved” (see fig 1). They wear a loincloth and a blanket for warmth (see fig 3). There is an expectation to observe numerous taboos (prohibitions) and to act deferentially to their adult male leaders. Different stages in the initiation process distinguished by the sacrifice of a goat. I will be focusing on the way they look at this stage, the look that signifies their status, the white clay, the blanket, the significance of this stage in his milestones to design a piece or pieces of jewellery that will be an adornment attached to his status. (Elliot, 1970) 

Inkwenkwe.

Inkwenkwe is the third stage. It refers to a boy from 6 – 13 years. Boys make the most of their boyhood roaming many miles along the countryside, looking after livestock (see fig 1) in particular they learn everything is there to learn about the natural environment, names and kinds of birds, names of animals and their behavior, kinds of wood, which are the strong, names of trees, which are the sticks good for hunting. You can make a simple distinction of a boy by a carefree attitude and by wearing less clothing which is particularly a skirt made out of a goatskin (see fig 2); he may always carry a stick showing that he is responsible for herding livestock. (Elliot, 1970) 

Figure 1 - Elliot, A., (1970:37) Inkwenkwe. Umalusi (the shepherd)(The magical World of the Xhosa)

Figure 2 - Putter, A., (2012) Inkwenkwe 'A Shepherd' wearing goatskin.

Inkulu

The second stage is Inkulu. It refers to a baby from 0 - adulthood. Inkulu is the title given to the firstborn son of his family; he is referred to as Inkulu, (the firstborn son). Inkulu does wear distinctive adornment to show that he is the firstborn son (see fig 1), he is wearing (isidlokolo) a beaded necklace that has some sort of a root of a certain tree embodied in the necklace, this is a sign that he will be a major beneficiary of his family estate, not only his father’s cows but also his father’s responsibilities. (Elliot, 1970) 

   Figure 1 - Elliot, A., (1970:) Inkulu and Siblings. (The magical world of the Xhosa)

                           

Izibulo.

The first stage is Umtwana (child). It refers to a baby from 0 -3 years old. (See fig 1)

Izibulo (firstborn) is the name that refers to a first-born baby of a family. Izibulo do not wear any distinctive adornments to show that he is the firstborn (see fig 1), but his mother does wear adornments that are associated with her first-born child. Umtwana wears a string of beads (Amaso) on his waist of which these beads come from a specific plant. (See fig 3).

Figure 1 - Elliot, A., (1967:57) This is the firstborn child of a family, Umtwana. (The magic world of the Xhosa)

Figure 2 - Elliot, A., (1967:57) This is a young mother with her firstborn child. (The magic world of the Xhosa)

Figure 3 - a string of beads called (Amaso).

Figure 4 - Broner, L., (1947 47.94) Xhosa nursing woman Necklace, 1930s, Glass beads, agapanthus root.

According to Elliot, A., (1970:57) “The string of beads worn by the child on his waist called (amaso) (see fig 3) are believed to offer magical powers and protection to the child”. He also confirms that “a necklace of small round lengths of Agapanthus root (see fig 4) as thick as her finger and nearly as long, each usually painted white with clay or chalk worn by the young mother is the sign that she is nursing her first child” (see fig 2). (Elliot, 1970)