The study of the Ndebele people is a Eurocentric observation which has led scholars to believe a myth about the culture, tradition and esoteric perspective of the Ndebele. The amaNdebele are a Nguni who claim their origin from different ancestral chiefs who formed two tribes, the Ndzundza and the Manala who are demographically situated in the Northern and Southern of Africa. In this report a critical study of the flamboyant expression and awakening truth of the Ndebele culture will be further disseminated. The Ndebele people paint their homes with mystical patterns that seem to be an ancient way of communicating especially after the tribal and white settler’s wars; and their erudite ways of symbolism that portrayed communication, valued customs, emotions and marriage.
The Ndebele culture is, as it is divided into groups referred to as AmaNdebele (Southern Ndebele) and the Northern Ndebele. Van Warmelo (1930:125) and Fourie (1921:21) both make reference to the claims that the split occurred after the reign of the third King Musi. Loubser (1987:67) states that the amaNdebele were part of a separate migration. As a result of succession disputes the tribe split into the Manala and Ndzundza group. The Ndzundza moved eastward to the headwaters of the Olifant and Wilge rivers, whereas the Manala were to remain within the environment of Pretoria.
According to Van Warmelo (1930:21) the most significant and influential cultural practice that symbolizes cohesion amongst the Southern amaNdebele, for instance, circumcision of boys known as ukuwela ‘to cross over the river’ and girls known as ukuthomba ‘to reach the age of puberty’ in Southern Ndebele. This testifies to the fact that amaNdebele of South Africa parted from their main Hlubi tribe long before Shaka emerged and ended the initiation practices amongst the Zulu nation.
The Ndebele people are a branch of the Zulu nation who separated from King Shaka in the early 1820s under the leadership of Mzilikazi, a former general in Shaka's army. Mzilikazi overpowered the “Manala” and deceived to settle down with them. After some time, in the year 1834 he killed the men of the Ndebele tribe and took the women and their livestock and moved northwards, into present day Zimbabwe where they battled with the Shona people; eventually creating out a home now called Matebeleland and including the west and southwest region of the country he took in Bulawayo in Zimbabwe.
The first Matebele war happened in August 1893 against the British, when Starr Jackson sent his British forces to attack the capital KwaBulawayo but disguised it as protecting the Shona to attack King Lebengula. King Lebengula was the second and last King of the Northern Ndebele people who was able to cleverly escape the British in the interest of saving the cattle in his area, unfortunately he died of small pox shortly afterwards leading to the end of the first war.
Then in March, 1896, the First War of Independence (also called the 2nd war) occurred when the Matebele revolted against the authority of the British South Africa Company. Hundreds of white settlers and uncounted Matebele and MaShona were killed within a year and a half in Matobo Hills near KwaBulawayo. This was the fiercest fighting against the white settler patrols. Matabeleland and Mashonaland was later renamed Rhodesia after the final uprising in October 1897.
Both the history of struggle and a particular economic position served to underwrite a distinctive identity. In the 18th century, the Ndebele tribe lived in grass huts. They started by using mud- walled houses in the mid- 18th century that’s when symbols began to be created on their walls and houses. These symbols were used for communication between the different groups of the Ndebele people. They stood for their continuity and cultural art that was harmful, so permission was granted by the Boers at power. These wall paintings done by the women was their secret code to their people, disguised to anyone but the amaNdebele.
The dynamic symbols depict communications of prayers; self- identification, values, emotions and marriage. The male initiation, known as wela was a reason for repainting, but the ritual was not expressed. Only quality of life that has never been expressed through their walls is sacred. The ceremonial rituals and religion have never been a part of the Ndebele people’s house paintings.
The Ndebele managed to retain their identity by giving expression to the real and illusory world around them through a unique hybrid architecture and art. Influenced by exposure to two extremes of culture, the one tribal and traditional and the other western, they were able to assimilate and absorb these two worlds (Rich, 1984: 6).
In the beginning of house painting their symbols and patterns were based from Ndebele's beadwork. The patterns were tonal and painted with the women's fingers. Original paintings on the house was a limestone white wash (Clarke, Margaret, 1986). Traditionally, earth colours were made from different natural- coloured clays in browns, pinks whites and yellows were and black which was sourced from charcoal were used. Tints were frequently mixed with cow dung and water and then applied to the walls. These days, bright colours are the order of the day with the introduction of western and Indian paint pigments (Clarke, Margaret, 1986).
Women of the Ndebele are often the tradition carriers and developers of the wall art of their homes. The tradition and style of house painting is passed down in the families from generation to generation by their mothers. A well- painted home shows the female of the household is a good wife and mother, this also presented the traditional subordinate wife with an opportunity to express her choice of colours and design which sets her apart from her peers. She is also responsible for the painting of the outside gates, front walls, side walls and usually the interior of her home. One thing that has changed since the beginning of the house painting and present day art is their styles.
The patterns were of a V shape and a triangle on a large shape of colour. The pattern, earth tones, directions and the sizes were more important than the present day bright colours in the Ndebele culture. Women uniquely style with meaning and knowledge based on the different things which they use in their lives, which are depicted on the walls, for example, razors, a house, or a cell phone. Every detail has a meaning and an importance in the eye of the artist. Women's fertility was symbolised by what is known as the Ndebele flower. The razor blade pattern is used extensively as it is used in traditional hair shavings, beadwork, household tasks and traditional ceremonies.
Typical characteristics of symmetry, proportion and straight edges of Ndebele decorations were done by hand without the help of rulers. Ndebele woman were responsible for painting the colourful and different patterns.
The culture of the Ndebele is unique, especially with regards to their art. Ndebele visual expression in the form of wall-painting art and beadwork has won international fame for that society during the latter half of the 20th century. Since the 1950s, wall painting patterns have shown clear urban and western influences. Urban architecture and symbols of modern transportation (e.g. airplanes, number plates and etc.) acted as inspiration for women artists (Clarke et al., 1986). Some women are privately recruited to apply their painting on canvas, shopping centre walls, and even cars. An example is Esther Mahlangu who says “to paint is in my heart and it’s in my blood”. She further says, “The way I paint was taught to me by my mother and my grandmother. The images and colours have changed and I have painted on many different surfaces and objects but I still love to paint. The patterns I have used on the BMW parts marry tradition to the essence of BMW”. Furthermore, according to the Mapoch Ndebele Village in the 11th prestigious Art Car Collection, the captivating 'Ndebele-mobile' gave the German car manufacturer a true out-of-Africa promotion. There is a large populace curious about these hypnotic patterns and colour combinations. For a taste of real Ndebele style in a humble situation, then the Mapoch Ndebele Cultural Village is the go to area in the outskirt of Pretoria.
The Ndebele artists also make cattle craft like sleeping mats and isingolwani; coloured neck hoops, are made by winding grass in a hoop, binding it tightly with cotton decorated with beads. Another outstanding characteristic of the Ndebele is their bead-work. Making bead-work is intricate and time consuming. Although bead- work plays a very important role in Ndebele culture, it is an endangered art that is dying slowly. Western influences have had an impact on the Ndebele in some aspects, leading to the decay of their culture in some respects.
The migration of the Ndebele influenced the mood and character of their paintings with the inception of European imposition by the White settlers. The symbols found in paintings were in some way inspired by a way of communicating and preserving tradition. This had a major influence on the colour schemes, techniques and methods of their paintings. The Ndebele as a culture standout amongst the most famous African societies and are established in history and characterized by imagination. With this, the culture has been commodified, which further expresses the eurocentrism of African tradition.