The exhibition Celebrating Heritage Month: Zulu Beadwork: Legacy and
Luxury presented an opportun... more The exhibition Celebrating Heritage Month: Zulu Beadwork: Legacy and Luxury presented an opportunity to integrate art education with cultural heritage and entrepreneurship. In collaboration with the University of Zululand (UNIZULU), the exhibition was held from 25 September to 30 November 2024, at the Empangeni Art and Cultural Museum (Figure 1). It responds to the UNESCO initiative of the Convention for the Safeguarding of the Intangible Cultural Heritage (UNESCO 2024). The convention empha- sizes the crucial role of artists and communities in identifying and protect- ing their heritage as they adapt and recreate their traditions in response to their surroundings. The exhibition showcased the collaborative interplay between traditional and modern Zulu beadwork. It provided a platform to inspire and educate the local community and students in Empangeni, KwaZulu Natal, South Africa. The exhibition was organized by curator Lindelwa Pepu, with support from the museum staff, Zamani Gwamanda and Siyanda Mchunu, who served as the exhibition hangers.
Quick Response Code Abstract: This paper is a formal investigation on how Museum Africa, South Af... more Quick Response Code Abstract: This paper is a formal investigation on how Museum Africa, South Africa preserves, displays and engages musical bows. I analyse the interesting ways the museum has collected, stored and researched the Xhosa Uhadi bow in their collection, from a curatorial perspective. This paper is prompted by the initiative to restore a neglected and forgotten area of musical bows, particularly those that document and encapsulate disappearing traditions and cultural practices. Museum Africa is one of the largest historical museums in South Africa with only a few musical bows. Two curators of the museums participate in this study reporting the Uhadi musical bow purpose in the museum.
The Uhadi and Malunga Bow: Curatorial Implications
A Thesis submitted to the Faculty of Humanities in partial fulfillment of the requirements for th... more A Thesis submitted to the Faculty of Humanities in partial fulfillment of the requirements for the Degree of Masters of Heritage Coursework and Research Report. MARCH 2018
The Uhadi and Malunga Bow: Curatorial Implications
A Thesis submitted to the Faculty of Humanities in partial fulfillment of the requirements for th... more A Thesis submitted to the Faculty of Humanities in partial fulfillment of the requirements for the Degree of Masters of Heritage Coursework and Research Report. MARCH 2018
This paper is a formal investigation on how Museum Africa, South Africa preserves, displays and e... more This paper is a formal investigation on how Museum Africa, South Africa preserves, displays and engages musical bows. I analyse the interesting ways the museum has collected, stored and researched the Xhosa Uhadi bow in their collection, from a curatorial perspective. This paper is prompted by the initiative to restore a neglected and forgotten area of musical bows, particularly those that document and encapsulate disappearing traditions and cultural practices. Museum Africa is one of the largest historical museums in South Africa with only a few musical bows. Two curators of the museums participate in this study reporting the Uhadi musical bow purpose in the museum.
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Papers by LINDELWA PEPU
Luxury presented an opportunity to integrate art education with cultural
heritage and entrepreneurship. In collaboration with the University of
Zululand (UNIZULU), the exhibition was held from 25 September to 30
November 2024, at the Empangeni Art and Cultural Museum (Figure 1). It
responds to the UNESCO initiative of the Convention for the Safeguarding
of the Intangible Cultural Heritage (UNESCO 2024). The convention empha-
sizes the crucial role of artists and communities in identifying and protect-
ing their heritage as they adapt and recreate their traditions in response to
their surroundings.
The exhibition showcased the collaborative interplay between traditional
and modern Zulu beadwork. It provided a platform to inspire and educate
the local community and students in Empangeni, KwaZulu Natal, South
Africa.
The exhibition was organized by curator Lindelwa Pepu, with support from
the museum staff, Zamani Gwamanda and Siyanda Mchunu, who served as
the exhibition hangers.