IN-PERSON: Prague – Section A

Abstract

Before contact with the global society, the Ndebele people, specifically women produced artefacts exclusively for cultural reasons. It was not until the 1980s that they understood their commercial potential and the chances they presented for talent demonstration. Ndebele artefacts gained widespread acclaim in the 1990s due to painters like Francina Mahlangu who painted canvases that are still sold at auctions presently in London, Esther Mahlangu who became the first woman to paint a BMW 525i by using Ndebele art in 1991 and the twins Martha and Emmly Masanabo who painted the British Airlines Boeing 747 in the late 1990s. The above mentioned women’s efforts paved a way for other artists and allowed the Ndebele artefacts to evolve over the years and find a place in contemporary society. The purpose of this study, which employed qualitative methods, is to investigate the economic opportunities that come with selling Ndebele artefacts to local and global customers in the contemporary society. The study’s target population consists of 10 female Ndebele art custodians with extensive experience in the commercialization of artefacts. According to the study’s findings, Ndebele women sell their artefacts to both domestic and foreign tourists in Mpumalanga, the kwaMhlanga region, and the surrounding areas. Ndebele artefacts are also advertised via social media platforms with the aid of young people who are familiar with contemporary technology. Ndebele women also participate in art competitions, working with businesses who have art collection editions, and still having the opportunity to exhibit their work abroad. The continuous practice and adaptation of Ndebele artefacts enables practitioners to develop and protect their culture as it plays a vital role in wealth and job creation. The participation of women in culture (Indigenous knowledge) protection and wealth creation has been encouraged by the South African Indigenous Knowledge Systems (IKS) policy of 2004.