Ornament; Belt; Makgabe
Item
Title
Ornament; Belt; Makgabe
Creator
Unrecorded
Description
Physical Description: Kalanga women's loin ornament or apron made of a doubled skin apron with three skin tabs at the top. Bottom decorated with a line of white shirt- buttons and deep fringe of coral coloured and white beads; button and bead fringe extend onto the two hide strings at the sides. Worn over a skin skirt. [Royal Pavilion & Museums]
Contextual Description: Could be worn over a mothikga skirt. TS comments
Contextual Description: Kalanga' cultural group, objects labelled as 'Makalaka' should be changed to this. Back apron. Red beads represent a woman not a girl. Notes from Tshepo Skwambane and Neil Parsons initial visit to view objects, 2017
Contextual Description: 01:09:17 It enhances the shape...Can I just ask a quick question about this, do you know how this would have been worn? [describes object]…why does it have this shape?...SL: He says he wouldn’t know because when people are dressed like this, you don’t stare that much, unless people start thinking that you’re some kind of pervert or something. Transcription by KL of MAC_BB_20190817_RPM3 SL Interview with Tshupo Ntono, Village Elder, Language: Setswana with English translations by SL, 2019
Contextual Description: JM 36:28
what's the kalanga for the skirt?
WT 36:32
Unfortunately, some of this stuff I was not born into the age. So even when I saw some No, no, when I was born, this will no longer like in use. So even when I saw some in Brighton I was thinking, but is this from the kalanga, but the documentation was saying kalanga
SL 36:50
but what do you call the skirt that the dancers use? When you are ...
WT 36:56
of course they have the black skirt. But that's when I show you
SL 37:02
Are you sure you are kalanga?
37:03
I was young and I was just enjoying the dance but I'm convinced that the elderly people that I know around that area will give us the information. They will tell us.
WT 37:03
eh! but as I say l grew up with ... kind of just next to the [Ovambo] people. The Ovambo there was [the priest? …]
The above notes are from a transcription by Kathleen Lawther of a discussion between Gase Kediseng, JoAnn McGregor, Nicola Stylianou, Scobie Lekhuthile and Winani Thebele which took place at the Khama III Memorial Museum on the 5th of August 2019. To listen to the full recording please follow the link below.
what's the kalanga for the skirt?
WT 36:32
Unfortunately, some of this stuff I was not born into the age. So even when I saw some No, no, when I was born, this will no longer like in use. So even when I saw some in Brighton I was thinking, but is this from the kalanga, but the documentation was saying kalanga
SL 36:50
but what do you call the skirt that the dancers use? When you are ...
WT 36:56
of course they have the black skirt. But that's when I show you
SL 37:02
Are you sure you are kalanga?
37:03
I was young and I was just enjoying the dance but I'm convinced that the elderly people that I know around that area will give us the information. They will tell us.
WT 37:03
eh! but as I say l grew up with ... kind of just next to the [Ovambo] people. The Ovambo there was [the priest? …]
The above notes are from a transcription by Kathleen Lawther of a discussion between Gase Kediseng, JoAnn McGregor, Nicola Stylianou, Scobie Lekhuthile and Winani Thebele which took place at the Khama III Memorial Museum on the 5th of August 2019. To listen to the full recording please follow the link below.
Publisher
Making African Connections
Date
Pre 1899
Type
PhysicalObject
Format
Whole: 590 mm x 580 mm
Leather; Glass
Identifier
R4007/18
Source
Collected by Reverend William Charles Willoughby, a Christian missionary, in what was then the Bechuanaland Protectorate (1885-1966). It is now the Republic of Botswana, having gained independence from Britain in 1966.
From 1889-92 Willoughby was pastor at Union Street Church, Brighton (now The Font pub). From 1893 to 1898 he worked for the London Missionary Society in Bechuanaland. He assembled this collection of objects during this period. This was a period of social and technological changes and these objects represent traditional lifestyles and skills, rather than the contemporary lives of the people Willoughby met.
Willoughby's collection was loaned to Brighton Museum in 1899 when he returned to the UK. The loan was converted into a donation in 1936, and accessioned as acquisition R4007.
Some objects were re-numbered with the WA (World Art) numbering system in the 2000s. These numbers have been reverted to the original R4007/... numbers where possible for consistency in 2019.
From 1889-92 Willoughby was pastor at Union Street Church, Brighton (now The Font pub). From 1893 to 1898 he worked for the London Missionary Society in Bechuanaland. He assembled this collection of objects during this period. This was a period of social and technological changes and these objects represent traditional lifestyles and skills, rather than the contemporary lives of the people Willoughby met.
Willoughby's collection was loaned to Brighton Museum in 1899 when he returned to the UK. The loan was converted into a donation in 1936, and accessioned as acquisition R4007.
Some objects were re-numbered with the WA (World Art) numbering system in the 2000s. These numbers have been reverted to the original R4007/... numbers where possible for consistency in 2019.
William Charles Willoughby
Botswana, Southern Africa, Africa
1893-1898
Space/Place
Botswana, Southern Africa, Africa
Cultural Group: Kalanga
Rights
Creative Commons Attribution-ShareAlike 4.0 International
Item sets
Linked resources
Filter by property
| Title | Alternate label | Class |
|---|---|---|
 Apron; Cloak; Sekhutane |
Physical Object | |
 Leatherwork |