Caithness Woodturners Explore Crafts in Swaziland and South Africa

Woodturners Liz and Michael O’Donnell, who are based in Thurso in Caithness, were invited to demonstrate earlier this year at the woodturning congress in Durban by the Association of Woodturners of South Africa.  With assistance from the Scottish Arts Council they were able to look at the crafts scene in both Swaziland and South Africa during their visit.  Liz O’Donnell describes what they found and how it has influenced their work.

Swaziland is a small country, landlocked by its much bigger neighbour South Africa.  It is a very poor third world nation where the craft industry is driven by the need for survival rather than lifestyle. 

Marketing of crafts is primarily directed at tourism, the roadsides and shops are filled with crafts using traditional skills, though many of these were from the neighbouring countries of Mozambique and Zimbabwe.

In both South Africa and Swaziland, where there was development of the crafts industry by the indigenous people, there seemed to be four key characteristics.

Co-operative Working

Different groups carried out each process.  In basketmaking, for example, these were harvesting, sorting and dying, weaving and marketing.  And it is the women who are mainly involved, working from their homes. 

While items such as embroidery, beadwork, pottery, weaving and printing, were made in Co-operatives, recognition is also given to individual craft workers in the marketing process.  These Co-operatives were also a vehicle for other activities such as education and individual development.  Different crafts shared premises for marketing and production.

Inspiration

Many of the crafts, such as printmaking and beadwork, carried political, social (Aids awareness) and cultural messages.

Traditional Skills Adapted to Create Modern Designs

We were particularly impressed by a Co-operative enterprise called 'Gone Rural' in the beautiful Malkerns valley in Swaziland.  By using traditional weaving skills and raw materials, then combining these with new forms and contemporary colours, they have succeeded in creating an exciting range of products.

They make place mats using ‘Lutindzi’, a mountain sedge grass that grows on rocky outcrops in Swaziland’s higher areas.  The grass is very tough and has a waxy cuticle which makes it an excellent material for place mats as you can wipe them clean.  The women cut the grass all year round bar one month when they are not allowed to harvest anything in preparation for a traditional ceremony called Incwala.  The ‘Lutindzi’ is cut at the stem leaving the root for re-growth.  It isn’t eaten by the cattle as it is too tough!  This employment has changed the lives of thousands of families.

Great Ingenuity in the use of Re-cycled Materials

Coloured telephone wires are used for basket weaving.  Aluminium drinks cans for domestic items, toys and models – particularly transport related – cars, motor cycles, etc.  Plastic bags are made into soft toys.  This industry is now so large that some of the materials, such as overrun prints for labels, are obtained direct from manufacturers.

While we were aware of some of the craft activities through our research before our trip, it was the social, political, financial and geographical environment that this is taking place in that had the largest immediate impact on us.  The financial gulf between the affluent whites and the poor blacks was enormous and we came away wondering how long they would wait patiently before they could all enjoy decent housing with electricity and running water.

Most of the successful crafts and craftspeople in South Africa reflected an African origin or inspiration in their work.  This pertains to both indigenous and white South Africans.  A few of the woodturners could also be included here, however, the majority of the Woodturners of South Africa were wrestling with the problem of creating an African identity without competing head on with the traditional work, which was at a much lower economic level.  The African element is made more difficult for them as most indigenous woods are now protected and woodworkers are encouraged to use non-indigenous woods such as Jacaranda and Eucalyptus (generally referred to as exotics or alien species) to the point of eradication.

In particular, we were fascinated by the traditional Zulu beehive shaped huts and the boldly decorated mud walls around some of the villages.  We have already been experimenting with paste and dye patterns.  The trip has also encouraged us to explore beyond the traditional confines of woodturning and incorporate new decorating styles and techniques.  The experience of our trip will also be reflected in the community arts projects we are involved in and the courses we run in our own workshop.

Find out more about Liz and Michael O’Donnell and see examples of their work at their website .

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