Barbara Tyrrell by UnattributedOriginal Source: University of Pretoria Museums
Barbara Tyrrell (1912-2015)
Barbara Tyrrell was a South African artist and documenter of indigenous southern African customs, attire and traditions. She was born in Durban and spent her childhood near Eshowe in KwaZulu-Natal, where her father was an isiZulu linguist. This instilled her love for culture.
Ndebele Mother Threading Beads (1983) by Barbara TyrrellOriginal Source: University of Pretoria Museums
Tyrrell's collection of traditions
This collection honours rich traditions and cultural customs while celebrating the diversity of southern African women, as seen through the lens of the Barbara Tyrrell Collection at the University of Pretoria Museums.
Influences and inspirations
Tyrrell's childhood environment sparked her interest and fascination in traditional African dress and ceremonies. She studied at the University of Natal, after which she pursued a varied career in journalism, anthropology, art, drawing and occupational therapy.
Travel and tradition
Tyrrell's detailed study of African dress and traditional attire led her to travel to different parts of southern Africa which culminated in a publication in 1968 titled "Tribal Peoples of southern Africa", a groundbreaking historical record of traditional dress.
The Tyrrell legacy
Tyrrell is a global female artist widely known for her extensive, lifelong documentation of the traditional dress, ornamentation, and customs of the indigenous peoples of southern Africa. She travelled extensively to record, through her art, disappearing and lost cultural traditions.
Dress as symbols
Traditional dress is infinite in most cultures and is spectacular in form and design, but not just for bodily clothing. Adornment with beads, skins, shells, grass and other organic materials serves also spiritual purposes.
Adornment as meaning
Traditional attire and adornment serve as an outward sign of social and marital status. Hairstyles, tattooing, beadwork and colour denote different meanings across different South African traditions.
Colour as status
Beads within traditional dress and their colours are vested with meaning. They are encoded with messages into aprons, jewellery, collars, headdresses and hair. Beads are considered as high value, indicative of social status, rank, and one's standing in the community.
Women are the masters of their culture, designing and wearing highly intricate colour beadwork and clothing that acts as a visual language for their identity and culture. This wearable art communicates a woman's age, social and marital status.
Changana Tsonga (1983) by Barbara TyrrellOriginal Source: University of Pretoria Museums
Zambezi Tonga (1983) by Barbara TyrrellOriginal Source: University of Pretoria Museums
Ngwane Bride (1983) by Barbara TyrrellOriginal Source: University of Pretoria Museums
A Bride from the Natal Midlands (1983) by Barbara TyrrellOriginal Source: University of Pretoria Museums
The distinctive southern African cultures of the Zulu, Xhosa, Ndebele, Venda, Tsonga and Sotho all feature distinctive regalia where patterned fabric, beads, jewellery and ornamentation communicate age, visual, cultural and symbolic meaning.
The Zulu hat, or isiqolo, serves as a public symbol of marital status and a sign of respect to the husband and is common in most cultures when hair is covered. Hairstyles are deeply intertwined, signifying age, marital status, and respect. Hair length and headdresses specifically act as community markers.
The smoking pipe, or Inqawe, is an important part of Xhosa culture for both men and women. This painting depicts an unmarried woman smoking a pipe, a custom reserved for married women. She's confirmed single by not wearing a white apron. When someone dies, it's said they've ‘laid down their pipe’. Pipes are hand-carved from the wood of the hook-thorn tree. These pipes come in various styles and lengths and are based on gender, age, and social status and were traditionally beaded.
Mfengu Nursing Mother and Child (1983) by Barbara TyrrellOriginal Source: University of Pretoria Museums
Acknowledgements
Sian Tiley-Nel, Gerard de Kamper, Uthando Baduza, Bronwyn Strydom, Michelle de la Harpe, Maurice Shirinda, University of Pretoria Archives, Art Archives and Art2Motion, Thania Louw.
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