Lightning protection
4.10 Decoration
4.10.3 Type 3
1985-1998)
Type 2 appears to be superseded by the isimodeni style, which I shall call Type 3. This is because the new styles are still referred to as isimodeni, an anglicism for 'modern'. The following Types 3, 4 and 5 are really a product of the last couple of years. They exhibit a steady approach to a total degree of elaboration.
The isimodeni decoration fills vertical plastered bands that flank the door, and the remaining wall area mayor may not be plastered.
In the same way that there is a fixed palette of bead colours used in the Msinga beadwork, the isimodeni, now called umadala (old) according to the Sithole homestead (Sithole;2001 :pers.comm), type of wall decoration relies on similar colour representations.
There is a consistent use of Brunswick green, Carmine red and black, and often a brighter Lime green and Maize yellow. These are usually in the same order, with the dark green at the base and the red above, separated by white and a myriad of different formal possiblities regarding pattern reflected into the white.
The level of elaboration on the Type 3 examples is more complex than the Type 2 chevrons.
Women decide upon the decoration of the buildings, choosing the designs and colours should the project be managed by a contractor. The man at Homestead IV (a Type 4 decoration) declared that his wife liked bright colours, and thus chose the yellows, reds, olive greens and aqua blues.The salesman at the hardware store in Tugela Ferry qualified the predominant participation of the women in the paint choice process.
Mabaso and Larkan both mention that limewash is common. The hardware store stocks paint in large quanities, (251, 101, 51) and powdered distemper of a particularly bright pink hue was also readily available.
Nowadays, a much more exuberant use of colour, choices not normally picked in the beadwork, are used. The colours will reflect the royal blues and purples of the amabhayi capes.
The isimodeni graphics are structured like the beadwork, and have repetitive patterns set out in the manner Jolles has identified. They consist of three basic colour groups.
The isimodeni houses are also generally smaller in diameter and thus have higher: pitched roofs, ( about 30°-40°) as the standard pole lengths have less distance to cover. Kitchen buildings, due to their longevity, also represent many of the examples.
Three different types of Isimodeni architrave panels from around Mslnga
V. Maggs has suggested that these designs represent a pure art form, where the graphic triangle, circle, horizontal line and vertical line feature in various combinations to create form and picture(V.Maggs;2000:pers.comm).
A painted dado (isitaladi) of not more than 400mm high is characeristic. The annular shoulder (isicala) at the eaves may often be highlighted by using an unplastered or painted band.
The Khoza family at Homestead III says that the kitchen buildings last longer than the bedroom as the thatch is preserved by the cooking in the hut (Khoza;2000:pers.comm). This also suggests the inevitable problem of insect activity, where the smoke from the cooking fire acts as a pesticide. There is no evidence to suggest
that the surviving kitchen buildings were ever used as bedrooms in the past. The idea of recycling the building and changing its use did not meet with much enthusiasm.
Because the kitchen huts last longer, they are not replaced as often, and thus the ones still standing and in daily use are a relic of the recent past. The immediate outside spaces often have an isitupa (stoep) that extends about 350mm from the edge of the wall painted a stoep green or red, and may have a ring of white stones set into to it to demarcate the edge. This edge itself is carefully treated, usually splayed and may consist of one or two layers.
on the flanking door panels in a more graphic and simplistic mann.er. This still appears to reflect the beadwork in its graphic simplicity. The isitupa is a consistent feature though not as strongly defined as an element as in Type 3.
Plastered entrance way to hut at Homestead" (Photo:Author:2000)
Type 4 and 5 both involve the use of the entire hut as the palette, extending the boundaries of the paint to the use of relief plaster.
Type 4 examples are seen in Homesteads I and 11, at Tugela Ferry and Fabeni. The type is distinctive for being carefully sculpted, with the use of sea green and ochre yellow paint being predominant. The building is divided with a strong dado (isitaladi) and usually a painted high annular shoulder (isicala). Brown and black feature frequently, and the isimodeni decoration is updated 4.10.4 Type 4
The use ofmockashlar blocks isa fashionable trend. The blocks are obtained from Keates Drift, where the trading store itself is built out of these. A lively industry on both of the Mooi and Tugela river banks produces these blocks. Buildings of mock ashlar are often painted a flat grey.
Type 4 Decorations Homesteads 1and 2 4 decorations from Fabeni
showing the useofpremade airventsaspart of the decorative language aswellasthe plastered architrave panels prior to painting (Photo:Author 2000)
Type 4 decoration on practice hut at Homestead IV(Photo;Author:2oo1)
Type4Decoration from Homestead III(Photo; Author: 2001)