Mary Rose took local craft-making to a new level recently when she facilitated workshops between Sotheby’s top international contemporary designers and KwaZulu-Natal craftspeople.
New, contemporary designs, based on traditional Nguni techniques, emerged from this interaction. The designs were then exhibited at the annual Contemporary Design and Decorative Arts Exhibition at Sotheby’s in London, where they attracted attention from around the world.
In just three years of craft development, Rose’s projects have turned the tables for many craftspeople in the remotest areas of KwaZulu-Natal. She is executive director of the Siyazisiza Trust and of the newly formed KhumbulaZulu Craft.
Back in the 1970s, when Rose was PRO of the former Natal Parks Board, she became interested in rural development outside the game reserves of Zululand. With private-sector funding she started an upliftment project in 1979, which helped train local groups in skills like poultry production, fence-making and vegetable gardening.
The income sent children to school. Wearing shoes and being able to pay fees brought smiles to faces. “That was my real reward,” says Rose. Members of the self-help groups learnt financial skills. Saving accounts were opened. Life improved.
It was during traditional functions, when the people of different districts came out in their finery, that she was struck by the artistry of their beaded clothing and decorations. “I couldn’t believe such skill,” she marvels as we sit in her office, surrounded by baskets, beads and cushions. This was the start of an indepth study of Nguni craftsmanship which finally led to a Strategic Agreement Alliance whereby Tiger’s Eye, the biggest craft-marketing company in the country, has first option on what these craft groups make. Final recognition came when Sotheby’s invited a team of top designers to interact with the craftspeople.
In June last year these designers — Jay Osgerby, Edward Barber, Kate Blee, Nathalie Hambro, Tom Dixon, Ou Baholyodhin, Jessica Rose and Julia Leakey — visited various craft groups in KwaZulu-Natal. After intensive interaction with the crafters, the British and American designers responded with ideas for innovative new shapes, textures and colours. The new creations were produced by craft workers from KwaZulu-Natal, Mpumalanga and the Eastern Cape.
This collaboration led to the creation of Losa (London-South Africa), an entity in its own right, which will ensure continued fusing of traditional craft skills and contemporary design. All profits are shared by the designers and crafters. Projects are owned by the relevant communities, and all the craft groups have formed their own legal associations.
To what extent has Rose’s intervention touched the lives of people in the KwaZulu-Natal rural areas? Her two non-profit organisations involve about 5 500 individuals at any given time. The number of craft workers has reached 700 and is increasing. As crafters become independent of the organisations, staff move on to help others. This year expansions will see Mary Rose drive into Mpumalanga and the Eastern Cape, with the assistance of Tiger’s Eye and of the Department of Arts, Culture, Science and Technology.