Abstract:
The colonial era brought about Western civilisation, industrialisation, urbanisation and technology that led to the negation of the validity of the traditional wall decorations and the meaning behind what is understood as merely decorative shapes and parttens. To research as to whether this is true, the aim of this study is to establish whether the symbols applied on the traditional African murals have any linguistic significance. The research investigated the pictography embedded in the traditional murals of three linguistic groups, namely the Balobedu, Vatsonga and Vhavenda in Limpopo Province.
The researcher gathered and recorded from the surviving elders the vital codes which unlock the meaning of signs, symbols, colours and geometric shapes before the knowledge is lost forever when they die. Data was collected mainly from Vatsonga female elders in their homes by using unstructured interviews. Traditional huts are decorated with symbols, signs, shapes, lines, and colours on the maguva (walls around the courtyard), mavala ya nghotsa (design and patterns, mainly in repeated half circles (figures 26 to 35)), mabilomu/swiluva/ swiphaswana (calabash/gourd flowers), ku sindza hi makholo (patterned cow dung floor) and ku tsema (coloured bands around the hut), depicted in figures 12 to 15. According to the respondents, the maphapha (calabashes/gourds) is a symbol for the plant that feeds the people. The plant from which maphapha are made, has heart-shaped green leaves and yellow flowers that develop into a calabash/gourd, which are consumed as food (figures 10–11). In this sense, it represents a woman and her responsibilities as carer and life giver.
The results affirm that the pictography is not merely a reproduction of common decorative patterns, but is instead the source of an ancient visual expressive language carried down from generation to generation through oratory and visual narratives in the form of symbols, and signs. The study recommends the preservation of the linguistic significance of the traditional South African murals that have long been marginalised, possibly encouraging the younger generations to review their own history.
