Museum Collections at the National Heritage Cultural Studies Centre

• Introduction and Visitor Information
• Events and Activities
• Brief History of the Museum
• The Museum Collections
  • Cultural and Indigenous Art
  • Contemporary South African Art
• Use of our Museum Collections outside the Centre
• Museum Policies
  • Acquisition and Collection
  • Curation
  • Research
  • Education
  • Loans of Museum Objects
    • Loans for Research and Education
    • Loans for Exhibition
    • Conditions of Outgoing Loans
    • Conditions of Incoming Loans
  • Request for Expert Advice
  • Photography and Filming
    • Photography by Visitors
    • Outside Requests for Photographic Reproduction

Introduction to our Museum Collections and Information for Visitors

The F. S. Malan Museum and DeBeers Art Gallery are the centre pieces of the University of Fort Hare cultural resources. The museum has one of the most impressive ethnographic collections from the Eastern Cape and other areas of South Africa, while the art gallery boasts a unique collection of Black Contemporary South African Art.

The Museum and Art Gallery facilities of the National Heritage Cultural Studies Centre are open between 09h00 - 17h00 Mondays to Fridays and by special request on weekends.

Several tour operators in the Eastern Cape offer the Museum and Art Gallery as visiting points. These include Calabash of Culture, Rainbow Tour and African Enterprises.

Access to the Museum's collections by interested individuals and institutions will be provided by responding to verbal or written requests, by providing facilities for visiting researchers and by lending materials to institutions for research, education or exhibit purposes. It is understood that Museum policies, material, and specimens will be respected and the Museum will be given due acknowledgement in all publications, photographs and other reproduced work.

Events and Activities

Stay tuned for description of past and present events, workshops, performances, exhibits, etc. Contents currently under development.

Brief History of the Museum

In 1942, the F S Malan Museum was founded through an initiative of the Department of African Studies as a research Museum, a teaching resource and generally as a public institution open to schools and the public at large. In 1993 the University entrusted the Museum to the National Heritage Cultural Studies Centre as the ideal unit to spearhead the development of the Museum. Since its inception, more than 10 000 indigenous artefacts have been collected, the bulk of which were collected by two main sources -- the F S Malan collection of the Department of Education and the Estelle Hamilton-Welsh collection from Mrs. Kirkwood -- from 1880 to 1940 and then donated to the Museum in 1962. In 1965, a contemporary art collection was added to the Museum A.J.D. Meiring Art Gallery.

The Museum Collections

The University of Fort Hare Museum Collections cover a wide range of both indigenous African and contemporary South African art.

The Museum's Ethnographic collection features craft and folk art including: extensive examples of Xhosa, Mfengu, Mpondo, Zulu and Ndebele beadwork, beaded body belts, love letters, and beaded utilitarian objects, costumes and a variety of charms and medicines.

The latest inventory of this collection (as of 28 April 1998) revealed the following items:

Type	Number of Pieces
animals, ancient bronze	2
arrows, hunting	population of 200
arrows, miniature love	set of 17 and set of 38
arrow quivers, masarwa	7
arrow quivers, miniature	2
axes	30
bags, grasswork	24
baskets, grasswork	48
bead work and beaded items	836
bones, divining	3 sets of 20
bows	22
bows, miniature	1
brooms, grasswork	28
ceramics	20
coins, bronze and silver	74
coins, gold	2
combs, wooden	5
costumes	200
dolls, fabric	10
doors, wooden	4
drawer handles, metal	3
eggs, ostrich	2
figures, clay	27
figures, wooden	33
foot, ancient bronze (Roman origin)	1
forks, wooden	3
hats, grasswork	18
headrests	11
insect, brass	1
ivory objects, sharp	2
knives	13
lamp, ancient	1
leaves, medicinal	3
masks	25
medicines	112
mug, ancient wine (Egyptian origin)	1
musical instruments	25
needle	1
objects/peeks, sharp	11
pipes	15
pharoah figures, miniature bronze (Egyptian origin)	6
p.o.p. casts (figure and appendage)	1
pots, clay	75
rings, metal	32
rings, stone	5
sandals, wooden	4
serviette holder, metal	1
spears, hunting	58
spears, miniature	6
spoons, wooden	40
sticks	70
stones and minerals	24
sword	1
trays, grasswork	30
tree and nest, brass	1
unidentified objects	4
unidentified objects, bronze	3
wrist bands, brass	8

More than 1000 works of contemporary art are now housed in the De Beers Centenary Art Gallery (pictured above), named after the donor who enabled the University to build the gallery. The contemporary art collection includes works by pioneer African artists, among them, George Pemba, Gerard Sekoto, Gerard Bhengu, and John Mohl, the famous Polly Street Art School and Jubilee Centre as well as the vibrant Rorke's Drift Art and Craft Centre. Also included is the Township Art of the 1960s and 1970s with artists like Ephraim Ngatane, Durant Sihlali, Dumile Feni, Julian Motau as well as the Resistance Art of the 1970s.

The latest inventory of this collection revealed the following items:

paintings	363 pieces
sculptures	165 pieces
prints	119 pieces
drawings	22 pieces

Use of our Museum Collections outside the Centre

The National Heritage Cultural Studies Centre has initiated several travelling exhibitions. During 1996, artworks by Dumile Feni and Ezron Legae travelled to the Whitechapel Art Gallery in London to be part of an exhibition entitled Seven Stories about Modern Africa. The exhibition then travelled to the Malmo Konstall in Sweden. Artworks by George Pemba travelled to the George Pemba Retrospective at the South African National Gallery in Cape Town. The artworks then travelled to the Johannesburg Art Gallery.

Several external entities have also used NAHECSC materials in their own publictionas. Jo Maseko's "Boy with a Yelow Shirt" was used by the Photosearch publishing house for a textbook they published. George Pemba's work, New Brighton was used by Kwela Books for the cover of a book they published focusing on the lives of Black people from Port Elizabeth. The film company Nature at Large used Andrew Motjaudi's Head of a Child for the movie Fools. The National Heritage Cultural Studies Centre also granted permission for Maskew Miller Longman to use Gladys Mgudlandlu's painting, Fetching Wood, in their Standard 4 textbook on South Africa.

Museum Policies

The Museum has a deliberate and selective collecting policy in the fields of Ethnography/Folk Life, History and Art.

• In the field of Ethnography/Folk Life, the Museum collects and develops a representative collection of artefacts of cultural significance from the Eastern Cape and Kwazulu/Natal region of South Africa. It also seeks to acquire select cultural items which will fill in gaps existing in the collection it already has representing other parts of South Africa.
• In History, the Museum collects material which documents the history of the two regions mentioned above and the colonial and white supremacy legacies in the area. The Museum further aims to collect material documenting the liberation struggle within and outside South Africa to the end of apartheid.
• In the field of Art, the Museum Division pursues an aggressive collecting policy on the Contemporary Art of South Africa, with the aim of maintaining and improving on the existing De Beers Centenary Art Gallery collection, as the leading repository of South African Contemporary Art.

The Museum will not knowingly acquire any object if the acquisition committee is not satisfied that the museum will obtain valid title to and full rights in that object.

The Museum will not knowingly acquire any object which has been acquired or exported from its country of origin in violation of that country's laws on cultural treasures or obtained through unscientific or intentional destruciton or damage to a collecting site, cultural monumbent or human burial tombs or graves.

The Museum subscribes to the need for consultation and co-operation between museums with similar interests and collecting policies. It therefore prefers consultation and exchange of information to competition and conflict in its acquisition policy.

Because the Museum subscribes to the 1970 UNESCO Convention on the Prohibition and Prevention of Illicit import, export, and transfer of ownership of Cultural Property, it will co-operate and act responsiblity in assisting the return of any object in its collection that may have been acquired illegally, should the country of origin seek its return and demonstrate that it is part of its cultural heritage.

The Museum will curate objects as well as related documents and other information in its care by

• providing suitable premises for the collections,
• preserving and conserving these objects and related documents and information against damage, deterioration, destruction or loss,
• carrying out professional restoration to these objects where and when the need arises and
• documenting the collections in accordance with standard museological practices.

The Museum seeks to promote, undertake and publish research on Museum collections and related documentation and information, and on museology related matters by

• developing and maintaining research sections in the approved subject areas,
• publishing results of research,
• encouraging University faculty to carry out research on Museum objects, related documents and information,
• developing and maintaining a specialist museum library,
• making the collections and related information accessible to other researchers, the university community and the public at large and
• participating in local, regional, national and international research programmes and by subscribing and participating in the activities of professional organisations pursuing similar objectives.

The Museum Division will disseminate knowledge about its collections and related information it holds by

• exhibiting representative collection in permanent, temporary, or travelling exhibitions,
• providing formal and informal educational programmes, in particular encouraging university students and staff to use the Museum as an educational resource,
• publicising information about museum collections and activities through the publication of guides, brochures pamphlets etc.,
• publishing of research results and
• promotion of and participation in the cultural life of the communities it serves.

It is generally preferred that those who need to study the Museum collection should come and do so at the Museum. However if the conditions are such that the scholar cannot come to the Museum and that the Museum stands to benefit from such a study, then the object(s) may be loaned to that scholar through a recognised institution.

Usual acceptable investigative methods of study in the specific discipline may be applied to objects on loan for scientific study. Special permission must be requested through the Senior Curator, from the Director and the Acquisitions Committee, if methods that may alter or partially destroy an object or part thereof are to be used.

Handling of specimens by other than competent specialists frequently results in an unacceptable level of deterioration or damage. Loans for educational purposes which would involve students handling the objects will rarely be made.

In addition to the above restrictions, the following will also apply to loans for exhibition:

• The borrowing institution must provide adequate security for the borrowed objects.
• Loans will not be made if the Acquisition Committee has reasonable cause to believe that the exhibition for which the objects are requested support or promote an ethical position contrary to that held by the Museum.

Loans for exhibition will normally be for relatively short periods; preferably shorter than one year. Extension of each exhibition loan period shall be subject to re-application.

Objects may be removed temporarily from the Museum collection for loan, involving no transfer of title of such an object.

Loans are only made to institutions, and not to individuals

Loans will be made to a recognised institution which meets the following conditions:

• it has a recognised professional staff member in an appropriate field;
• the reputation of the professional staff and institution is such as to ensure adequate care of the objects while on loan;
• the political, economic or other circumstances do not suggest unreasonable hazard to the object;
• the requested object(s) are not needed for study by University staff or students and/or are not needed for display or other education programmes at the Museum during the proposed loan period;
• the object is not so fragile, rare or valuable that the risks in handling and shipping are unacceptable to the Museum;
• the requesting institution honours loan requests from the Museum.
• a report on outgoing loans will be served before the NAHECSC Committee and Senate.

Unique-type specimen/artefacts will not be made available for loan.

Extremely high standards must be set for packing and shipping, according to the nature of the object, to ensure that no damage whatsoever will occur, and the Museum is responsible for ensuring that these standards are met by the borrower. The borrower will agree to assume financial responsibility for all materials on loan from the Museum, in the case of loss or damage.

All loan material will have insurance coverage for the entire period of the loan in accordance with accepted Museum policy. All costs of insurance, packing and transportation shall be borne by the borrower, including any additional charges which may be incurred through necessary conservation or appraisal. If required, a certificate of insurance will be furnished to the Museum.

Objects will be returned via same methods of shipment as they were sent unless other arrangements are agreed to in writing.

Damages, whether in transit or on the borrower's premises and regardless of cause, shall be immediately reported to the borrower's insurer and the Museum. Any resultant unrecovered costs shall be borne by the borrower.

Loaned objects placed on public display must be in securely locked cases, or in the case of large objects, displayed so as to provide maximum security. Objects not on display must be stored in a visibly secured area.

Objects on loan may not be cleaned, repaired, retouched or altered in any way, except with the written permission of the Senior Curator and the Director. Under no circumstances whatsoever may museum identifying marks on such objects be removed.

Objects covered by a loan agreement may be photographed only for record and publicity purposes and/or for reproduction in an exhibition catalogue or research publication, provided no "NO PHOTOGRAPHY" restrictions were a condition of the loan. A copy of such a catalogue or publication is to be provided to the Museum without cost. Acknowledgement of copyright to the Museum will be prominent in any such publication. The borrower assumes full legal responsibility for any infringement of literary, copyright or publication rights.

The borrower will not reproduce the loaned material in any media (including photographs) for purposes of sale, and the object will not be subjected to technical examination or analysis of any type involving risk or physical change without written permission from the Senior Curator and the Director.

The Museum reserves the right to set any additional conditions or restrictions related to the packing, shipping, insurance, exhibition installation, environmental control and security of the loan items which it deems necessary. The Museum may also require, at the expense of the borrower, that loan items be accompanied by a member of its staff who will supervise the care and handling, both outgoing and incoming. All conditions and restrictions shall be made in writing and attached to the loan agreement prior to approval of the loan.

The lender agrees that in the event of loss or damage to this loaned property, recovery, if any, shall be limited to such amount as may be paid by the insurer. The lender releases the Museum, its officers, employees and agents from liability for any and all claims arising out of such loss or damage.

Any damage or deterioration noted during the period of loan, will be reported to the lender immediately. Should damage occur in transit, the carrier will be notified at once, and all packing materials saved for inspection.

Loaned items shall be maintained in the condition in which they were received. They will not be cleaned, repaired, analysed, or transported in a damaged condition, except with the express permission of the lender, confirmed in writing, or when the safety of the object makes such action imperative.

Loaned items will be returned via the same method of shipment as they were sent, unless other arrangements are agreed to in writing .

It is understood that loaned materials may be photographed and reproduced in the Museum's publications and for the publicity and development purposes; unless the Museum was notified in writing to the contrary.

It is the responsibility of the lender to notify the Museum of changes in ownership or of a change in the return shipping address of any loaned objects abandoned. Abandoned material will become the property of the Museum.

A report on incoming loans will be served before the NAHECSC Committee and Senate.

Requests for expert advice could involve the temporary physical transfers of objects from an individual or institution to the Museum for the purpose of obtaining information or opinions about these objects. No legal transfer of ownership is intended or implied.

A request-for-expert-advice-form must be completed and signed for all objects brought to the Museum for the purpose of obtaining information or opinions from the professional staff.

Written notification will be mailed to enquirers at the most current address provided to the Museum as to when objects are available to be collected. Objects must be collected within 90 days after the date of such notification; if not the Museum will consider such objects as abandoned and will dispose of the objects in accordance with the Museum's accepted policies, procedures and the principles.

The Museum will not be responsible for loss or damage to objects left for expert advice, nor will the Museum insure such objects. The comments provided are opinions only and the Museum, its officers and employees may not be held legally responsible for them. Museum staff members will not give appraisals or in any way discuss the monetary value of objects submitted for expert advice.

Visitors to the Museum may be allowed to take photographs of the displays with their own equipment on application from the Senior Curator and subject to the following restrictions and conditions:

• Application forms approved by the Aquisation Committee and the NAHECSC Committee are filled in before photographing and processed by the Senior Curator/Curator.
• All exhibits marked with a either a "NO PHOTO" or "ON LOAN" label will not be photographed.
• A member of staff will be assigned to supervise and guide the visiting photographer.
• Only the available light or electronic flash may be used. No equipment using artificial lighting or loose flash bulbs will be used without prior arrangement and permission by the Senior Curator.
• The normal flow of visitors seeing the exhibits should not be obstructed by equipment or activities of the visiting photographer. Any accidents resulting from the activities of the photographer will be binding on the photographer and not the Museum.
• No equipment or shedding of any kind may be placed on museum exhibits or cases during the photography.
• No photographing will take place beyond the guard railing, if one is in place.
• Photographs taken by visitors may not be published without explicit written permission from the Senior Curator, and where such permission has been granted, the Museum must be fully acknowledged and a copy of the publication thereof furnished to the Museum. Any alternative to this provision will be at the photographer's legal peril.
• Where photography and filming is for commercial use, a contract will be entered into by the filming company and the Museum prior to the photography or filming sessions.
• A report on photography and filming done will be served before the NAHECSC Committee.

The Museum has the rights to

• charge for all photographs and reproductions made,
• waive the fee for non-commercial, non-profit projects,
• refuse permission to copy or photograph certain objects,
• limit the number of photographic reproductions,
• limit the time that the objects are exposed to light,
• specify the intensity of light,
• restrict the use or the reproduction of specific items,
• ensure that the objects from its collection are reproduced in good taste and
• not supply negatives of the photographs made.

Prepayment for photographic orders may be required

The Museum may require to receive a proof of the photograph of object(s) in its collection intended for publication before final approval is granted.

Captions must bear the correct information, and the Museum will always be happy to provide this information

Permission for reproduction and use of a photograph will normally be granted for one-time use only. Where this condition is waived, the museum will not grant exclusive rights for the use of photographic material, a time limit will always be set for the use of such material.

No photographic material from the Museum's collection may be used for commercial purposes whatsoever without proper legal contractual agreement enter into between the Museum and the producer of such material. The Senior Curator will always act to safeguard Museum interests in this regard.

No object, display or reproduction thereof will be used in the commercial promotion of a product or service in a manner which implies the Museum's endorsement of said product or service. Any request for use of an object or display for promotional purposes will be reviewed by the Acquisition Committee and permission will only be granted by the Acquisition Committee which will make sure that interests of the Museum are fully protected.

The user of any photographic material from the Museum binds him/herself to observe and safeguard all copyright in the material and to always give full and prominent acknowledgement to the Museum.