Box with napkin rings

wood

Bermuda

Made by TJC Senekal on board the steamship SS Ranee on its way to Bermuda Island

Tobacco jar

Wood

India

Made FP Pietersen

Jewellery box

Wood
St. Helena
Made by Christoffel Gerhardus Snyman for his wife Carolina Johanna of the Waterberg district

Play card box

Wood

St. Helena

Made by JG Reynecke for his wife (maiden name Theron)

Wooden Bowl2

Sculpture: African wooden bowl

Middle to late 19th century
Used in a Western household.

Wooden Bowl

Sculpture: At Smit 2006

Natural edged handcrafted ‘Boekenhout’ bowl,

White Bowl

Sculpture: Erich Mayer

Earthenware vase by Linn Ware, 1955 and appliqué cushion cover decorated with San motifs.

The artist Erich Mayer was intensely involved in the study of the art of the indigenous people of Southern Africa.

Of particular importance were his sketches based on San and African motifs. Among them were designs for tiles, pottery, weaving, embroidery, appliqué work and carpets,

Tswana

Sculpture: Tswana

3D models of objects found from the storage at the Ditsong National Museum of Cultural History.

Statue

Sculpture: Coert Steynberg

Moeder en kind” (Mother and child) 1948
Copper with brass rings
Artists were attracted to African sculpture because of its sophisticated approach to The abstraction of the human figure, shown, for example, in the work ‘Mother and child’ by Coert Steynberg. Although Steynberg is known for his commemorative monuments, which recall ‘Afrikaner’ historic personages and events, he often found Inspiration in classical African sculpture for his smaller pieces. The rhythm and the Exaggerated simplification of the figures and flatness of the face in ‘Mother and child’ ypify elements of African aesthetics that were frequently evoked in modernist painting and sculpture.

Pot 4

Sculpture: Pot 4

3D models of objects found from the storage at the Ditsong National Museum of Cultural History.

Pot 3

Sculpture: Pot 3

3D models of objects found from the storage at the Ditsong National Museum of Cultural History.

Pot 5

Sculpture: Pot 5

3D models of objects found from the storage at the Ditsong National Museum of Cultural History.

Pot 2

Sculpture: Pot 2

3D models of objects found from the storage at the Ditsong National Museum of Cultural History.

Lap

Sculpture: Electrical hand-beaten table lamp

1960-1970s
With embossed decoration in high relief depicting an African scene on the lampshade

Hatched Bowl

Sculpture: Hatched bowl

3D models of objects found from the storage at the Ditsong National Museum of Cultural History.

Hatched Basket 4

Sculpture: Hatched basket 4

3D models of objects found from the storage at the Ditsong National Museum of Cultural History.

Hatched Basket 3

Sculpture: Hatched basket 3

3D models of objects found from the storage at the Ditsong National Museum of Cultural History.

Hatched basket 2

Sculpture: Hatched basket 2

3D models of objects found from the storage at the Ditsong National Museum of Cultural History.

Hatched basket

Sculpture: Hatched Basket

3D models of objects found from the storage at the Ditsong National Museum of Cultural History.

Hatched Bag

Sculpture: Golden bowl

3D models of objects found from the storage at the Ditsong National Museum of Cultural History.

Golden Bowl

Sculpture: Golden bowl

Mining and Iron smelting
Ore was removed by hand from its bed or reef in the mine. The iron was extracted through a reduction process by smelting in a clay furnace. The furnace was fired with charcoal and the temperature was increased by pumping additional oxygen into the fire with the assistance of bellows. When the smelting process was completed the ‘bloom’ was formed into any required object by a metal worker.
Copper, zinc and tin were cast into enigmatically shaped ingots – the meaning of these forms still not fully understood. These were exported via the east coast of Africa.
Mining and smelting were labour intensive activities, adding to the trade value of iron products. Iron products were exchanged for locally produced salt-contributing to establishing extensive trade route systems.

First pot

Sculpture: First Pot

3D models of objects found from the storage at the Ditsong National Museum of Cultural History.

Doll thing four

Sculpture: Doll Thing four

The Journey Continues

Intangible cultural heritage, transmitted from generation to generation, is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity.

Doll Thing 3

Sculpture: Doll Thing 3

The Journey Continues

Intangible cultural heritage, transmitted from generation to generation, is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity.

Doll Thing two

Sculpture: Black bowl2

The Journey Continues
Intangible cultural heritage, transmitted from generation to generation, is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity.

Doll Thing one

Sculpture: Doll Thing One

The Journey Continues
Intangible cultural heritage, transmitted from generation to generation, is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity.

Bowl3

Sculpture: African wooden bowl

Middle to late 19th century

Used in a Western household.

Bowl

Sculpture: Black bowl2Esias Bosch Vase

co. 1961-1975
Stoneware vase with dolomite off-white matt glaze.
Bosch was South Africa’s most distinguished ceramic artist. His art, although in the tradition of the East and England, was nevertheless rooted in Africa. It embraced the solidity of the continent in its shapes and reflected the rich, dark atmosphere in its colours.

Black bowl 2

Sculpture: Black bowl2

Crescent pottery
Earthenware vase
‘Uranium City’ range
Ca. 1950s
The Crescent Pottery studio was situated at Luipaardsvlei, near Krugersdorp.
While the studio used Western styles and production techniques, African patterns and designs were also applied. The geometric patterns or abstract graphic qualities of this vase reflect the influence of international design trends, but also demonstrates African links.

Black bowl

Sculpture: Black bowl

Crescent pottery
Earthenware vase
‘Uranium City’ range
Ca. 1950s
The Crescent Pottery studio was situated at Luipaardsvlei, near Krugersdorp.
While the studio used Western styles and production techniques, African patterns and designs were also applied. The geometric patterns or abstract graphic qualities of this vase reflect the influence of international design trends, but also demonstrates African links.

Black baroste

Sculpture: Black baroste

3D models of objects found from the storage at the Ditsong National Museum of Cultural History.

Baroste 2

Sculpture: Baroste 2

3D models of objects found from the storage at the Ditsong National Museum of Cultural History.

Baroste

Sculpture: Baroste

3D models of objects found from the storage at the Ditsong National Museum of Cultural History.

SOLOMON TSHEKISHO PLAATJE (1876-1932)

Sculpture: SOLOMON TSHEKISHO PLAATJE (1876-1932)
Artist: Dina Grobler
Solomon (Sol) Plaatje was born on 9 October 1876 on the farm Doornfontein near Boshof in the then Orange- Free State. Later the family moved to Pniel, Griqualand West where Plaatje was educated at the Lutheran mission station. He remained at the school as a pupil-teachervbefore leaving for Kimberley in 1894 where he took up a job as a letter carrier (telegraph messenger) for the Post Office.

Plaatje was a skilled linguist and excelled in languages at school. Plaatje became fluent in several African and European languages. Besides his mother tongue of Setswana, he also spoke English, Dutch, German, French, Sotho, Zulu, and Xhosa. He moved to Mafeking in 1898 to work as a court interpreter. In the South African War during the siege of Mafeking from 14 October 1899 to 15 February 1900 Plaatje kept a diary of day-to-day events.

After resigning as court interpreter in 1902 he started his career as journalist and became the first editor of the Koranta ea Becoana (Bechuana Gazette) in Mafeking as well as the Tsala ea Becoana (Bechuana Friend) and Tsala ea Batho (The Friend of the People) in Kimberley. As an activist and politician, Plaatje spent much of his life in the struggle for the enfranchisement and liberation of African people. He was a founder member and first General Secretary of the South African Native National Congress (SANNC) formed in 1912, which became known as the African National Congress (ANC) in 1926. Plaatje died of pneumonia at Pimville in Johannesburg on 19 June 1932. He was buried in Kimberley in the West End Cemetery.

Typewriter

A typewriter from the period 1900 – 1930, similar to the one that Solomon (Sol) Plaatje used
Some excerpts by Sol Plaatje: “To give a short account of what I found war to be, I can say: no music is as thrilling and as immensely captivating as to listen to the firing of the guns… no words can suitably depict the fascination of the music produced by the action of Maxim gun…”
From: Diary of Solomon Plaatje, p.1.
“The imperial Government may be as good as we are told it is, but one thing is certain that (it) does not care a hang over the lives of its distant subjects.”
From: Diary of Solomon Plaatje, p.33.
“Awakening on Friday morning, June 20, 1913, the South African Native found himself, not actually a slave, but a pariah in the land of his birth.”
From: Native Life in South Africa by Solomon T Plaatje, p.86.

Grinding stone from Brandfort black concentration camp

Grinding stone from Brandfort black concentration camp
Thanks to archaeological items like these, the location of the black concentration camp at Brandfort could be established. At Brandfort in the Orange Free State a black concentration camp grew alongside the white concentration camp, reaching about 1 800 people by mid-April 1901 and by August there were at least 4 000 inmates. In the early days of the camp black inmates received the same rations as the whites but the accommodation was much more haphazard, consisting of inadequate tents, which some people covered with matting to make them more waterproof. No sanitation was provided and inmates had to ‘report’ to a wooded kloof a mile above the camp ‘for the purposes of nature’.

In March 1901 there were still no paid officials to supervise the camp. The black inmates received basic medical attention but there was no hospital accommodation whilst those needing hospital care were treated in the ambulance wagons. At the end of March infant mortality was ‘rather high’. Eventually a white superintendent, Mr Meintjes and an assistant, Hendrik Khukhu, was appointed. Children attended school in the local town location. Eventually the size of the black camp was partially
reduced by returning a number of Basuto nationals to their homes in Basutoland. Around September 1901 it was decided to move the black camp from Brandfort. This meant new arrangements had to be made for the men who worked in the white camp, along with their families.

Agterryer (Attendant)

Artwork Title: Agterryer (Attendant)
Artist: Phil Minnaar
Medium: Bronze (maquette)
Date: 2012
During the South African War, black farmworkers were employed by the Boer forces in various capacities. The most important function performed by black South Africans on commando was that of an Agterryer. The word, Agterryer, is an Afrikaans word that refers to a logistical supporter, an orderly or mounted attendant. Approximately 12 000 Agterryers accompanied the Boer forces on commando at the beginning of the war, although the number declined drastically during the guerrilla phase.

The duties of an Agterryer were mainly non-combatant including tasks such as looking after horses, collecting firewood, cooking food, washing
clothes, etc. Agterryers mainly saw to it that the horses were kept out of harm’s way during battles and skirmishes, reuniting with the commando after the fighting has ended. Due to their knowledge of the terrain, mobility and the nature of their responsibilities Agterryers often excelled in scouting and tracking.

They were also an important link between the commandos and the African rural communities, acting as translators when needed. Even though it wasn’t the norm, Agterryers assisted in carrying rifles and ammunition. This important supportive role that Agterryers performed were an integral part of the commando system at the commencement of the war. The invaluable logistical support Agterryers provided contributed to the success of
the commandos as a fighting unit. Agterryers frequently came under British fire and an unknown number were killed while serving in Boer commandos.

During the latter part of the war Agterryers generally served with the Boer forces without any renumeration whatsoever. When the war ended, many commandos still had a small number of Agterryers serving with them. They preferred loyalty to the Boers over the higher salaries paid by the British military authorities.

Gravestone of “Elisa Monamoli, 1890- 1901” from the black concentration camp at Brandfort

Gravestone of “Elisa Monamoli, 1890- 1901” from the black concentration camp at Brandfort
During the South African War concentration camps and forced labour camps were also established for black civilians, who had largely come from farms, homes in villages and mission stations. Inmates of these camps had to see to their own food and shelter.  British authorities reasoned that the war was not being waged against them in particular, and that they were free to earn an income by working for the British army.

About 140 000 black people were incarcerated in black concentration camps in the Transvaal and the Orange Free State. Record keeping in the black camps was notoriously poor, but an estimated 24 000 black people are thought to have died in the 65 black camps. This gravestone of Elisa Monamoli from the black concentration camp (Nooitgedacht) at Brandfort symbolises the thousands of black children that died during the war that were never recorded.

Skull

Artwork Title: Skull
Artist: Guy du Toit
Medium: Bronze
Date: 2013
Skulls are the derelict remnants of war. Often poorly accounted for, if at all, and then deserted by their custodians they stand as the forensic evidence of the victims, in this artwork, Skull, questionable statistics are recorded and the skull is immortalised in bronze – a record of the horrors of war and tribute to the fallen.

Queen Victoria gift chocolate tin

Queen Victoria gift chocolate tin
In 1899 Queen Victoria decided to send a gift of tin boxes of chocolate to her troops serving in South Africa. It was intended that every soldier and officer should receive a box with the inscription “South Africa 1900” and in the Queen’s handwriting “I wish you a happy New Year”. In order to carry out this project, the Queen commissioned the country’s three principal chocolate manufacturers, JS Fry & Sons, Cadbury Brothers Limited and Rowntree and Company Limited, to undertake the order for what amounted, by the end of 1900, to 123 000 tins. As Quakers, all three manufacturers refused to accept payment for the order and, not wishing to profit from the War, they offered to donate the chocolate instead. The manufacture of the tin boxes themselves was funded personally by the Queen.

They were based on a design by Barclay and Fry Limited of Southwark, but since each of the chocolate manufacturers used different firms to supply the tins, there are variations in their dimensions, the shade of colouring and the printing of the portrait medallion of the Queen. The tins had rounded corners for ease of storage in a soldier’s knapsack and each contained a half-pound of vanilla chocolate.

As a gift from the Queen, many soldiers preserved their tins with the chocolate intact, even posting them back home for safe-keeping. In exceptional cases the recipients did not even dare untie the ribbon round the packaging. Mohandas K (Mahatma) Gandhi complained bitterly about the fact that the Queen’s Christmas gift of chocolates to her soldiers excluded the Indian Ambulance Corps

JOHN TENGO JABAVU (1859-1921)

Sculpture: JOHN TENGO JABAVU (1859-1921)
Artist: Dina Grobler
John Tengo Jabavu was born on 11 January in 1859 near the Methodist mission school at Healdton district. It was not long before he received his Teacher’s Certificate. From 1877 to 1881 he taught in Somerset East, working during the pre-dawn hours as a printer’s assistant on a local newspaper. In 1881 he became editor of the Isigidimi Sama Xhosa, which was printed and published at Lovedale Institution. In 1883 he passed the Matriculation Examination of the South African University.

Jabavu founded and become editor of the newspaper Imvo Zabantsundu (Black Opinion) in 1884. In 1885 he married Elda Sakuba. And in 1886, the
young Jabavu opened his office in King Williamstown. He put his whole life into his work and soon his paper was known and read throughout South Africa. He became a member of the Wesleyan Conference and took an active interest in the welfare of his people. His wife died in 1900, leaving four sons. Shortly afterwards Jabavu’s eldest son was sent to England for education, while the younger one became a teacher in the Cape Province.

Jabavu supported the Republican struggle for freedom against British Imperialism during the South African War. For that reason, he was jailed by the British military authorities during the war. He died at the home of his son at Fort Hare on 10 September 1921. Alexander Jabavu, second eldest son of the late John Tengo Jabavu, took over the editorial of the newspaper

Camera

Sculpture: Camera

Tshibelane

Sculpture: Tshibelane

Suspendisse potenti. Sed at neque sed est lobortis suscipit sed ullamcorper urna. Quisque suscipit justo ut dictum pellentesque. Pellentesque venenatis sem et tempus molestie. Vivamus dignissim eleifend ex consectetur tempor. Sed tristique felis mi, sed pulvinar ante tincidunt sit amet. Pellentesque lacinia non est nec gravida. Phasellus tempor placerat accumsan. In convallis porttitor dolor vitae semper. Fusce dignissim massa non orci iaculis hendrerit. Nunc elementum iaculis enim non dignissim.

Stool

Sculpture: Stool

Suspendisse potenti. Sed at neque sed est lobortis suscipit sed ullamcorper urna. Quisque suscipit justo ut dictum pellentesque. Pellentesque venenatis sem et tempus molestie. Vivamus dignissim eleifend ex consectetur tempor. Sed tristique felis mi, sed pulvinar ante tincidunt sit amet. Pellentesque lacinia non est nec gravida. Phasellus tempor placerat accumsan. In convallis porttitor dolor vitae semper. Fusce dignissim massa non orci iaculis hendrerit. Nunc elementum iaculis enim non dignissim.

Ring Board

Sculpture: Ring Board

Suspendisse potenti. Sed at neque sed est lobortis suscipit sed ullamcorper urna. Quisque suscipit justo ut dictum pellentesque. Pellentesque venenatis sem et tempus molestie. Vivamus dignissim eleifend ex consectetur tempor. Sed tristique felis mi, sed pulvinar ante tincidunt sit amet. Pellentesque lacinia non est nec gravida. Phasellus tempor placerat accumsan. In convallis porttitor dolor vitae semper. Fusce dignissim massa non orci iaculis hendrerit. Nunc elementum iaculis enim non dignissim.

Moropa

Sculpture: Moropa

Suspendisse potenti. Sed at neque sed est lobortis suscipit sed ullamcorper urna. Quisque suscipit justo ut dictum pellentesque. Pellentesque venenatis sem et tempus molestie. Vivamus dignissim eleifend ex consectetur tempor. Sed tristique felis mi, sed pulvinar ante tincidunt sit amet. Pellentesque lacinia non est nec gravida. Phasellus tempor placerat accumsan. In convallis porttitor dolor vitae semper. Fusce dignissim massa non orci iaculis hendrerit. Nunc elementum iaculis enim non dignissim.

Marimba

Sculpture: Marimba

Suspendisse potenti. Sed at neque sed est lobortis suscipit sed ullamcorper urna. Quisque suscipit justo ut dictum pellentesque. Pellentesque venenatis sem et tempus molestie. Vivamus dignissim eleifend ex consectetur tempor. Sed tristique felis mi, sed pulvinar ante tincidunt sit amet. Pellentesque lacinia non est nec gravida. Phasellus tempor placerat accumsan. In convallis porttitor dolor vitae semper. Fusce dignissim massa non orci iaculis hendrerit. Nunc elementum iaculis enim non dignissim.

Ironing Stone 2

Sculpture: Ironing Stone 2

Suspendisse potenti. Sed at neque sed est lobortis suscipit sed ullamcorper urna. Quisque suscipit justo ut dictum pellentesque. Pellentesque venenatis sem et tempus molestie. Vivamus dignissim eleifend ex consectetur tempor. Sed tristique felis mi, sed pulvinar ante tincidunt sit amet. Pellentesque lacinia non est nec gravida. Phasellus tempor placerat accumsan. In convallis porttitor dolor vitae semper. Fusce dignissim massa non orci iaculis hendrerit. Nunc elementum iaculis enim non dignissim.

Ironing Stone

Sculpture: Ironing Stone

Suspendisse potenti. Sed at neque sed est lobortis suscipit sed ullamcorper urna. Quisque suscipit justo ut dictum pellentesque. Pellentesque venenatis sem et tempus molestie. Vivamus dignissim eleifend ex consectetur tempor. Sed tristique felis mi, sed pulvinar ante tincidunt sit amet. Pellentesque lacinia non est nec gravida. Phasellus tempor placerat accumsan. In convallis porttitor dolor vitae semper. Fusce dignissim massa non orci iaculis hendrerit. Nunc elementum iaculis enim non dignissim.

Doll thing Five

Sculpture: Doll Thing five

Suspendisse potenti. Sed at neque sed est lobortis suscipit sed ullamcorper urna. Quisque suscipit justo ut dictum pellentesque. Pellentesque venenatis sem et tempus molestie. Vivamus dignissim eleifend ex consectetur tempor. Sed tristique felis mi, sed pulvinar ante tincidunt sit amet. Pellentesque lacinia non est nec gravida. Phasellus tempor placerat accumsan. In convallis porttitor dolor vitae semper. Fusce dignissim massa non orci iaculis hendrerit. Nunc elementum iaculis enim non dignissim

Our world, a scorched and barren land

DGS 10 Sara Beletsa

This grave had as its grave goods a hand axe which was retrieved and accessioned into the McGregor Museum.Headstone of Sara Baletsa, born 1890 died 1901. Hand axe found on this grave.

Area B.

DSG 10. Square E 24.

No. 20 of 2001.

Engraved: block capitals.

Sara T (?)

Beletsa

9001

DGS 1

A shale stone with a total length of 49cm, maximum breadth along the break of 35cm with a thickness of 5cm.

This fragment has moved around since 2001. Should be matched with shale

Area C.

DGS 1.

Engraving: ONS or SNO.

Stone type : Shale

Click here to view DSG1 3dmodel

No. 18 of 2001.

The headstone is partially buried into the ground and the grave footstone is a calcrete cobble. (Johanna Leo…) is a Tswana surname

Area B.

GS 29.

Engraved: block capitals.

JOH

ANN

A: LEQ

.1901 Nov.

GS 30.

The name could translate to Dorcas Petsianadi. Made from the same material as No. 14 and is the same rectangular design.

Area B.          

No. 16 of 2001.

Engraved: block capitals.

DORK

AS PE

TSANI

ADI DIED

NOV 1

2 YEARS OLD 1901.

GS 9.

The top and bottom of the stone found were broken off. The top might be the remains of a cross. The bottom is cut and recessed with a fine engraved line. Lots of pieces of black shale were found in the grave when excavating the headstone. Headstone thickness is 3 cm. Height 19.5cm and the width 20cm.

Area A.

Stone type: Slate.

Engraving:  Block capitals: BULLOR TOLO

GS 15.

The base of the stone was buried 21cm in the ground. The base is fragmented. Three fragments labelled GS16 probably belong with it and were kept together and reburied

Area B.

Engraved: 1902 BH

GS 21

The headstone is upright in the ground with a broken top. It was excavated and fragments found piecing name and date together with polished sections.

Area A.

Stone type : Dolomite

1902 Engraved: block letters.

Willem Motobi.

No 1 of 2001.

The measurements are 15cm x 45cm. this stone lies adjacent to the road separating Areas A and B from Area C. Found near road in two halves.

Area A.

GS 22. Grid JZ.

Engraved: Block capitals:

CCB

ALEA

OO

On JANOARY

IN 1902

GS 19. D15/2.

Areas B.

The stone was found in the soil on top of a cobbled grave mound. Three engraved lines with unclear writing.

Engraved: ALM

GS 33.

Area B.

DSG 9.

The stone is a shale piece with an incised palmate design engraved into it.

Stone type: Slate.

GS 31.

Gravestone of Sami Dami.This rectangular slab is similar to No 16.This match again relies on a phonetic interpretation of the name on the gravestone and two other stones found in BGY3, the Boshof ‘Location’ cemetery. This name could be pronounced Sarmi Darmi or Sammy Dammy – although spelt Sami Dami. The surname on the following two grave stones from Boshof could be pronounced Dammy, although spelt Damme

Area B.

GS 31.

No. 17 of 2001.

Engraved: block capitals.

SANI DAMI

BORN FEB 9 1881

DIED NOV 9 1901

GS 32.

Gravestone of Jimmy Matlakwa. 1901. The stone is a rectangular piece of dark slate or diorite. Engraving: Jim(m)y Ma. Tlakwanver

Area B.

D15/2.

No. 14 of 2001.

Engraved: block capitals.

JIMMY MATLAKWA NEVER

DIED 16  NOV 1901

Stone type : Slate or diorite.

DGS 4.

Grey slate headstone of Kosenioa Modisa.  Hand axe found on this grave

AREA A

No. 9 of 2001.

Engraved block capitals: Kosenioa Madisa.

Stone: grey slate.

GS 8

The base is anchored upright in the ground. The top is broken off and lying next to the stone. There is very indistinct cursive writing which is illegible on the left and right of the central column of the cross. In two pieces with base anchored in the ground.  

Cross on top of stone. Very indistinct cursive illegible writing.

GS 8. D8/9 of 2008. No. 7 of 2001.

GS 10

The headstone is a long thin slab of slate, buried upright and protruding above ground level. The top of the stone is broken off and was excavated on 27 June 2008. The excavated stone is 16cm long and 15cm and the complete headstone would have been 70 cm long.  Engraved in the centre of the top is an upside down cross with possibly another cross in the middle. One other large fragment, plus a small one with “O” on it were uncovered. One other large piece with a raised ridge fits on the left side of the headstone.

Area A.

GS 10. No. 4 of 2001. Square D6.

Engraved: cursive writing.

Stone type : Slate.

Lesi Moremo

1902 Saller 3.

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Our first responsibility is to all those that use our products and services

• To meet our clients’ needs, everything we do must be of a high quality
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• Who must be recognized for their merit, worth and contribution as individuals
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• But keeping in mind customer needs

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• In which we live and work; we will bear our fair share of taxes and also increase our impact on society through the work that we do
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• When we operate according to these principles, our future is assured

Dave Lockwood has a professional background in both transport engineering and ICT.

He joined the CSIR from the UK in 1981 (on a 3-year contract) as a traffic Engineer. Still, he slowly migrated into the computing and IT side of roads and transport through the 80s and into the ’90s,

During this period, IT transformed into ICT, which also encompassed the management of information itself. This translated into managing the Division’s Library Services in Dave’s case. At the time, libraries were also transitioning from paper to online services and digital content, a process that he led and managed and was a time of inspiration.

He ended his CSIR service as Co-Director of a CSIR VR Centre between 1998 and 2000.

Dave founded the Naledi3d Factory in 2000.

He holds an MSc in Transportation Engineering and BA (Hons.) Geography and has over thirty years of experience in the ICT field.

He is a member of the Chartered Institute of Transport, the Chartered Institute of Logistics and Transport, and a Senior Member of the Association of Computer Mechanics and The Institute of IT Professionals South Africa (IITPSA).

He worked at CSIR for almost 20 years. During his time as co-Director of the CSIR VR Centre from 1998 to 2000, his passion for VR grew after starting to develop his ideas on how powerful VR could be for training and education in Africa – and especially it’s potential for the development of our poorer communities – thinking that was unique worldwide at the time.

He describes himself as a “social entrepreneur”. He rails against the still prevalent “industrial paradigm” that still seems to dominate our economy and dreams of the day when an actual “knowledge-based society” comes into its own.

shego studied IT at the TUT, specialising in Multimedia. He also holds a certificate in The Fundamentals of Digital Marketing through Google Digital Skills for Africa. He joined Naledi3d in 2015 as an intern, leaving in 2019 to spread his wings and explore other opportunities, returning to Naledi3d in 2020.

Tshego is a very passionate coder. He started having a strong passion for VR when he realised how much of an impact it can have, especially in education. He strongly believes in harnessing 4IR technologies to enrich the way our children learn. Besides coding, Tshego spends his time reading and, these days, upskilling on Udemy.

With over 12 years of experience in VR content development, Ofentse completed his Information Technology qualification at the Tshwane University of Technology. In 2012 He specialised in Multimedia design, Multimedia Programming and Software Development.

He displays creativity and attention to detail in his work that is hard to match. Ofentse is one of our star VR Developers, creating and programming innovative content for interactive 3D simulations. He has a good grounding in both hardware as well as software tools required.

Lesego is a VR developer with Naledi3d Factory and holds a BSc degree specialising in Software Engineering. Following a post-degree 11-month course in VR development at the Tshwane Interactive Digital Centre (T-IDC) in 2016, she was employed the following year at the Centre as a VR Developer.

Following the move of the IDC to the City of Tshwane in 2019, she moved to the Naledi3d Factory. She believes the world of 3D/VR/AR has not yet caught on in South Africa, but as it does, it will revolutionise how things are done in our country, especially in the education and TVET training spaces – which is where her passion starts.

Henri studied software development at the Tshwane University of Technology. Joining us in 2008, he specialises in accurate, low polygon 3D modelling and inspirational 3D animated stories. Low-polygon modelling is essential to keep real-time interactive simulations as small and efficient as possible, which is a special skill, and Henry has indeed honed these skills over time.

Henry’s skills and knowledge will be crucial to this project in building the 3D platform upon which the AR and VR simulations will stand.

Lucett is COO and Business Development Director at the Naledi3d Factory.

She is a transport and logistics professional by background. She has extensive practical experience in “complex” project and contract management, construction and infrastructure, and business development experience, having previously served as Project Coordinator for the Rustenburg 2010 FWC and as former Director at Limpopo Department of Roads and Transport, as well as and the National Department of Transport, and as an Infrastructure and transport researcher at the CSIR between 2000 and 2007.

She became involved in the potential impacts that VR and AR can offer “African” training and education in the company part-time as early as 2004. She joined the Naledi3d team full-time in 2016.

She was invited to speak about the impact of AR/VR in Africa at the UNIDO General Conference Plenary Session in Vienna in 2017.

Virtual tours can provide several advantages in a marketing strategy for a company or non-profit organization. These include:

Increased accessibility:

Virtual tours allow potential customers or donors to explore a facility or location from the comfort of their own home. This can be particularly useful for organizations with limited physical locations or those that are not easily accessible.

Cost savings:

Virtual tours can be less expensive to produce and maintain than traditional in-person tours, and do not require travel expenses for potential customers or donors.

Improved engagement:

Virtual tours can be interactive and allow users to explore a location at their own pace, potentially increasing engagement and interest.

Increased visibility:

Virtual tours can be shared on social media, the company’s website and other platforms, increasing visibility and reach.

Accessibility for people with disabilities:

Virtual tours can be a great way to provide accessibility for people with disabilities who might not be able to visit the location in person.

There are several reasons for using 360-degree virtual tours in facilities management, including:

Remote access:

Virtual tours allow facilities managers to access and inspect buildings remotely, reducing the need for in-person visits and minimizing disruptions to building occupants.

Cost savings:

Virtual tours can help facilities managers identify and prioritize maintenance needs, reducing the cost of repairs and minimizing the risk of equipment failure.

Improved communication:

Virtual tours can communicate information about a building’s layout and features to occupants, contractors, and other stakeholders.

Safety:

Virtual tours can help identify potential safety hazards and help facilities managers plan for emergency situations.

Documenting:

Virtual tours can document a building’s condition over time, which can help track changes and identify patterns.

Marketing:

Virtual tours can showcase a building’s features and amenities to potential tenants, buyers, or investors.

There are several reasons for using 360-degree virtual tours in tourism, travel, and hospitality:

Showcasing destinations:

Virtual tours allow potential travellers to see tourist destinations, hotels, and other properties from all angles, giving them a better understanding of the location, features and details.

Improving customer experience:

Virtual tours can create a more engaging and interactive experience for potential travellers, allowing them to explore the destination, hotel or property at their own pace and in greater detail.

Enhancing online travel planning:

Virtual tours can help to bridge the gap between online and in-person travel planning by providing potential travellers with a more realistic view of the destination, hotel or property.

Cost-effective:

Virtual tours can be a cost-effective way to showcase tourist destinations, hotels and other properties and attract more potential travellers.

Accessibility:

Virtual tours can allow potential travellers to view destinations, hotels and other properties from any location and also help increase accessibility for travellers with mobility issues.

Convenience:

Virtual tours can save potential travellers time and effort by allowing them to view destinations, hotels and other properties without visiting them physically.

Increased visibility:

Virtual tours can help to increase the visibility of tourist destinations, hotels and other properties to a broader audience, as they can be easily shared online and viewed on different devices.

Marketing tool:

Virtual tours can be a marketing tool for travel agencies, hotels and other tourism-related businesses to showcase their properties and attract more customers.

Decision making:

Virtual tours allow travellers to make informed decisions on whether a destination, hotel or property is suitable for them before arranging a physical visit.

There are several reasons for using 360-degree virtual tours in insurance, claims management and restoration, including:

Remote assessment:

Virtual tours allow insurance adjusters and claims managers to assess damage to a property remotely, reducing the need for in-person inspections and minimizing disruptions to policyholders.

Improved accuracy:

Virtual tours can provide a detailed and accurate record of a property’s condition, which can help insurance adjusters and claims managers make more accurate assessments of damage and determine the cost of repairs.

Faster claims processing:

Virtual tours can help streamline the claims process, reducing the time and cost of inspections and allowing claims to be processed more quickly.

Communication:

Virtual tours can communicate information about a property’s condition to policyholders, contractors, and other stakeholders, improving transparency and trust.

Safety:

Virtual tours can help identify potential safety hazards and help insurance adjusters and claims managers plan for emergency situations.

Documenting:

Virtual tours can be used to document a property’s condition over time, which can help track changes and identify patterns.

Restoration:

Virtual tours can be used to plan and document the progress of restoration work and to ensure that the work is completed according to the insurance adjuster’s specifications.

There are several reasons for using 360-degree virtual tours in commercial letting:

Showcasing spaces:

Virtual tours allow potential tenants to see commercial spaces from all angles, giving them a better understanding of the space’s layout, features, and details.

Improving customer experience:

Virtual tours can create a more engaging and interactive experience for potential tenants, allowing them to explore the space at their own pace and in greater detail.

Enhancing online property viewing:

Virtual tours can help to bridge the gap between online and in-person property viewing by providing potential tenants with a more realistic view of the space.

Cost-effective:

Virtual tours can be a cost-effective way to showcase commercial spaces and attract more potential tenants.

Accessibility:

Virtual tours can allow potential tenants to view commercial spaces from any location and help increase accessibility for tenants with mobility issues.

Convenience:

Virtual tours can save potential tenants time and effort by allowing them to view commercial spaces without physically visiting them.

Increased visibility:

Virtual tours can help increase commercial spaces’ visibility to a broader audience, as they can be easily shared online and viewed on different devices.

Visualizing space usage:

Virtual tours can help potential tenants visualize how they will use the space and ensure it meets their needs.

Flexibility in decision-making:

Virtual tours allow potential tenants to make informed decisions on whether a space suits them before arranging a physical visit.

There are several reasons for using 360-degree virtual tours in real estate:

Showcasing properties:

Virtual tours allow potential buyers to see properties from all angles, giving them a better understanding of the layout, features, and details of the property.

Improving customer experience:

Virtual tours can create a more engaging and interactive experience for potential buyers, allowing them to explore the property at their own pace and in greater detail.

Enhancing online property viewing:

Virtual tours can help to bridge the gap between online and in-person property viewing by providing potential buyers with a more realistic view of the property.

Cost-effective:

Virtual tours can be a cost-effective way to showcase properties and attract more potential buyers.

Accessibility:

Virtual tours can allow potential buyers to view properties from any location and help increase accessibility for buyers with mobility issues.

Convenience:

Virtual tours can save potential buyers time and effort by allowing them to view properties without physically visiting them.

Increased visibility:

Virtual tours can help increase properties’ visibility to a broader audience, as they can be easily shared online and viewed on different devices.

There are several reasons for using 360-degree virtual tours in museums and heritage sites:

Accessibility:

Virtual tours allow people unable to visit the physical location to experience the museum or heritage site from the comfort of their homes.

Preservation:

Virtual tours can help to preserve fragile artefacts and historic sites by reducing the need for visitors to handle or disturb them physically.

Education:

Virtual tours can provide additional information and context for visitors, enhancing their understanding and appreciation of the exhibits.

Engagement:

Virtual tours can create a more engaging and interactive experience for visitors, allowing them to explore the museum or heritage site at their own pace and in greater detail.

Cost-effective:

Virtual tours can be a cost-effective way to promote a museum or heritage site and attract more visitors

There are several reasons for using 360-degree virtual tours in retail and e-commerce:

Showcasing products:

Virtual tours allow customers to see products from all angles, giving them a better understanding of the product’s features and details.

Improving customer experience:

Virtual tours can create a more engaging and interactive shopping experience for customers, allowing them to explore the store or product in greater detail.

Enhancing online shopping:

Virtual tours can help to bridge the gap between online and in-store shopping by providing customers with a more realistic view of the products and store.

Cost-effective:

Virtual tours can be a cost-effective way to showcase products and stores to potential customers and increase sales.

Accessibility:

Virtual tours can allow customers to view the products from any location and help increase accessibility for customers with mobility issues.

Convenience:

Virtual tours can save customers time and effort by allowing them to view the store and its products without having to visit the store physically.

A time spent introducing VR to both industry and state organisations across South and Southern Africa, working through the ten CSIR Divisions.

This was also a time of musing and reflection, looking at how could VR, impact on education, training and learning, and especially so in Africa. Delving into this was truly innovative at the time, with acknowledgement also being given to the inputs of Dr RS Day, then of the CSIR Meraka Institute.

https://www.engineeringnews.co.za/article/the-digital-factory-2000-01-28