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Invitation to design new National Orders 2003

Background

Why additional new National Orders?

The new system of National Orders, which is inclusive and represents all South Africans, is not yet complete. To finalise the transformation process of the previous National Orders, three new National Orders need to be designed.

The Government of South Africa is committed to the transformation of our society and the development of a new identity. The transformation of the National Orders is part of this project.

The objective of the new designs is that they should:

• reflect the ethos and values of the rich diversity of South African traditions
• include indigenous symbols and systems of awards
• apply redress in respect to those previously excluded from national recognition.

Symbols appropriate for the new National Orders

The National Orders should reflect the rich history of both past and present, and the established national, cultural and social identities of the various groups in South Africa. Common symbols should be utilised, linking cultural traditions playing a unifying and integrating function, guiding transformation and embodying a vision of a new national value system for society. Symbols with religious, sectarian or colonial connotation in design, colour or name should be avoided. Symbols could be combined in each category to give a diverse, inclusive and complete a picture as possible.

Symbolic examples can be:

1. Animals

• The lion: universally accepted in Africa as a symbol of bravery. It was not uncommon in pre-colonial Africa for the bravest person to be required to single-handedly confront and kill a lion. The lion remains the king of the beasts.
• The leopard: a leopard skin is the highest honour that can be given to a respected dignitary in most of Africa. Its a widely recognised symbol of authority in African culture, and the sexes are alike.
• The elephant: a symbol of wisdom and patience, the elephant cow reigns as supreme symbol of meritorious service in most of Africa.
• The cow: represents peace and friendship; building new relationships and reconciliation in the context of slaughter and sacrifice, social welfare and mutual help. In most of Africa, it represents the exchange of goodwill.
• The zebra skin (pitsi): the royal mat.
• The Bapedi war horn of antelope (phalafala) was used to summon all men to the royal court when the chief decided on war.
• The Zulu bull horn formation (Izimpondo zenkomo) of the Amazulu warriors consisted of the more agile and fiery younger men.

2. Birds

Birds or their feathers symbolise strength and life and are often fertility symbols. Sometimes the power of speech is attributed to birds.

• The blue crane: the indwe is South Africa's national bird. Its tail feathers (isithwalandwe) are used as symbols of bravery and the emblem of war. The isithwalandwe was traditionally conferred to adorn warriors.
• The secretary bird: these birds hunt on foot and their main source of food are snakes which they kill by stamping or flailing against the ground. A common motif in African pottery is a battle between birds and snakes, and it is also an emblem for the battle between life and death. The sexes are alike.
• The ostrich: a Bapedi-plumed staff made of black ostrich feathers (sefoka) and carried into battle by warriors was a well-known sight.

3. South Africa's unique geographical and natural heritage

• The confluence of the two oceans at Cape L'Agulhas.
• The Kalahari desert and sand dunes.
• The plains of the Great Karoo.
• Mountains and mountain ranges - Table Mountain and the Drakensberg.
• Waterfalls.
• Indigenous forests.

4. South Africa's flora

Plants suitable for using in the designs need to have the following combination of features:

• African and preferably South African in origin
• symmetrical and ornate, lending themselves to be styled and caricaturised
• profound and positive symbolic, cultural or historic significance.

Plants may be appropriate for symbols because of the well-known diversity of the South African flora, widely known to be unique in the world. The following plants fulfil all these requirements:

• Resurrection bush (Myrothamnus flabellifolius)
  • Southern African; highly ornate, fan-shaped, symmetrical little leaves
  • Powerful symbolism: The vernacular names uvukwabafile and resurrection bush refer to the remarkable ability of the seemingly dead leaves to rapidly unfold and turn green when placed in water. The plant is an important African medicine for colds and respiratory ailments, but its main significance lies in the traditional use in the psychological treatment of severely depressed people.
  • Sangomas would tell the patient to place a small twig in water and then give witness to the transformation. The miracles are possible; that things can unexpected change for the better. It is hard to find a better symbolism for adaptability - the plant dries out ('dies') in the dry season but resurrects immediately after the first rain.
    (see People's Plants by Ben Erik Van Wyk and Gericke Nigel, ref 1, p. 176, ref.2, p.108)
• Mopane (Colophospermum mopane)
  • Southern African: highly ornate and symmetrical (two-lobed) leaves.
  • Powerful symbolism in many southern African cultures. The tree gives life to all - it provides shelter, heat, food and medicine, and has special cultural and religious significance. As with the resurrection bush, the symbolism extends to adaptability and rapid response to adversity - this tree responds to drought stress in the daytime by folding the leaflets onto one another to reduce water loss, like a butterfly closing its wings. The mopane is perhaps one of the most versatile of all African trees. The leaves are browsed by cattle and eaten by the larvae of the spectacular mopane moth (mopane worms, an African delicacy). Young trees are used as the main source of poles for hut construction and the wood burns readily even when green. It gives off a sweet smell and an intense heat (with coals lasting for several hours) and is the only firewood traditionally used for the sacred (ancestral) fire. The bark provides strong rope for tying roof rafters and the bark and roots are widely used in traditional medicine.
    (see People's Plants by Ben Erik Van Wyk and Gericke Nigel, ref 2, p.286)

• Devil's claw (Harpagophytum procumbens)
  • Southern African; widespread in the Kalahari region from the Northern Cape to the Free State and also Limpopo (extending into Botswana, Namibia, Angola and Zimbabwe). They are highly ornate and often highly symmetrical fruits (one needs to choose symmetrical ones).
  • Significance: The plant is one of only three plants to be depicted in San rock paintings. This testifies to the special importance in San culture. It has become widely known in most parts of the world as an effective tonic and remedy for arthritis and rheumatisms (the indication for pain is supported by clinical evidence). The dried secondary root is one of the most profound of all natural tonics and is used for a wide variety of ailments in rural areas. Formidable thorns on the fruits ensure that it is widely and effectively dispersed by animals and its ability to survive the dry desert regions of the Kalahari is remarkable.
    (see People's Plants by Ben Erik Van Wyk and Gericke Nigel, ref.1, p.144 & ref. 2, p. 146)

• Pearl millet (Pennisetum glaucum)
  • Truly African in origin; highly ornate oblong heads of grain (reminiscent of a warrior's spear)
  • Symbolism: the grain was used by Zulu warriors while on military campaigns (ground popcorn made from the cereal was carried in leather bags as a light weight but high energy food).
    (see People's Plants by Ben Erik Van Wyk and Gericke Nigel, ref. 2, p. 12)
• Poison bulb (Boophane disticha)
  • Widely distributed in South Africa. Highly ornate, symmetrical, fan-shaped 'head' of leaves.
  • Powerful symbolism: The plant is hallucinogenic and is often used to 'see' in the metaphysical sense, or to diagnose and treat mental problems. It is also used to induce a trance state. Of particular interest was the discovery of an ancient (2000 year-old) mummy in the Baviaanskloof area in the Cape which has been mummified with gifbol bulb scales. This shows that the connection of the plant with the ancestors is more than just symbolic. Practically all cultures in South Africa have stories and legends to tell about the gifbol - from hunting poison to the treatment of circumcision wounds (both as antibiotic and for pain).
    (see People's Plants by Ben Erik Van Wyk and Gericke Nigel, ref.1, p. 60, and ref 2, p. 156)

• Cancer bush (Sutherlandia frutescens)
  • Restricted to southern Africa (mainly the dry interior). Highly ornate blood red flowers (often in symmetrical pairs) and equally ornate bladdery fruits (reminiscent and symbolic of the goat's gall bladder traditionally worn by sangomas).
  • Powerful symbolism: A profound tonic used in time of great need and emergency, such as the flu epidemic of 1918. Widely used in the Khoi culture to treat internal cancers (recent anecdotes and chemical rationale support this use). Nowadays used as an effective tonic to improve the quality of life of AIDS victims. The plant has anti-depressants effects and was used by the widows of Zulu warriors (those who did not return from the battlefield) to relieve their stress and to prevent hair loss (hence the Zulu name unwele for the plant).
    (see People's Plants by Ben Erik Van Wyk and Gericke Nigel, ref 1 p. 246 and ref 2 p. 148)

• Umhlaba/bitter aloe (aloe ferox)
  • Restricted to South Africa: highly ornate and erect growth form with red flowers, with gracefully recurved leaves (best seen in profile/silhouette; the above-mentioned photos do not do it justice).
  • One of only three plants clearly identifiable in San rock paintings. A general tonic, in both human and ethnoveterinary practices. Aloes are symbols of resilience, survival and extreme diversity; they are also truly African (all 420 species of aloes were originally found only in Africa and Madagascar).
    (see People's Plants by Ben Erik Van Wyk and Gericke Nigel, ref1 p. 40 and ref. 2 p. 140

• Trees and fynbos - Yellow wood, wild olive and lead wood
  
• The mohlare tree - whose branches grate against one another to produce a particular sound and represent magical powers in Bapedi royal insignia.
  
• The willow tree - a branch symbolises the modern-day university degree (Iziqu).
  
• Red grass - a tall erect, tufted perennial and a symbol of the sustaining and nourishing force of livestock.
  
• Flowers - the protea, stelitzea and aloe.

5. South Africa's mineral wealth

• Gold, platinum, copper and gemstones.

6. Celestial bodies

• The sun (ilanga)
• The morning star (ikhwezi)
• The constellation of the Southern Cross.
• Nomkhubulwana - acknowledged throughout Africa as the legendary princess of heaven, she symbolises purity, is the giver of rain and fertility and the counterpart of the ancient Egyptians.

7. Material objects

• Drums: In Africa, drums are associated with every event in life. They are the echoes of existence, representing speech, divine truth, revelation, tradition and the rhythm of the universe. As a rain-making device, they can revive the seemingly 'dead' South African society into a vibrant and healthy community.
  • The sacred drum symbolising the salvation of the Venda (Ngomalungundu), used by the king, and believed to work miracles as it had magic and killing powers.
    
    
• Spears and shields: symbolise bravery and determination, as well as singleness of purpose.
  • The Bapedi leather shield (kotsi or thebe) or assegai (lerumo), club (molamu) and battleaxe (selepe).
  • The Zulu spears, the heavy bladed spear (iklwa), the smaller version spear (intlekwana) and the hurling spears (isijula).
    
• Beadwork: a common art form in all African societies Traditionally, all beadwork is symbolic.
  • The royal beads (pheta yathaga) worn around the neck and loins by Bapedi chiefs.
  • The beads worn by young women to celebrate purity and virginity (isidanga). These beads are presently used to denote a university degree since it symbolises transition and rites of passage

• Armbands: a band made of ivory, from the tusk of an elephant (umxhaga), was made by special amaXhosa people only in the royal kraal. They were given only by the supreme chief, as his prerogative, to persons of considerable calibre.
  
• Crowns: a victory crown was awarded to regiments in recognition of distinguished service on the battlefield (isicoco) while the victory crown was worn by married women in recognition of having overcome the hazards of the journey to marriage (isicholo).
  
• The coil: a sacred grass ring (inkatha) used by the Bhaca people to symbolise the chieftainship and the unity of the chiefdom. It was believed to protect the king and the chiefdom from misfortune.

8. Archaeological artefacts

South Africa is referred to as one of the cradles of humanity and the Sterkfontein site was recently awarded World Heritage status. Numerous objects excavated from sites all over South Africa could inspire the brief, for example the:

• Lydenburg Heads of the Mpumalanga Area (500AD)
• ancient societies of Ditakong, Rolong, Kaditshwene, Thlaping, Thulamela have left South Africa a legacy of artefacts that have become symbols in themselves.

Proposed brief

A. The brief

1. Symbols

The names and symbolism should reflect South Africa's rich heritage, cultural diversity and history.

Symbols and images used by the majority in the country should be incorporated in the new system of National Orders. Sensitivity to race, gender, religion, ethnicity and history should be borne in mind.

2. Names

The proposal should include suggested names for the three new National Orders to be designed.

The proposed names for the National Orders should be neutral, simple and understandable. Translation in indigenous languages could also be considered, e.g. the motto of the Coat of Arms. The use of material symbols should be explored as names.

The allocation of names of persons should be carefully considered in the establishment of any National Orders.

3. Design

The design for the outstanding National Orders should be new and not a reconstruction of the previous National Orders. The following recommendations have been made:

• that they be simple
• that they capture indigenous symbols and cultural heritage
• that they reflect an inclusive history of South Africa as an African state
• that they depict the rich design and jewellery environment of South Africa.

4. Executional requirements

In designing the new National Orders, the following executional requirements need to be taken into account:

• Material

  The material used in the creation of the new National Orders should take into account the following recommendations:

  • The highest rank of the individual medals be cast in gold as South Africa is a major gold producer.
  • The individual medals could reflect other metals and minerals e.g. diamonds and chrome.
  • The individual medals may not include synthetic gems, rough, uncut or conflict diamonds, ivory or any elephant products, tortoise shell or any material from endangered species.
    
    
• Ribbons

  It is recommended that the medals continue to be hung around the necks of the recipients. Natural indigenous fibres could be used when weaving the ribbons.

• Production

  South African manufactures will be invited to submit tenders for the production of the new National Orders.

• Enamelling

  In order to reflect colours in the National Orders, consideration may be given to the use of enamelling.

B. The proposed National Orders

1. The Order for outstanding contribution in the struggle for democracy; nation-building; building democracy and human rights; justice and peace and resolution of conflict on the continent

The Order is to be awarded to outstanding South African citizens who have contributed as above.

• Proposed elements/symbolism
  • any object, artefact or topography as well as living organism (plants and animals) that can best represent the values or characteristics as listed above
  • the plants and animals should be of South African/African indigenous origin
  • the following symbols can for example be utilised, but designs need not be limited to these:
    - the South African flag
    - African beadwork
    - patient animal e.g. an elephant, cow, etc.
    - the sun
    - Nomkhubulwane (Acknowledge throughout Africa as the legendary princess of heaven, she symbolises purity, the giver of rain and fertility, the counterpart of the ancient Egyptians)
    - an indigenous bird that symbolises peace
    - the coil
    - a scale of justice.

2. The Order for Bravery

The Order is to be awarded to South African citizens who have distinguished themselves by displaying an act of outstanding bravery through which their lives were in great danger, including trying to save the life of another person, or by saving property, in or outside the Republic of South Africa.

• Proposed elements/symbolism
  • any object, artefact or topography as well as living organism (plants and animals) that can best represent the values or characteristics listed in the paragraph above
  • plants and animals should be of South African/African indigenous origin
  • following symbols can, for example, be utilised, but designs need not be limited to these:
    - a brave animal e.g. lion, leopard, bull, buffalo, elephant, etc.
    - a brave bird e.g. eagle, plova, blue crane, etc.
    - the shield or spear
    - the sun.

3. The Order on Creative and Performing Arts, Journalism and Sport

The Order is to be awarded to South African citizens who have excelled in the field of arts, culture, literature, music, journalism and sport.

• Proposed elements/symbolism
  • any object, artefact or topography as well as living organism (plants and animals) that can best represent the values or characteristics listed in the paragraph above
  • plants and animals should be of an South African/African indigenous origin
  • following symbols can for example be utilised, but designs need not be limited to these:
    - a phoenix
    - a rainbow
    - a leopard
    - Isicoco: a victory crown awarded to regiments in recognition of distinguished service on the battlefield
    - Isidanga: the beads worn by young women to celebrate purity and virginity
    - iziqu: a branch of the willow tree which is the counterpart of the modern-day university degree
    - isicholo: the victory crown worn by married women in recognition of having overcome the hazards of the journey to marriage.

C. The process

The designers are requested to develop their designs within the given recommendations listed above and the presentation requirements listed below.

The short-listed designer sketches will be presented to the Advisory Council on National Orders. A formal presentation will be arranged so that designers can speak about their designs and reasons for the executions they have developed.

It is hoped that after this presentation one set of designs will be recommended for final reworking. The reworking of the chosen designs will be done in close consultation with the Chair of the Advisory Council on National Orders. The Chancery will consult all role-players - the Bureau of Heraldry, the SABS, etc. - to ensure that all executional requirements are met.

The Advisory Council on National Orders will ratify the design and motivate its adoption through a Cabinet Memorandum. The Presidency, with the Bureau of Heraldry and GCIS as partners, will also motivate for the adoption of the designs.

Designs must be original and may not have been offered for sale, publicly displayed or entered in any previous competition. The copyright of the design will rest with The Presidency and the South African State.

D. Presentation

1. Presentation requirements

The designers must represent their sets of designs in the following way:

• a full colour sketch version to fill the size of an A4 page
• a second set of sketches must include scaled drawings for both full size and a miniature of the Orders (Medal) or technical manufacturing specifications, method of construction and material to be used
• a full colour sketch of the actual size of the medals.
  

2. Motivational requirements

The designers must include written motivations for their designs. The designers will also be expected to personally present their designs to the client and be able to discuss with the client in case further clarification is needed.

E. Deadlines

The client requests that the designers deliver their work to the Chancery of Orders, Union Buildings West Wing, Pretoria 0001 according to the presentational requirements listed above not later than 24 April 2003.

The client will inform the short-listed designers of the date, time and venue of when they will be required to present their motivations. This will take place within two weeks of delivery deadline.

F. Budget and recompense

The winning designer will be eligible for a once-off development fee. The material costs to produce the medals will be paid for by the South African Government.

1. Design winner

An honorarium of R3 000.00 for the chosen design for each medal.

2. Production

Manufacturing of the three new National Orders will be contracted through a tender process.
The potential manufacturer will produce the actual Orders (medals) in consultation with the designer.

3. Publicity and promotions

The designer will be publicly identified as the person responsible for the design of the Orders (medals) and benefit from the communication campaign that will surround the announcement of the new designs and the awarding of the Orders (medals) to specific people identified by the President of South Africa.

G. Consultation

The following individuals will be available to answer and discuss issues with designers at their earliest convenience:

Mandla Feni
The Presidency
mandla@po.gov.za

and

Anande Nöthling
GCIS
anande@gcis.pwv.gov.za

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Last modified: 28 November 2007 14:23:01.