代寫作業：珠飾的來源歷史
Ndebele社區的婦女在久坐不動、無法接觸到來自亞洲的霓虹燈珠子和彩色種子珠子之前，一直在用木頭、貝殼、岩石和鴕鳥蛋珠子在衣服裡創造複雜的圖案(Carey, 68歲)。有許多截然不同的觀點關於歷史已經介紹的珠子恩德貝勒社區(鮑威爾和馬克,1)。然而,有一個簡單的事實,即生產實際的珠飾的恩德貝勒的女性在19世紀的最後幾年,一定程度的細化和質量提出一個發達和悠久的傳統。在Ndebele社區引入玻璃珠之前，Ndebele對自然元素的可靠性是唯一的。製作珠飾的其他材料包括鴕鳥蛋殼、硬幣、金屬、動物牙齒、植物的根、種子、雕刻的木頭、象牙、角和動物的指甲(Smith, 67)。珠飾被認為是一種工藝形式，由非洲東側海角的熟練工匠完善和實踐。由於沒有紀律，沒有真正的藝術形式可以突出，Ndebele人口的珠飾是在接受特定的基礎(Snowball, 2)。
代寫作業：珠飾的來源歷史
首先，珠飾涉及到不相關的女性與男性之間的溝通，在這種溝通中，避免了在涉及個人事實和關係的關鍵問題上，對最初直接對話的不適。其次，珠飾從女性、製造商和設計師流向傳統客戶的男性(Beaglehole, 415)。再往前走，男性過去常常佩戴珠飾，以表示他們願意與女性結婚。串珠禮物是排除亂倫的含義從女兒，姐妹和母親。每個社會都關注如何應對環境的發展，而關鍵的目的就是從中找到意義。珠飾手法呈現出系統化的趨勢，並具有代代相傳的特點。在語言學方面，恩德貝勒人對珠飾的運用與語言的聯繫有很大的局限性(Bell and Reza, 1)。珠飾不僅僅是一種美的來源，還承載著語言的意識形態和表達方式。它是語言的替代品;作為一個藝術家，珠子可以用來傳達深刻的情感或信息。
代寫作業：珠飾的來源歷史
Before their sedentary access and existence to neon beads and colourful seed beads from Asia, women of Ndebele community had been using wooden, shell, rock, and ostrich egg beads for the creation of complex patterns within their dress (Carey, 68). There are a number of contrasting views with respect to the history for when there had been an introduction of beads to the Ndebele community (Powell and Mark, 1). However, there lies a plain fact that the production of actual beadwork by the women of Ndebele in the later years of 19th century has a degree of elaboration and quality suggesting a developed and long tradition. Before the introduction of glass beads across Ndebele community, there had been a sole reliability of Ndebele on natural elements. Other materials for production of beadwork included ostrich egg shells, coins, metal, animal teeth, roots of plants, seeds, carved wood, ivory, horns and animal nails (Smith, 67). Beadwork was considered as a form of craft, perfected and practiced by skilled artisans of Africa in the cape of Eastern side. As no true form of art can be prominent in the absence of discipline, the beadwork by Ndebele population is under the acceptance of specific fundamentals (Snowball, 2).
代寫作業：珠飾的來源歷史
Firstly, beadwork involves the communication between unrelated females and males, in which the discomfort regarding initial direct discourse is avoided over the crucial subject regarding personal facts and relations. Secondly, there is a flow of beadwork from women, the manufacturers and designer, moving on to males who are the traditional clients (Beaglehole, 415). Further ahead, men used to wear beadwork for showing involvement with females to whom they are willing to marry. Beaded gifts are precluded by incestuous implications from daughters, sisters and mothers. Every society focuses on the development of ways to cope up with the environment and the key purpose is to make a sense out of this. The approaches of beadwork hold the tendency of becoming systematized and there is a transmission from generation to generation. In terms of linguistics, the utilization of beadwork by Ndebele people has a large limit of connection with language (Bell and Reza, 1). An item made out of beads cannot just be considered as a source of beauty, but linguistic ideologies and expressions are also carried. It is a replacement of words; as an artist, beads can be used for conveying deep emotional feelings or message.