Academic literature on the topic 'Zulu praise poetry'

There is a strong history among the Zulu community of performing praise poetry, and a passion for composing and performing poetry continues among Zulu youth today. On the other hand, the current Zulu Bible is considered by many young people to be irrelevant or difficult to read and understand. With these two factors in mind, I conducted a study in which Zulu youth were invited to participate in basic training, after which they made their own translations of various praise psalms and then performed them before a community audience using song, rap, or spoken poetry. This paper looks at the process and benefits of inviting “ordinary speakers” to participate in the translation process, and of communicating the message through oral performance. The results are encouraging and suggest the methodology could be extended to other genres of biblical text and other language groups.

Poetry must be heard, and heard in a way that is pleasing and memorable. Much of the beauty and rhetorical power of poetry arises from prosody, that is, patterns of rhythm and sound. Rhythm is composed of four elements that work together to provide aesthetic and emotive strength. It is an important feature of both biblical and Zulu poetry, and thus the translator of psalms (translating into Zulu or any Bantu language) must pay attention to aural components of the source and receptor texts. A recent empirical study invited Zulu youth to participate in translating and performing three praise psalms. They learned the basics of Bible translation and poetics, including rhythm, and their translations show a sensitivity to Zulu poetry and music that makes them highly rhythmic and singable. The underlying understanding of “translating with rhythm” can be applied to other languages and is an essential element of translating biblical poetry.

AbstractThe article contributes to scholarly inquiry into religious pluralism in South Africa, in particular to how Christian doctrine interacts with the African worldview. Evidence for the intercultural and interreligious discourse is based on an analysis of a eulogy of Christ, created and performed in the traditional style of izibongo, or Zulu praise poetry. The conclusion is drawn that the eulogy is a manifestation of vigorous interreligious dynamics, showing that Christianity and izibongo are both remarkably protean in their potential for creative interaction. Christianity is embraced, but simultaneously transformed by the indigenous genre; praise poetry can assert its traditional style, but itself becomes transmuted by Christian doctrine.

A substantial number of scholars have previously documented African praise poems, including those that relate to the Zulu kings and queens. To a large extent, these recordings only focus on the content and structural approach to this genre of orality, with little attention paid to contextual meaning. As such, issues of metaphoric expressions are perpetually ignored, which by their very definition contain the underlying meaning and purpose for the crafting of such poetry. Therefore, this article addresses the problem of hidden meaning in Zulu kings’ praise poems that many writers on the subject have missed. As it has long been established that praise poetry, from a Zulu perspective, was/is a story about the life and times of a particular king, a hermeneutic paradigm was used to conduct an inquiry into the most prominent king in the history of the Zulus—King Shaka, the founder the great Zulu nation. The study reveals that reference to this kind of poetry as “praise” itself is problematic, since the craft was used as an evaluation of the king. It both praised and critiqued the king’s reign. With regard to King Shaka, the study reveals that Shaka was a revolutionary and a freedom fighter, contrary to the popularly held view that he was a brutal despot who went around killing innocent people to satisfy his own ego.

Many young isiZulu speakers find the 1959 Bible translation difficult to read and understand. However, they are interested in getting inside the black box of Bible translation, and being participants in the process. Moreover, they have a culture of composing and performing poetry, which lends itself to their involvement in the translation and performance of biblical poetry. An experimental study sought to see if Zulu youth could compose translations of some praise psalms and perform them such that the community would accept them as ‘biblical material’, and relevant and engaging for young people. The methodology was to invite interested persons to participate in workshops that provided basic training in Bible translation, features of oral communication and performance, Zulu and biblical poetry and Zulu music. The participants then made their own translations of some short psalms, and performed them as songs, rap or spoken poetry items. The results suggest several benefits that could be replicated in other situations and with other language groups. These include new, vibrant ways to share Scripture, and a means for individuals to engage with the Scriptures and ‘own’ the translation. In conclusion, there is an open door for ‘ordinary’ members of the community (especially those interested in poetry and music) to contribute significantly to poetically-beautiful and rhetorically-powerful translations of biblical psalms. Moreover, the experience they gain will not only support the discipleship ministry of the church, but also its outreach to other young people, drawing them in by engaging and relevant performances of the biblical message.Intradisciplinary and/or interdisciplinary implications: This study challenges the traditional perspectives of Bible translation and Practical Theology, suggesting that ‘ordinary’ members of the community can enrich the translation of biblical poetry, and their engagement in the process can have many positive outcomes in terms of church ministry.

Oral artists are a common sight in traditional African societies and were most prominent in old empires such as Oyo, Benin, Songhai and Mali. They also existed in the Zulu empire, northern Nigeria and among the Akan in Ghana. Their place is integral to the social and political well-being of these empires. In the Oyo empire, court poets are known as Olohun-Iyo. They are called griots in Senegal and Mali and among the Akan of Ghana, they are called Kwadwumfo. Modern Nigerian dramatists such as Wole Soyinka and Ola Rotimi have appropriated the image and roles of the court poet in Death and The King’s Horseman and Ovonramwen Nogbaisi respectively. This paper defines who a court poet is, his role as a maker and wordsmith, and the nature of his work and patronage. It examines the qualities he must possess and the content of his poetry. In examining the place of memory and remembering in the discharge of the poet ́s duties, the paper investigates the various mnemonic and retrieval systems used by the poet to recall past accounts and great deeds of the kings. The roles of traditional court poets will be compared with the roles played by Olohun-iyo and Uzazakpo in the selected plays. The paper will also discuss what has become of oral artists in modern African societies. How viable is the art-form in the modern world with the advent of technology? Has civilization and modernity eroded their importance in society? While affirming their traditional advisory, prophetic, warning, motivational roles and as repositories of customs and culture, this paper concludes by stating the poet employs linguistic, para- linguistic and “medicinal” strategies to recall events at a given performance. KEYWORDS: COURT-POET, PRAISE SINGER, TRADITIONAL AFRICAN POETRY, WOLE SOYINKA, OLA ROTIMI

M.A.
This is a survey of the use of imagery in both traditional and modern Zulu praise poetry. For the purposes of this corpus, emphasis will be placed on izibongo (praise poems) of the Zulu kings, chiefs, prominent figures, and also minor characters. The following are the main figures of speech which are worth mentioning in this study: metaphor, personification, symbolism, metonymy, simile, and hyperbole. The definitions of the aforementioned images by various critics will be given in this chapter. The study does not involve a stylistic analysis of izibongo as a whole; its primary focus is to assess the utilization of certain animals, objects and natural phenomena, as the basis of metaphors. In this study, I will confine myself to two texts. These are IZIBONGO ZULU PRAISE-POEMS, by T. Cope and MUSHO! ZULU POPULAR PRAISES, edited by L. Gunner and M. Gwala. The former contains mostly traditional praise poems of kings, chiefs, headmen, and two promiment women: Mnkabayi kalama and Nandi kaMbengi; the latter consists of izibongo of political figures and of anyone who was deemed praise-worthy. In recent years political leaders have become very prominent. Gunner and Gwala (1991: 11) acknowledge this when they state that, "the freed leaders will be honoured like kings ... and one of the country's most gifted izimbongi (praisers) wants to make sure the released men hear the story of the people's suffering". Often, at political gatherings, where leaders of the different parties are present, praises are recited which are fit for kings. Take the case of the inauguration of Dr Nelson Mandela, where one witnessed the presence of two izimbongi, who were reciting the praises of Mandela. Images of fierce battles and heroism dominate traditional praises, while images of nostalgia and the verbal war characterise modern praises. Most of the images used however, imitate those used in the praises of traditional kings. There are also the izibongo of the ancestors. Such praises are related to clan praises. These are rich in images, for imagery is the essence of poetry: URadebe! uMthimkhulu! uBhungane! uMashwabada Owashwabadela inkomo nezimpondo! UMafuza afulele njengefu lemvula! (Mzolo, 1977: 190) (Radebe! Mthimkhulu! Bhungane! Mashwabada Swallower of a cow and its horns! The stripper and thatcher just like a cloud of rain!) For the purpose of this study however, only the praises of kings, chiefs, political . leaders, prominent figures, and other people in traditional and modern poetry in Zulu will be examined. As mentioned earlier, the figures of speech employed in traditional praises are characterised by images of battle prowess, especially during the Shakan era. In contrast, in modern praise poetry, there is a shift from the idea of physical war. The modern praises do recount deeds performed in the heat of battle, but only as a sentimental memory of things in the past. To a large extent the imbongi incorporates the praises of the praised one's predecessors. Albert Luthuli's izibongo are a case in point: U-u-uDlungwane kaNdaba Odlung' emanxulumeni kwaze kwasa arnanxuluma ebikelana (Gunner and Gwala, 1991: 81.) (Fe-e-erocious One, of Ndaba Who raged among the crowded kraals until dawn and the news spread through the large villages.) Thus Luthuli and Shaka share similar praises; Shaka is: UDlungwane kaNdaba! UDlungwane womBelebele, Odlung' emanxulumeni, Kwaze kwas' amanxulum' esibikelana (Nyembezi, 1958: 19.) (Ferocious one of Ndaba, Ferocious one of the Mbelebele brigade, Who raged among the crowded kraals, until dawn the huts were being turned upside-down.) King Shaka and Chief Luthuli are both known for their heroic actions, hence they share the same praises. The absorption of part of Shaka's izibongo in Luthuli's praises shows that Luthuli like Shaka, was striving to unify various nations. Like King Shaka, he died before he could complete this mission. This corpus has been broken down into five chapters so that one can look more fully at images. Chapter one focuses on the aims and scope of the study. The definitions of the images are given and other related concepts are discussed. Chapter two is concerned with the metaphor, while chapter three focuses on the simile. Chapter four discusses personification, symbolism, and hyperbole, which are dealt with concurrently. Chapter five compares the use of imagery in traditional and modern praise poetry in Zulu and features a general conclusion which states the significance of the study, restates the main idea, unifies the discussion and impresses the main points discussed in the preceding chapters.

Submitted in partial fulfilment of the requirements for the Degree Doctor of Philosophy in the Department of African Languages in the Faculty of Arts at the University of Zululand, South Africa, 2002.
Lolu cwaningo lucubungula ikhono lembongi uMagolwana Jiyane uma ebonga iNkosi uDingane kaSenzangakhona kaJama. Lolu cwaningo iuzogxila kuzithombemagama, izifengqo kanye nasesakhiweni. Isahluko sokuqala sizokwethula ucwaningo kucaciswe nenjongo yalo. Kuzocubungulwa imicabango yongoti. Kuzohlaziywa incazefo yamagama asebenzile afana no-Ephiki no-Ode. Kuzokwenekwa indlela yokuqhuba ucwaningo bese kwenziwa umklamo wocwaningo. Kuzokwenekwa umiando omfishane wembongi uJiyane. UJiyane wawabongela namanye amadodana kaSenzangakhona amakhosi angoShaka noMpande. Xsahluko sesibili sizokwethula kafushane iNkosi uShaka njengombumbi wesizwe samaZulu. Uma imbongi ibonga inkosi isuke ikhuluma. ENkosini uShaka sizobheka ubuhlakani nolwazi nesakhiwo-ke sayo. Sizobuye sichaze ngobuciko bomlomo. Sidingide kafushane izibongo kwaZulu, sibheke isizwe, izibongo nembongi. Sizobuye siveze ukuthi kukhona osekuke kwenziwa ekucwaningeni izibongo, sibheka umklamo wezikhathi: i) Ngaphambi kweNkosi uShaka (1750-1800) ii) Ngesikhathi seNkosi uShaka (1800-1850) iii) Ngemuva kweNkosi uShaka (1850-1900) Siyophetha lesi sahluko ngokuveza kafushane ngempilo yeNkosi uDingane. Isahluko sesithathu sizobhekana nolimi, ubuciko bomlomo nomnikelo wabo. Sibheke izibongo namahubo njengomkhuleko wesizwe. Sibheke ubudleiwano phakathi kwezibongo nezifengqo bese siphetha lesi sahluko ngoveza okuncane osekwenziwe ngezibongo zeNkosi uDingane. Isahluko sesine sizongena shi kwizithombemagama lapho sizobheka isifaniso ukuthi siyini. Sicubungule izinhlobo zesifaniso, sicubungule isingathekiso sibheke nezinhlobo zaso ngokuhtaziya izibonelo sizithatha ezibongweni zayo iNkosi uDingane. Stzohlazrya ukwenzasamuntu, ukwenzasasilwane size sibheke nophawu lapho sizocubungula izinhlobo zalo. Esahlukweni sesihlanu sizobhekana izifengqo lapho sizoveza ukuthi ihaba liyini sicwaninge izibonelo inhlonipho; isiqhathaniso, ukuhambisana kanye novuthondaba. Isahluko sesithupha sizogxila esakhiweni lapho sizobhekana nempindwa, ukuphindaphinda, imvumelwano, ukuxhumana ifanangwaqa, ufanankamisa kanye nefuzankamisa. Isahluko sesikhombisa sizophetha ngezincomo.

It occured to me that scholars who undertake to explore praises in Zulu have centred much analysis on praises of human beings and very little on those of domestic animals. Domestic animals are very close environmental company to any Black person in South Africa, especially to those who reside in farming areas. This study demonstrates that the domestic animal merits praise because it constitutes a kind of relative and colleague to a Black person. The first chapter gives a general layout of those to follow. What one has to note in the first chapter is the assessment of the extent to which scholars have made studies towards assessing praises of domestic animals. To be more precise, about six books have been identified containing some gleanings on the praises of domestic animals . This scarcity of documented sources for these praises together with the fact that praises of domestic animals are still mainly part of oral tradition constitute the main reason prompting this study. Chapter Two analyses hopefully in depth the social aspect of praises of domestic animals. We deduce from the numerous facts emerging from the inter-relationship between owner and animal that the main reason for the existence of the praises in question, is to forge links that bind poet and animal together. Aspects discussed in Chapter Two are, among others, the purpose of praising which examines the effect of praises on both the animals themselves and the community at large. The chapter also looks at the various poets in this field, the occasions during which domestic animals are praised, and the kind of audience anticipated when praising these animals. Though almost all the poets in this regard are wholly nonliterate, the praises they compose are nevertheless rich in literary constructions. They decorate the praises with all sorts of poetic expressions. One may even imagine that the praises of domestic animals were composed by modern learned poet who composed them by transcription and had all the skills to adopt the most impressive literary forms. Chapter Four sums up the role of praises of domestic animals on society as well as the literary richness that the praises possess. On the other hand this chapter Four is also to be taken as the summary and distillation of the previous ones.
Thesis (M.A.) - University of Natal, Pietermaritzburg, 1992.