THE PORTRAYAL OF WOMEN AND GIRLS IN THE ZULU FOLKTALE

Get Complete Project Material File(s) Now! »

IZIHASHO (PRAISES OF ORDINARY PEOPLE)

Izibongo zabantu or izihasho, is a type of poetry which evinces the elements of satire more prolifically. These poems are composed in contemporary times about ordinary people. In this form of praises, a person may be criticized in a satirical manner using the traditionally recognized frame work form of izibongo, despite the fact that the assumed underlying intention of this type of oral composition is usually praise and not dispraise.
The style of composition of izibongo and izihasho is the same as far as form, meter and poetic techniques used, but differs in content. Unlike the praises of kings and important people, which were composed by a professional imbongi (bard), and normally recited on formal occasions, izihasho are a form of oral history of the ordinary man/ woman in the street.
This person, with no royal connections or even special status or achievements to his name, is still imbued with pride in being recognized by his praises. This is even the case with those people whose praises are hardly complementary. Being known by his ‘praises’, provides a person with an identity, a sort of recognition and support which is important to his ego and self image (Turner, 1990: 56).
The royal praises are clearly distinct from the praises of normal people. The izihasho is used in more private circumstances, and they are composed either by the person himself, or by family and peers/contemporaries. The oral poems are accumulated over a passage of time, as the person grows and develops from childhood. Coarse language, images and expressions are at home here, as there is nothing at stake. A person may even laugh, as it offers him a measure of recognition (albeit notoriety) in his immediate society. It is regarded amongst the Zulus, as desirable to be recognized in society rather than to exist in obscurity, totally ignored. The person identifies himself with what people say about him or her, this is his or her personal yardstick to measure his own value in society. The following praises of the royal women and those of commoners will be analyzed.

ANALYSIS OF PRAISES OF ROYAL WOMEN

From a social and economic point of view, royal women whether they be princesses, queens or members of the harem, had more privileges than responsibilities. This is due to the fact that they were always served by the court servants (izinceku) and slaves (izigqila) or prisoners of war. The lives of princesses were somewhat restricted in that they were discouraged from marrying commoners. The praise poems of royal women are not performed socially as are those of married women. These praises would be used rather as salutations or greetings by both men and women upon their arrival at the royal home. They would be used also by the women attending the queen. They would in addition be called out, as thanks by men after they had eaten food prepared by the royal lady. In the latter case it would not be necessary to repeat the whole praise poem, it would be considered sufficient to call out a single praise name, such as, for “Msizi”! (Gunner, 1979:253).
Before we can give an analysis of the praises of the individual Zulu woman, it is appropriate to give a historical background of each individual, particularly of the royal women to enhance a better understanding of the incidents and places alluded to in the praises. Msimang (1991:51) concurs with this view point when he attests that it is common knowledge that, due to their allusions to the historical events and personalities, praise-poems are not always intelligible to people unfamiliar with the relevant history.

Brief historical background of Mkabayi

Princess Mkabayi of the Zulus is acknowledged to be a callous woman. Being one of the twins, she was destined to be killed in infancy. Her compassionate father, king Jama, could not bring himself to kill his own issue, so Mkabayi and her twin sister, Mmama both survived much to the displeasure and disapproval of the Zulu nation. The nation feared the wrath of the ancestors should both the twins be allowed to live. The fear became reality right when the queen died before bearing the nation an heir. Because Mkabayi had a stronger character than her twin sister, she bore the brunt of the nation’s disapproval and hate. She was held responsible for all the misfortunes of the royal family and the nation at large.
When Mkabayi realized that the nation was still yearning for an heir she wooed Mthaniya for her rather disinterested father. However the king married Mthaniya and from this came the long awaited heir, named Senzangakhona (or Well-doer), which was the acknowledgement by King Jama that Mkabayi had done well to court Mthaniya for him). This swayed the hearts of the nation towards her especially since the erratic Jama had offended his subjects once again by marrying an already pregnant Thonga woman who had given birth to Sojiyisa. The nation feared that this illegitimate boy would inherit the Zulu throne.

CHAPTER INTRODUCTION.
1.1 PREAMBLE
1.2 AIM OF THE STUDY.
1.3 SCOPE OF THE STUDY.
1.4 RESEARCH METHODOLOGY.
1.5 DEFINITION OF TERMS.
1.6 LITERATURE REVIEW
1.7 CONCLUSION.
CHAPTER 2 THE FEMINIST THEORY .
2.1 INTRODUCTION
2.2 FEMINISM
2.3 BLACK FEMINISM .
2.4 WOMANISM IN AN AMERICAN CONTEXT..
2.5 AFRICANA WOMANISM.
2.6 FEMINISM IN AN AFRICAN CONTEXT.
2.7 WOMANISM IN AN AFRICAN CONTEXT.
2.8 CONCLUSION
CHAPTER 3 THE PORTRAYAL OF WOMEN AND GIRLS IN THE ZULU FOLKTALE
3.1 INTRODUCTION
3.2 SIGNIFICANCE OF THE FOLKTALE AND THE ROLE OF WOMEN IN ITS PERFOMANCE
3.3 THE DOMESTIC ROLE OF WOMEN IN THE TRADITIONAL ZULU BACKGROUND.
3.4 DISCUSSION OF FOLKTALES
3.5 WITCHCRAFT.
3.5.1 Introduction
3.5.2 Traditional background .
3.5.3 Summary of folktale: UMabhejane
3.5.4 Application
3.5.5 Summary of “USiwelewele intokazi eyabe iyogana”..
3.6 TABOOS.
3.6.1 Traditional background .
3.6.2 Summary of folktale: UMkhwekazi namasi .
3.6.3 Application
3.7 PROCREATION
3.9 THESIS, ANTI-THESIS AND SYNTHESIS IN ZULU FOLKTALES .
3.10 CONCLUSIO
CHAPTER 4 THE PORTRAYAL OF WOMEN AND GIRLS IN THE ZULU PROVERBS
4.1 INTRODUCTION
4.2 STATUS OF MARRIED WOMEN IN A POLYGAMOUS MARRIAGE
4.3 RECAPITULATION
4.4 DISCUSSION OF PROVERBS ON WOMEN.
4.5 CONCLUSION.
CHAPTER 5 THE DEPICTION OF WOMEN IN ZULU PRAISE POETRY
5.1 INTRODUCTION
5.2 THE NATURE OF IZIBONGO .
5.3 THE ROLE OF THE IMBONGI (PRAISE POET).
5.4 IZIHASHO (PRAISES OF ORDINARY PEOPLE) .
5.5 ANALYSIS OF PRAISES OF ROYAL WOMEN.
5.6 SATIRE IN IZIBONGO
5.7 IZANGELO
5.8 CONCLUSION.
CHAPTER 6 CONCLUSION.
6.1 INTRODUCTION .
6.2 GENERAL OBSERVATIONS .
6.3 SPECIFIC OBSERVATIONS
6.4 RECOMMENDATIONS

GET THE COMPLETE PROJECT
PERCEIVED OPPRESSION OF WOMEN IN ZULU FOLKLORE: A FEMINIST CRITIQUE
PERCEIVED OPPRESSION OF WOMEN IN ZULU FOLKLORE: A FEMINIST CRITIQUE