Tlzis is not only due to the logical possibilities of wordplay, (i.e. Rycroft, D.K. 1989. Thus, in a kind of aesthetic enactment, ceremonial action is said to 'signalize' a temporary capacity within the community, whereas ritual action 'symbolizes' underlying, ahistorical. Shaka The Zulu Poem by Enyinwa Okechukwu Enyinwa. In Barber and da Moraes Farias (1989), pp. 26 How 'egalitarian' these principles really are (or even Zulu society on the whole is), is not to be decided here; but it is surely important that they are presented as such from within society itself, and gaining a perspective from which this claim is understandable is of interest here. Appadurai, A. Gunner 1976: 73). This essay, while not focusing, centrally on the concept of consensus, can be seen as working in such a direction. It seems that public licence is granted for the attempt to poetically construct a language with which to depict the current situation of society in such a way that a 'true' account of it as a whole is given, a social map of experience, and that a sense is achieved of whether this situation corresponds with the current socially inherent definition of how society ought to be -whether social life is also 'just.' Izibongo. And the order that is affirmed might indeed be called 'traditional authority,' but with inverted meaning: flexible, created by social discourse and, in a way, the power of the people. the individual performers from the ruler's revenge,16 poetic licence includes the principle of a plurality of speakers and thus of various 'visions'17 of society being proclaimed. Only in the case of social crisis is a 'real' licence to action against the ruler granted, since due to his failure the sanctity of rulership is lost and has to be restored. Symbol, song, dance and features of articulation: is religion a traditional form of authority? 34-38. Introduction to Power, Marginality and African Oral Literature., idem (eds), pp. Sapir, E. and B. Crocker. Nyembezi, C.L.S. In this, I have relied on the published and accessible texts in English (listed below). Gell, A. However, Gluckman still calls ceremonial action 'a type of ritualization,' characterized by the concrete reference to 'particular social relationships' (1959: 1 19- 120). In this sense, one could speak of an additional mediating function of izibongo:between the living and the dead whose influence on the well-being of current social life in Zulu belief remains crucial. Shona Praise Poetry. Introduction to The Future of Anthropological Knowledge, idem (ed. : 33), would contradict the conception of 'poetic licence' as presented -it would, however, be compatible with the emphasis on the social category of bards as political mediators within society. London: Oxford University Press. On which lived the Ndandwes and the Nxumalos. He is 'a mediator between two social categories, the ruler and the ruled' (Mafeje 1967: 221). In Furniss and Gunner (1995), pp. by E. Gunner and M. Gwala. Izibongo is a genre of oral literature among various Bantu peoples of Southern Africa, including the Zulu and the Xhosa. Masolo, pp. In times of crisis, the ideological bias will predominate and mirror the fight for power in society. 1993 [1927]. Zulu Popular Praises. Zulu praise poems. With increased knowledge about the complexity of aesthetics in oral art, research on African literature has surpassed the initial stage of merely collecting political aspects as part of the 'background' information (cf. This is directly related to the standards of 'reasonable rulership' wlzich are socially dejined and publicly depicted and reforntulated in izibongo. The respective currently valid social norms then, can be seen as permanently reformulated and publicly expressed in a potentially pluralistic discourse in which, due to the principle of 'poetic licence,' all members of society can engage. High social significance is best expressed in extraordinary, formalized language rather than everyday speech. In reciting, the artist shouts out the praises at the top of his voice as fast as he can; metaphorically speaking, he tries to cast a spell on the audience with a sort of magical shower of words. Due to this, the ruler within Zulu political tradition could be praised -and criticized. Reflection on the interrelationship between verbal art and its social functions can flourish only after the art-form has been presented in terms of the internal standards of the society concerned (D.P. 'Poetic licence' and wlzat it irivolves, This principle is apparent in all the various forms of Southern African praise poetry, in such a way that the performance of praise-poetry implies socio- regulative commitment as one major aspect (Vail 6r White 1991). Jordan 1959: 74), must be portrayed as impressively as possible. Les poèmes de ce recueil furent notés en zoulou au début du siècle par un magistrat, James Stuart. You can add additional Zulu Clan Names (izithakazelo) and the history of each clan name that you know of. Ideally, this overlaps with the aim of the reasoning discourse: making current rule match the social conceptions of reasonable rulership, for the good of society. Gluckman, in his anthropological work on a political theory of the Zulu, appears to have overlooked the importance of izibongo. L'explication fonctionnaliste de Trevor Cope (« engager à se comporter conformément aux modèles approuvés ») laisse entier un problème dont son livre accroît d'ailleurs encore l'intérêt. Trevor Cope, éd., Izibongo. Political language. It is only when discussion starts out from within the internal dynamics of knowledge that the sensitive issue of power in the representation of social knowledge in other cultures can be analysed (cf. Oxford: the Clarendon Press, I968. expression of protest gone, as discussed above, insecurity about social values was reflected in the poets' relation to authority and dominated social relations because the foci of power were no longer defined in generally acceptable terms. Izibongo Zulu praise poems James Stuart Anthony Trevor. 'Rebels were not seeking to establish a different kind of political society,' but 'to re-establish the kingship in all its ideals' (Gluckman 1959: 43). Cambridge: Cambridge University Press. Discourse and its Disguises. South Africa: new writing, photographs, art (special issue of TriQiiarterly 69), pp. Oxford: Blackwell. Lutz & L.Abu-Lughod, pp. Bryant, A.T. 1949. In Lerlin and Philosophy and otlzer essays, idem, pp. 122-166. I am well aware that a full command of Zulu and fieldwork in Zulu society could only have added to my treatment of this topic. Tltis principle, in combination with the poet's obligation (a)to paint a full and true picture of the praised and the social life involved, arzd. In izibonqo, descriptive and normative local knowledge is publicly presented to all within the framework of aesthetic enjoyment, and an appeal for the evaluation of the truth-claims on both levels seems implied. Only by 'praising what is worthy and decrying what is unworthy' can a full picture of social life be given, only then will the imbongi be acknowledged as someone, l1 This is how izibongo have been used in schools. Next post TMM. Dhlomo, who called them 'the essence of our being, the meaning of our name,' and claimed that 'they can only live through us, and we through them' (1 977: 59). Introduction and notes to Emperor Shaka the Great: a Zulu Epic, pp. The praises of kings originated in the wars they successfully led, and famous izirnbongi are known to have been outstanding warriors (Gunner 1976: 75; 83). In this sense, rituals of rebellion are really acts of submission. Truth and justice as socially defined and embedded principles, necessary for the regulation of social life, are thus also taken to be ultimate criteria for artistic creation, which consequently remains linked to a common conception of reality as well as to a common good. ( Shapera 1965, Cope 1968: 28-30 ) Philosophy and otlzer essays, (. ’ amanxulum esibikelana enacted, symbolizing the principle of poetic licence could have! Basic and conscious consent to the Future of Anthropological knowledge, idem, pp is still 'praiser critic... 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