The Telling of Nongqawuse and the Xhosa Cattle-Killing in South African
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HISTORY IN THE LITERARY IMAGINATION: THE TELLING OF NONGQAWUSE AND THE XHOSA CATTLE-KILLING IN SOUTH AFRICAN LITERATURE AND CULTURE (1891–1937) SHEILA BONIFACE DAVIES ST JOHN’S COLLEGE A THESIS SUBMITTED TO THE UNIVERSITY OF CAMBRIDGE IN FULFILMENT OF THE DEGREE OF DOCTOR OF PHILOSOPHY 2010 ii SUMMARY This thesis takes as its subject the millenarian movement of 1856–7, commonly known as the Xhosa Cattle-Killing. My project examines a range of literary representations of this seminal moment in South African history: novels, plays, and short stories in English or English translation. The period under consideration encompasses the earliest literary responses to the Cattle-Killing and includes critical historical-political moments such as: the incorporation of the last independent black territory into the Cape Colony, the creation of the Union of South Africa, the passing of the Land Act, the enfranchisement of white women and the enactment of Hertzog’s ‘native bills’. The project consists of close, contextual readings, and the approach is cross-cultural and interdisciplinary. In this dissertation I examine the meaning that has accrued to the Cattle-Killing, and the role that literary accounts have played in interpreting and defining this pivotal event in the historical consciousness of their sometimes considerable audiences. In some cases, these creative works have anticipated trends in formal historiography and suggested new ways to interrogate the evidence. But the accounts do more than creatively reconstruct the past. They are also implicated in their respective presents and use the Cattle-Killing to ‘write out’ contemporaneous concerns: be it female emancipation, ‘native education’ or Black Nationalism. The various manifestations of the Cattle- Killing story chart not only the shifting ‘truth’ of the event but also the ways in which it has been made relevant and useable for different communities at various points in South Africa’s history. To read these accounts of the Cattle-Killing, I argue, is to ‘read’ the history of this period. While taking as its subject an event from 150 years ago, and literary responses from shortly after, my project contributes to wider, on-going conversations relating to history as a field of argument and literature as a social and historical force. A related aim is to contribute to the revaluation of early South African literature, which has been neglected or homogenized in recent years. My dissertation seeks to recuperate and complicate by representing a variety of subject positions and resuscitating voices discarded or forgotten. iii TABLE OF CONTENTS LIST OF ILLUSTRATIONS, ACKNOWLEDGEMENTS, PREFACE AND NOTES…… iv INTRODUCTION: Afterlives and Uses of the Xhosa Cattle-Killing…………………………………..….. 1 CHAPTER 1: The Cattle-Killing as Anthropological Fiction………………………………….…….… 31 CHAPTER 2: ‘To die like Namjikwa’: The Prophetess’ Reinvention and Metamorphosis 68 CHAPTER 3: Lessons from the Cattle-Killing……………………………………………………………….. 93 CHAPTER 4: New Africans and the African Saint Joan…………………………..………………….… 141 CHAPTER 5: South Africa – Another Ireland?.……………………………………..……………….….….. 166 CONCLUSION: ‘A cacophony of voices’ in ‘a field of interrelated narratives’...………..…. 192 APPENDIX: Table of Cattle-Killing Accounts……………………….………… 199 BIBLIOGRAPHY….…………………………………………………………….………………. 204 iv LIST OF ILLUSTRATIONS Fig. 1 ‘Intonjane Dance’, photo-engraving, Pambaniso (1891) p.64 Fig. 2 ‘The Ukuxentsa Dance’, photo-engraving, Pambaniso (1891) p.64 Fig. 3 ‘Tormenting Umdubuko’, photo-engraving, Pambaniso (1891) p.64 Fig. 4 ‘A Combat’, photo-engraving, Pambaniso (1891) p.65 Fig. 5 ‘A Kaffir Feast’, photo-engraving, Pambaniso (1891) p.65 Fig. 6 ‘The Abakweta at Home’, photo-engraving, Pambaniso (1891) p.65 Fig. 7 ‘A Kaffir Witch-Doctor’, photo-engraving, Pambaniso (1891) p.66 Fig. 8 ‘A Kaffir Woman Dressed for a Party’, photo-engraving, Pambaniso (1891) p.66 Fig. 9 ‘Sarili 1891’, photo-engraving, Pambaniso (1891) p.66 Fig. 10 ‘Nongqause and Nonkosi, the two Prophetesses’, Pambaniso (1891) p.66 Fig. 11 Charles Kerr illustration from Haggard’s Nada the Lily (1892) p.67 Fig. 12 Stanley Wood, Frontispiece illustration, Mitford’s The Kings’ Assegai (1894) p.67 Fig. 13 ‘Umhlakaza’ by Will. A. Ogilvy, Frontispiece, Waters’ U-Nongqause (1924) p.67 Fig. 14 ‘Ireland – a Dream of the Future’, Punch (1849) p.167 Fig. 15 ‘Irish Iberian, Anglo-Teutonic, Negro’, Harpers’ Weekly (c 1880) p.175 Fig. 16 Black Larry, photograph, Dowsley, Long Horns (c. 1930) p.191 v ACKNOWLEDGEMENTS If it takes a village to raise a child, it has taken a global village to coax and bully this dissertation into being. For wittingly, or unwittingly, contributing in a myriad different ways, I would like to thank: Anonymous readers; Anne Torlesse, Cecilia Blight, Crystal Warren and Lynne Grant (National English Library Museum, Grahamstown); Zweli Vena and Liz de Wet (Cory Library, Grahamstown); William Jervois (Albany Museum, Grahamstown); Melanie Geustyn and Najwa Hendrickse (National Library of South Africa, Cape Town); O. Ngundu (an unexpected and serendipitous source of encouragement in Rare books, Cambridge University Library); Jeff Peires (for The Dead and the debate); ever-constant and encouraging Isabel Hofmeyr, and Bheki Peterson (University of the Witwatersrand); Ato Quayson (University of Cambridge and, subsequently, University of Toronto); Megan Vaughan, Derek Peterson, Tim Cribb and John Lonsdale (University of Cambridge); Kirsty Mclean; Paul La Hausse; Anne Mager (University of Cape Town); Jeff Opland (for U-Nongqause reviews); Catherine Wakeling (USPG archivist, London); Lucy McCann (Rhodes House, Oxford); Sandy Rowoldt Shell (African Studies Library, UCT); Rev. Fikile Mbabama (St Mark’s Parish); Graham Pechey; Peter Midgley (for his interest and his translation of U-Nongqause); Lindi Dovey; Janine Dunlop (Manuscripts & Archives, UCT); Rachel Hart (Special Collections, St Andrews University Library); Sally-Ann Robertson (Rhodes University); Chris Mann; Lisa Young (my Saturday library partner); Joanna Reed and Paul Fine (for brownies and proof-reading); Janet Sorenson (for reminding me of the Lark); Mary-Ann Smart; Harold Scheub (University of Wisconsin-Madison); Peter Davis (Villon Films); Ann Oakenfull; Annemarieke Golding (Herschel School archivist); Rachel Malkin; Chris Andreas; Andrew Offenburger; Mila Plavsic; Bede Scott; Maire Ni Mhaonaigh (St John’s College, Cambridge); Jennifer Wenzel (University of Michigan); Georgie Horrell; Karen Anderson; Conal Turner (Rev. Dowsley’s grandson) and his lovely wife Heather (for their hospitality and the copy of Long Horns, which saved me days of transcribing in the British Library); Jane Mc Arthur (Dowsley’s granddaughter); Duncan Ferguson; the cheering Effie Schauder; Lauren and Aaron Grbich; Adriana Craciun (for making the unhelpful helpful); Andy Courtier (for loving the words); the Voses (for companionship and their ASDL line) and Paul from St Edmunds for getting me to my viva on time! Special thanks to Sarah Meer, for seeing me through this journey and pushing me to make this dissertation better. And to my sisters, Jennifer and Elizabeth, and my parents, Veronica and Tony Boniface, for believing I could do this. To James for his patience, for challenging me, and for so much more – especially in the last few (and few more) weeks. And finally, to Thea and Benedict for charming me through the darker moments and making the brighter ones even more bright. vi PREFACE This dissertation is my own work and contains nothing which is the outcome of work done in collaboration with others, except as specified in the text and Acknowledgements. It does not exceed the regulation length, including footnotes and appendix, but excluding the bibliography. The photo-engravings from Pambaniso (figs 1–10) and figures 11–15 are reproduced by kind permission of the Syndics of Cambridge University Library. Permission to reproduce Dowsley’s ‘Black Larry’ photograph (fig. 16) was obtained from Conal and Heather Turner. NOTES There have been various spellings of proper nouns, and derivatives, over the years. Sarhili, in earlier years, for example, was referred to as Kreli or Sarili, and Nongqawuse as Nongqause, Nonkose, Nonquassi (to name just a few). I have used the modern spellings, except when quoting. There is some controversy surrounding the term ‘Cattle-Killing’. Jeff Guy (in ‘A Landmark, not a Breakthrough’, 229), argues that it ‘conflates, distorts and over-simplifies the events to which it refers’ and should be abandoned. Helen Bradford has recently reanimated the debate in ‘Akukho Ntaka Inokubhabha Ngephiko Elinye’. While acknowledging the term to be a misnomer, I have nonetheless decided to retain it (without inverted commas). Not only is it already widely established and generally understood, but no more precise term been suggested. 1 INTRODUCTION AFTERLIVES AND USES OF THE XHOSA CATTLE-KILLING Yes, I know that historians and writers will condemn Nongqawuse as a fool, a traitor, devil-possessed witch. But is that everything that can be said about this? I hope to God not. No, I will not believe, I cannot believe that the tragedy, which is now upon us, can be explained in that way only. There must be something deeper. I believe that in the distant future someone will catch the proper spirit and get the real meaning of this incident and write about it. Who knows? H. I. E. Dhlomo, The Girl Who Killed to Save, 20 The mid-nineteenth century millenarian movement, instigated by the prophetess Nongqawuse and now commonly