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CRACKING THE NONVERBAL CODE: ANALYSING CULTURAL ARTEFACTS OF THE BATONGA IN ZIMBABWE. BY UMALI SAIDI A thesis submitted in fulfilment to the requirements of the degree of DOCTOR OF PHILOSOPHY in the subject of LINGUISTICS at MIDLANDS STATE UNIVERSITY SUPERVISORS: PROF. C. PFUKWA PROF. K. B. KHAN JUNE 2016 ii for Saidi ‗CheKáSande‘ Sande (13 November 1945-22 June 1998) Chisusulumbe –kuchiona ndisoka, you did not live longer enough to see your dream come true. Luciano Bolpagni (31 January 1936-8 April 2006), per la tua bisognio d‘io avere dottore. i DECLARATION Student Number: R0225007 I, Umali Saidi, declare that Cracking the nonverbal code: Analysing Cultural Artefacts of the BaTonga in Zimbabwe is my work and that sources I have used or quoted have been indicated and acknowledged by means of complete references. --------------------------- Signature Date: JUNE 2016 ii ACKNOWLEDGEMENTS After years of academic tutorage, the list is quite long of those who contributed in varying ways to this thesis, for which I would like to express my profound gratitude: First, I recognize the Almighty God for his providence that saw this work coming to fruition amidst insurmountable academic and related challenges. This study materialized because of the magnanimous, high-minded and unceasing support I got from the Midlands State University through the Research & Post-Graduate Department. Also, the indefatigable academic mentoring given by Prof. C. Pfukwa and the inexorable academic guidance by Prof. K.B Khan. The sagacious advices, insightful criticisms, patience and encouragement adage research and writing of this thesis in innumerable ways. I wish to express my deepest thanks to my mentors at Midlands State University Dr. A. Viriri, Dr. H. Ngoshi, Dr. T. Javangwe, Dr. E. Jakaza, Dr. T. Musanga, Dr. C. Tangwirei, Dr. C. Sabao, Prof. M. T. Vambe (UNISA), Mr. N. Pophiwa (Human Sciences Research Council, South Africa), Dr. E. Ndlovu (UZ), Dr. Mamvura (UZ), Mr. M. Machiridza (GZU), Dr. W. Zivenge (GZU), Prof. J. Mapara (CUT) for the grooming and support. Their thoughtful advice often served to give me a sense of direction in various stages of my research. I am also indebted to fellow Communication Skills Centre colleagues, Ms. P. Mawire, Mrs. F. F. Green, Mr. D. Jhamba, Mrs. M. Mugomba, Mrs. S. Matandare, Mrs. F. Mutema, Ms. T. Njanji, Ms. P. Hlatswayo and Ms. S. Naidoo, not only as inspirational peers but also as cornerstones in my professional development. In the same breadth, the unwavering support from faculty academics, Dr. T. Mashingaidze, Dr. C. Mwandayi, Dr. V. Nyawo, Mr. G. Tarugarira, Mr. T. Tayi, Miss I. Mariko, Ms E. Hungwe, Dr. U. Rwafa, Dr. V. Matiza, Dr. H. Mangeya; you helped kindle the academic candle I never knew existed in me. iii I wish also to acknowledge Mr. C. Mpande, the BaTonga in Binga, Hwange, Gokwe and Kariba for making this research a success not forgetting Mr. Nyoni. There are also those individuals who contributed directly or indirectly, I wish to express my profound gratitude for your support. To my wife and children, thank you for your warm support, tolerance and help. And to my family, my brother Ojesi Saidi, my friends, Bhekinkosi Ndlovu, guys you have always been there. I wish also to acknowledge those whose names could not be reproduced here; whose help and support in one way or another helped shape this thesis, thank you for your support. iv ABSTRACT This thesis cracks open three BaTonga artefacts, the ncelwa (smoking pipe), buntibe (orchestral drum) and Nyaminyami Walking Stick (wooden sculpture) as the key nonverbal visual codes in the visual cultural communication of BaTonga in Zimbabwe. Using artefactual ethnisemiotics, the study shows how visual cultural communication is played out and is used by the BaTonga in negotiating for socio-cultural space in Zimbabwe. BaTonga historical experiences show characterisation of displacement and a continued struggle to uphold their identity and culture. Their experiences along the Zambezi valley as well as redefinition of their livelihoods in the new arid terrain far removed from the Zambezi, given the construction of the Kariba hydroelectric power project, has for long contributed among other forces to their marginalisation. To assert their visibility, the BaTonga have subtlety used various visual means to negotiate for space in the country. This thesis, thus, critiques three BaTonga cultural artefacts showing how significant they are in the communicative cultural life of the BaTonga in Zimbabwe. In making this analysis and exploration, the study makes a reflection of how BaTonga represent themselves visually in their culture and even outside their own cultural boundaries. To critique the Tongan cultural communication is also a process of generating an understanding of how the BaTonga project their identity and de-marginalisation. Cultural survival of these people, against other ethnic groups in Zimbabwe is crucial for them and for Zimbabwe in that, as the study demonstrates, the barometer of population which has also been used to justify continued dominance of the BaTonga by the Shona or Ndebele in the country is but null and void. The study advances artefactual ethnisemiotics as an alternative approach to artefacts and visual communication; areas which have also received little attention in the country and even in the region. Through artefactual ethnisemiotics, the study shows that everyday objects are important visual ethnisemiotic pieces that embody a great deal of meanings from which construction of cultural messages are made possible by users. Focus on everyday objects in use brings in new approaches to the study of visual cultural communication, heritage and broadly cultural studies in that, before archaeologists or anthropologists can wait to dig the pieces and characterise them as ossified pieces of history, artefactual ethnisemiotics allows resuscitation, appreciation as well as documentation of a living culture performed in visual communicative ways. v KEY TERMS Artefacts, artefactual ethnisemiotics, visual cultural communication, heritagisation, de- heritagisation, cultural determinism, ncelwa, buntibe, Nyaminyami, cultural space, ethniartefacts, culturalisation vi LIST OF FIGURES Figure Page Figure 1: Summary of the Saussure‘s semiotic triad ........................................................................... 60 Figure 2: The ncelwa sketch............................................................................................................. 111 Figure 3a: The BaTonga Ncelwa ........................................................................................................ 111 Figure 3b: The ncelwa in use ............................................................................................................. 112 Figure 4: ncelwa clay polya-embers holding cup .............................................................................. 113 Figure 5: Sebanzi clay smoking pipe ................................................................................................ 117 Figure 6a: The Hookah Shisha Pipes .................................................................................................. 120 Figure 6b: Features of the Hookah Shisha pipe .................................................................................. 121 Figure 6c: The Hookah-ncelwa connection ........................................................................................ 122 Figure 7: Thungwa drum with mallet................................................................................................ 126 Figure 8: Mirumba drums ................................................................................................................ 127 Figure 9: The Buntibe drum ............................................................................................................. 128 Figure 10: Sketch showing the key features of the buntibe drum ....................................................... 131 Figure 11a: The buntibe with decorations (Binga Museum) ................................................................ 131 Figure 11b: The decorated drum ......................................................................................................... 133 Figure 12a: Photo of the Nyaminyami Walking Stick ......................................................................... 138 Figure 12b: The Nyaminyami Walking Stick motifs .......................................................................... 141 Figure 13: The process of heritagisation ........................................................................................... 180 vii TABLE OF CONTENTS DECLARATION ...................................................................................................................... ii ACKNOWLEDGEMENTS .................................................................................................... iii ABSTRACT...............................................................................................................................v KEY TERMS .......................................................................................................................... vi LIST OF FIGURES ............................................................................................................... vii TABLE OF CONTENTS ...................................................................................................... viii Chapter 1: Introduction ............................................................................................................1