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A REFLECTIVE PERSPECTIVE of WOMEN LEADERSHIP in NGUNI ORAL POETIC FORMS by SISANA RACHEL MDLULI Submitted in Accordance With

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A REFLECTIVE PERSPECTIVE of WOMEN LEADERSHIP in NGUNI ORAL POETIC FORMS by SISANA RACHEL MDLULI Submitted in Accordance With A REFLECTIVE PERSPECTIVE OF WOMEN LEADERSHIP IN NGUNI ORAL POETIC FORMS by SISANA RACHEL MDLULI submitted in accordance with the requirements for the degree of DOCTOR OF LITERATURE AND PHILOSOPHY in the subject AFRICAN LANGUAGES at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROF N SAULE March 2013 Student number: 618-520-7 DECLARATION I declare that A REFLECTIVE PERSPECTIVE OF WOMEN LEADERSHIP IN NGUNI ORAL POETIC FORMS is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. ...................................................... .......................................... SIGNATURE DATE (SR Mdluli) i ACKNOWLEDGEMENTS I would like to express my sincere appreciation to my supervisor, Professor Ncedile Saule, for his outstanding and patient guidance. I am also indebted to friends and colleagues in the Department of African Languages, too many to mention, for their unflagging support and encouragement. My acknowledgement also goes to Professor David Levey of the English Department at Unisa, who meticulously edited the manuscript of this thesis. Mrs Hleziphi Napaai, our subject librarian was supportive and always willing to help. My gratitude also goes to Mrs Nomsa Lediga for organizing the layout and design of this thesis. I am gratified to Professor Bhekinkosi Ntuli for his untiring motivation and support. I am indebted to my nephew Mbhekwa Dlamini for his willingness to assist. My gratitude goes to my three sons, Sandile, Sthembiso and Anele, my first daughter Emmaculate, and my granddaughters, Onalena and Temalangeni for their understanding as to why I could not be with them all the time. I am indebted to my siblings, Constance Motsa, Grace Gwebu and Moses Mdluli for their support. I am grateful to my mother LaNdlela, for her wise words that: “Mntfwanami, imfundvo lengikunika yona; yindvodza longeke uyemukwe ngumuntfu!” ii SUMMARY This thesis utilizes the theory of feminism in all its implied branches in an attempt to critically review the subtle and sometimes deliberate subjugation of women in general and South Africa in particular. This occurs, in spite of the fact that there are laws in place that are meant to discourage women abuse. Juxtaposing this is the perspective conception of women, looking at themselves as subjects of virtue who deserve equal treatment to any other human being. It is through some oral forms that this reflection could be tested. Praise poetry, in the hands of a creative artist opens up a world of human emotions that could not be easily seen or felt, and yet it can simultaneously be used to manipulate situations. Language therefore could be seen as a powerful double- edged instrument. The patriarchal system, in this thesis, is exposed as that holy ideology turned unholy to achieve condescending agendas against women. The thin light of respect demonstrated by the traditionalist thinking is made to disappear into thin air, especially when contaminated by Western ideas. It is the resoluteness and the fair obstinacy of some both traditional and modern women that determinedly stood up to conscientise the world in terms of respect for human life irrespective. In this research, an exploration of literary elements within four Nguni languages, that is Siswati, isiZulu, isiNdebele, and isiXhosa reveals the singularity of purpose, for these elements to be manipulated to achieve domineering intentions. Be that as it may, tibongo (praise poems/ praises) of outstanding women who have served in traditional leadership in these language groups give reason to challenge any idea that women should by virtue be relegated to the back seat. Through these tibongo it becomes apparent that because of the women leaders’ stubborn fairness and unparalleled foresight, they have become personifications of democratic values and as such, role models and symbolic hope not only for the empowerment of women, but also for their total liberation from all negative perceptions and oppressions. Key words: Feminism; Womanism; Proverbs; Praise Poetry; Culture; Women Leadership; Orature iii DEDICATION I dedicate this thesis to my mother Nyase Christina Mdluli, LaNdlela, my three sons Sandile, Sthembiso and Anele. iv TABLE OF CONTENTS PAGE Title page Declaration (i) Acknowledgements (ii) Summary (iii) Dedication (ivi) CHAPTER 1 INTRODUCTION 1.1 General Background 5 1.2 Context of Study 12 1.3 Motivation 17 1.3.1 Personal Motivation 17 1.3.2 Political Motivation 18 1.3.3 Academic Motivation 19 1.4 Literature Overview 20 1.5 The Current Study 26 1.6 Aims and Objectives 26 1.7 Methodology 28 1.8 Problem Statement 29 1.9 Definition of Key Concepts 33 1.9.1 Feminism 33 1.9.2 Womanism 34 1.9.3 Orality 35 1.9.4 Culture 35 1.9.5 Poetic Forms 37 1.9.6 Praise Poetry 38 1.9.7 Proverb 38 1.9.8 Women’s Leadership 39 1 1.10 Scope of Study 39 1.10.1 Chapter 1 39 1.10.2 Chapter 2 40 1.10.3 Chapter 3 40 1.10.4 Chapter 4 40 1.10.5 Chapter 5 41 1.10.6 Chapter 6 42 1.11 Concluding Remarks 42 CHAPTER 2 THEORETICAL FRAMEWORK 2.1 Introduction 44 2.2 The Feminist Theory 45 2.2.1 Feminism and Diversity 50 2.2.2.1 The Liberal Feminist 51 2.2.2.2 Marxist Feminism 51 2.2.2.3 Radical Feminism 52 2.2.2.4 Psychoanalytic Feminism 54 2.2.2.5 Socialist Feminism 55 2.2.3 Feminism in the African Context 58 2.2.4 Womanism in the African Context 63 2.3 Performance and Orality 71 2.3.1 Performance and its Elements 72 2.3.2 The Performer 75 2.3.3 The Audience 77 2.4 Orality 81 2.5 Concluding Remarks 83 2 CHAPTER 3 PROVERBS, WOMEN AND GENDER INEQUALITY 3.1 Introduction 84 3.2 Definition of a Proverb 88 3.3 The Dynamics of Proverbs 92 3.4 Nguni Proverbs, Patriarchy and Leadership 99 3.5 Analysis of Proverbs 102 3.5.1 Proverbs on Women as Mothers 103 3.5.2 Proverbs on Women and Marriage 108 3.5.3 Proverbs on Women as Weak Minded Beings 127 3.5.4 Proverbs on Women as Wicked Beings 132 3.5.5 Proverbs on Women and Authority 139 3.6 Concluding Remarks 146 CHAPTER 4 ORAL POETRY AND THE AFRICAN TRADITIONAL WOMAN 4.1 Introduction 151 4.2 Praise Poetry in Perspective 151 4.3 Definition of Praise Poetry (Tibongo) 159 4.4 Praise Poetry and the Nguni Woman in Context 162 4.4.1 The Role of the Nguni Woman in Praise Poetry 162 4.4.2 Praise Poetry and the Nguni Woman 174 4.4.2.1 Types of Nguni Praise Poetry 174 4.4.2.2 Women in Formal Praise Poetry 185 4.5 The Bard (Imbongi) and Women in Praise Poetry 187 4.6 Concluding Remarks 194 3 CHAPTER 5 ANALYSIS OF ROYAL WOMEN’S PRAISE POEMS 5.1 Introduction 196 5.2 EmaSwati Royal Women 197 5.2.1 Labotsibeni – Gwamile LaMdluli 199 5.2.1.1 Brief Historical Background of Labotsibeni 199 5.2.1.2 Critical Analysis of Praises for Labotsibeni 204 5.2.1.3 Concluding Remarks 218 5.2.2 Ntombi – LaTfwala the Reigning Queen Mother 219 5.2.2.1 Brief Historical Background of Ntombi LaTfwala 219 5.2.2.2 Critical Analysis of Praises for Ntombi LaTfwala 220 5.2.2.3 Concluding Remarks 235 5.3 Royal Women of AmaZulu 237 5.3.1 Mkabayi – Daughter of King Jama 238 5.3.1.1 Brief Historical Background on Mkabayi 238 5.3.1.2 Critical Analysis of Praises for Mkabayi 242 5.3.1.3 Concluding Remarks 253 5.3.2 Nandi - Mother of Shaka 254 5.3.2.1 Brief Historical Background on Nandi 254 5.3.2.2 Critical Analysis of Praise Poetry for Nandi 256 5.3.2.3 Concluding Remarks 265 5.4 Conclusion 266 CHAPTER 6 THE GENERAL CONCLUSION 268 BIBLIOGRAPHY 276 APPENDIX FOR ALL THE TIBONGO 291 4 CHAPTER 1 INTRODUCTION 1.1 GENERAL BACKGROUND Gender inequality and women’s oppression have in some instances characterised societal groups since time immemorial. It has become part of the socialization of some communities and extends beyond class variances as well as many collective structures. More often than not, it has existed as enshrined in various agents of societal behaviour such as family, religious institutions, educational institutions, government departments, television, economy and many others. Oppression of women is one category of oppression that cuts across cultures, social classes and geographical boundaries of countries. In return it yields members of society who are expected to behave in a particular manner as per the prescripts of the powerful group. Such oppression as an element of culture is often imposed on women who are supposed to accept the behavioural patterns inherited from their elders and never to consider challenging the status quo. This is a concept that has had a bearing on the cultural behaviour that each group of people consider as acceptable since human beings cannot distance themselves from being affected by some form of culture. It is a matter that has not just affected countries that are considered as so- called third world countries only, but has existed and been sustained even in the first world countries, so termed. Women’s oppression manifests itself in different scenarios. The causes for this disturbing issue are vast and different. Lindsey (1997:1) attests that even though social relations are regimented by a variety of ways, gender has remained a key factor of human ordering. 5 Gender inequality has existed amongst the working class to such an extent that it has generally become difficult for a woman to penetrate the ceiling at her workplace.
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