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Mahashe MHSGEO002 Thesis Body Final 12 Dec 2012 Dithugula tša Malefokana; Paying Libation in the Photographic Archive made by Anthropologists E.J. & J.D. Krige in 1930s Bolobedu, under Queen Modjadji III. Tebogo, George / Mahashe / MHSGEO002 A minor dissertation submitted in partial fulfillment of the requirements for the award of the degree of Master of Arts in Fine Art Town Michaelis School of Art Cape Supervisors: Prof. Pippa Skotnesof and Prof. Carolyn Hamilton. Faculty of the Humanities University of Cape Town University 2012 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University Declaration This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Signature: Date: Town Cape of University Contents Abstract I Acknowledgement II Notes on Orthography III Glossary IV Visuals VII Introduction and Methodology 1 Part 1 Chapter 1 19 Background to the study Chapter 2 34 South African social anthropology in the 1930s The Krige fieldwork among Balobedu Town Chapter 3 48 Photography and anthropology: the Malinowskian approach Part 2 Cape Chapter 4 of 56 Dithugula tša Malefokana Chapter 5 70 Explication of the project Chapter 6 85 Photo documentation of the installation (Photo Essay) Dithugula tša Malefokana: Seeing Other People's Stories, Telling Tall Tales,University 2012 (including the final residue’s presentation) References 94 Abstract How, and in what ways, might a visually-and artistically-inclined person gain knowledge from a body of ethnographic photographic objects? I approach this question by launching an inquiry into the Balobedu of Limpopo province, South Africa as masters of myth-making, the 1930s anthropologists as masters of perception and myth transmission, the camera as a mechanical tool that has no master and the photographic image and object as a slippery abstract, or thing, that resists taming. What binds Balobedu, anthropologists and photography in this relationship is their collaboration at particular points in time in the production of the knowledge that is now Khelobedu. Khelobedu refers to all knowledge, custom, practices and culture emanating from Bolobedu and its people. To do this, I assume, or play with, the character of ‘motshwara marapo’ (keeper of the bones or master of ceremonies), a versed person who officiates in ceremonies involving multiple custodies, doing so by reciting stories and enacting activities that facilitate progress within ceremonies and rituals. My engagement explores the process of pacifying a disavowed ethnographic archive using the peformative aspect of the photographic object’s materiality with the aim of gaining knowledge of the indigenous and colonial, using concepts with origins in both categories. Town Cape of University ! I! Acknowledgements I would like to acknowledge the help of Iziko’s Social History Collections Department in granting me access to the Krige photographic collection, as well as to their darkroom facilities and staff. I am grateful to the Archive and Public Culture Research Initiative, and Michaelis School of Art’s Post-Graduate seminar for the support they offered in the form of guidance and critical engagement with my project. I am also grateful to the Centre for Curating the Archive for their infrastructure and funding for the practical component, and the National Research Fund for the research grant which facilitated my studies. I am grateful to the contribution of Patricia Davison, Andrew Bank and Jeremane Makwala, for sharing their knowledge with me. I would also like to acknowledge my family for their patience and support. Most importantly, I would like to express my gratitude to my supervisors: Prof. Pippa Skotnes and Prof. Carolyn Hamilton, whose efforts cannot be measured. Town Cape of University ! II! Notes on Orthography There is no official written form for Khelobedu. For the purpose of this study I have used Northern Sotho spelling. However, I have tried, where possible, to retain the sounds of the language as I would normally speak it. That said, there are inconsistencies in the spelling of some words, especially when I am referring to names or quoting other authors’ work. For example: Modjadji is sometimes Mudjadji, or Lobedu is sometimes Lovedu. Words in Khelobedu and Northern Sotho are in italics and an explanation of the meaning, context or concept is given, either as a footnote, or as part of the text. Town Cape of University ! III! GLOSSARY BADIMO – the ancestors, more specifically it refers to those that have passed on to the next realm and are now in the presence of God. BALOBEDU – receivers of praise or tribute, the people from the Lobedu country in modern-day Limpopo and pledge affiliation to the Rain Queen, Modjadji. BOGWERA – the male initiation school complex. BOLOBEDU – the place of Balobedu. BYALE – girls’ initiation school. DIKETO – a game played by children in which they move stones in and out of a circle while throwing a stone up in the air. DITAOLA – diviner’s divination bones (commonly referred toTown as the Dice in anthropology). DITAOLA TŠA LEWATLE – diviner’s divination bones which are objects and things found in the ocean, including shells, pebblesCape and other natural bits. DITAOLA TŠA NAGA – diviner’s divinationof objects found on land. DITHUGULA – sacred historical objects of an ancestor. HO DZOSA – to wake, but refers to waking up unceremoniously, or to disturb. HO EMA – to stand, connoting a lack of peace, which leads to disorientation, as in pacing and being scattered.University HO LALA – to sleep. The concept revolves around peace, which is credited as being a source of happiness. HO RETA – to praise. HO RETWA – to be praised. ! IV! HO-PHASA – a ritual event used to placate the ancestors as a cure for the violent potential inherent in their archive. Technically it refers to the squirting out of a mixture of water with ground, sprouted grain. INDUNA – a district head subordinate to the Queen or King; whose task is to run their district as well as to officiate and resolve disputes relating to the district. KGAPA – translates as scooping, in this case it refers to wiping, in the sense of a cure, that is, to wipe off mucus. KGAPAMAMILA – wiping away mucus, in this case it relates to divining bones that cure a cold (or wipe off mucus). KHADI – the oldest sister of the inheriting brother within a family. The name alludes to “ho khala” which is to warn, cure or curb, a reference to her power to effect change within the family structure. Historically it refers to the brother’sTown sister whose lobola cows were used to pay for her brother’s bride’s lobola. KHELOBEDU – refers to all knowledge, customs,Cape practices and culture emanating from Bolobedu and its people including theof religion and language spoken by Balobedu. LELOPO – a possessing spirit. LESUGU – snuff, in this case it refers to a genre of inherited songs commonly taught and sang during theUniversity Lobedu initiation complex and Thugula rituals. LETSOKO – snuff. LOBEDU (LOVEDU) – referring to people, things and concept emanating from Khelobedu. MAKHAHA – sorghum, commonly known then as “red kafir corn”. ! V! MALEFOKANA – name given to Eileen Jensen Krige by Balobedu. Lefoka refers to the wilderness or the bush. When directly translated the name means ‘slipping through’ or ‘trespassing on the wilderness’. MAMILA – mucus. MAŠHOHLA LEFOKA – name given to Jacob Daniel (Jack) Krige by Balobedu. The word ŝhohla means to trespass or slipping through while lefoka refers to the wilderness or the bush, ie the trespasser of the wilderness. MELODI – a whistle, a melody or a tune. More specifically the phrase refers to a coded or agreed language reserved for kin, much like the special whistles that boys call each other with when they hunt. MODIGWANA – mini ancestors, living god, revered elder. MOTANUNI – diplomatic wife. Town MOTSHWARA MARAPO – keeper of the bones or master of ceremonies. In this case it refers to a versed person who officiates inCape ceremonies involving multiple custodies. Doing so, by reciting stories andof enacting activities that facilitate progress within ceremonies and rituals. MUKHUBO – a belly button or an umbilical cord. It can be used to refer to a gathering of all the relatives, referring to genetic and political relatives. MUPHABA – beerUniversity that is brewed by the “khadi”, made of eleusine grain, although makhaha can be used. No other grain is acceptable. RAKGADI – father’s sister SERETO – a praise piece. ŠHOHLA – to trespass. THUGULA – singular for dithugula ! VI! Visuals Visual 1- Ditaola (Box 1) 1 Visual 2- Dithugula (Box 2) 19 Visual 3- The Ritual (Box 3) 56 Photo credits Copyrights © George Mahashe 2012 Copyrights for all materials emanating from the installation are reserved by the artist. Visuals 1 and 3 George Mahashe Visuals 2 Eileen Jensen & Jacob Daniel Krige (copied by George Mahashe) Imperfect librarian exhibition Raymond du Toit Town The Exuberance Project exhibition Ashley Walters Month of Photography 5 George Mahashe & Clare Butcher Dithugula tša Malefokana EuridiceCape Getulio Kala They Were Hungry ofGeorge Mahashe & Clare Butcher Original photographs for the installation Eileen Jensen & Jacob Daniel Krige Krige Photographic Collection, Social History Collections copyrights Iziko Museums University ! VII! Town Cape of University Dilaola (Box I) Introduction In the 1930s a husband and wife team of social anthropologists, Jacob Daniel (Jack) Krige and Eileen Jensen Krige, undertook sustained participant-observation fieldwork in the kingdom of Bolobedu, located in the north-eastern Transvaal of the then Union of South Africa (now the province of Limpopo).
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