PATTERNS AND SIDFTS IN CULTURAL HERITAGE IN KWAZULU­ NATAL: SELECTED CASE STUDIES, 1977-1999 By Sydwell Nsizwa Dlamini (B.Soc.Sc. and RSoc.Sc. Honours) Thesis submitted in fulfilment ofthe requirements for the degree of Master ofArts (History) in the School ofHuman and Social Studies (Faculty ofHuman and Management Sciences), University ofNatal (Pietermaritzburg), December 200I DECLARATION: The thesis represents original work by the author and has not been otherwise submitted in any form for any degree or diploma to any other University. Where use has been made ofthe work ofothers it is duly acknowledged in the text. ..~...................--- ~ . A version ofchapter 5 has been published in Southern African Humanities Vo!. 13, December 2001. (The journal was previously known as the Natal Museum Journal ofHumanities.) TABLE OF CONTENTS PREFACE .i ACKN"OWLEDGEMENTS .ii ABBREVIATIONS .iii ILLUSTRATIONS .iv INTRODUCTION 1 CHAPTER 1. Scaffolding for the Study: the 'Heritage' Concept, Motivations and the South African Academic Context 5 CHAPTER 2. The 'Rebirth of KwaZulu' and the KwaZulu Monuments Council: Mobilisation, Legitimation and the Prioritisation of Cultural Heritage, 1977 - 1985 .29 CHAPTER 3. KwaZulu and Natal: Co-operation, Shaka and Isandlwana, 1986 - 1993 68 CHAPTER 4. Shifting National and Provincial Cultural Heritage Stages: Policies, Structures and Tensions, 1994 -1997 104 CHAPTER 5. National Priorities and the Battle ofNcome Project: Exploring New Values and Complexities, 1998 - 1999 126 CONCLUSION 167 APPENDICES 171 LIST OF SOURCES 177 PREFACE An analysis of why cultural heritage sites are created, preserved, and developed is what concerns the pages of this study. It identifies patterns and shifts in cultural heritage preservation in the period between 1977 and 1999 in KwaZulu-Natal, and analyses the motivations for the preservation of cultural heritage. Using specific case studies, I argue that in KwaZulu-Natal political necessities and ideas of economic development largely motivated cultural heritage preservation. I also examine the (dis)connection between academic historians and cultural heritage preservation. I indicate that their (dis)connection with cultural heritage preservation, especially its motivations, was a complex one. I argue that in complex ways some academic historians were drawn into the tendencies that were characteristic of cultural heritage presentations ofhistory in KwaZulu-Natal during this period. 11 ACKNOWLEDGEMENTS Initial thanks must go to Professor Tim Nuttall, my supervisor, for support which ranged far beyond mere supervision, and to the whole staff of the History discipline in the School of Human and Social Studies. Here I should specifically thank Professor John Wright for being an inspiration. I should also single out Professor John Laband who, like Professor John Benyon, both 'discovered' me and instilled in me the passionate love that I have for the discipline. Julie Parle, Jabulani Sithole and the late Professor Ruth Edgecombe also influenced my love for history. The superb undergraduate teaching and subsequent enthusiasm of all these historians have provided much ofthe energy for this study. I shall forever be influenced by my experiences at the fonner History Department. I would also like to thank my all-time mentor, Sibongiseni Mkhize, for his emotional support. Thanks are also due to staff members of the Natal Museum, especially Frans Prins and Gavin Whitelaw for talking to me about my work. I would also like to thank Sharynne Hearne the Natal Museum chief librarian for her assistance during the early stages ofmy research. I am also particularly grateful to the staff of the Amafa aKwaZulu Natali, the Natal Society Library, the Killie Campbell Africana Library, the Alan Paton Centre and the Natal Museum Library. All those who provided material and made themselves available for interviews are also acknowledged. I also thank the Mellon Foundation for funding this study, without its assistance this production of the study would have been impossible. Lastly, to Tim again, my warm thanks for your critical and very supportive candour. III ABBREVIATIONS ACTAG - Arts and Culture Task Group ADNC - Association ofDirectors ofNational Collections AKN - Amafa aKwaZulu-Natali ANC - African National Congress APC - Alan Paton Centre CMMH - Commission on Museums, Monuments and Heraldry CREATE - Commission for the Reconstruction and the Transformation ofthe Arts and Culture DACST - Department ofArts, Culture, Science and Technology DDG - Deputy Director-General DEC - Department ofEducation and Culture DG - Director General DNE - Department ofNational Education FAK - Federasie van Afrikaanse Kultuurvereniginge JEA - KwaZulu/Natal Joint Executive Authority IFP - Inkatha Freedom Party KCC - Killie Campbell Africana Library KCM -KwaZulu Cultural Museum KDM - KwaDukuza Museum KCMO - KwaZulu Cultural Museum and Ondini KEC - KwaZulu Executive Council KHF - KwaZulu Heritage Foundation KLA - KwaZulu Legislative Assembly KMC - KwaZulu Mon~ents Council KMF - KwaZulu Monuments Foundation KPRC - KwaZulu Planning and Research Committee KZNPMS - KwaZulu-Natal Provincial Museum Services LTMD - Lower Tugela Magisterial District MUSA - Museums for South Africa NHC - National Heritage Council NM - Natal Museum NMC - National Monuments Council NML - Natal Museum Library NPA- Natal Provincial Administration NPMS - Natal Provincial Museum Services RDP - Reconstruction and Development Programme SAHRA - South African Heritage Resources Agency SATOUR - South African Tourism Board SDAS - Shaka, KwaDukuza and Allied Sites SSS - Shaka Sites, Shakaville iv Illustration 3. Images of the contemporary Reconstructed Ondini Royal Residence. Hut floors of the Ondini Royal Reconstructed huts from the original Residence, burnt on 4 July 1879. hut floors. Outer palisade of the Reconstructed Main entrance at the inner palisade. A Ondini Royal Residence. view from the reconstructed huts. v Model of the Ondini Royal Residence at Reconstructed hut which, it is said, was the Interpretive Centre at the Ondini King Cetshwayo's hut. rnmnlp.y A bronze life-statue of King Cetshwayo. Note by the Amafa aKwaZulu Natali about the continuity of the Ondini Reconstruction project. vi Dlustration 2. Model for the development ofOndini Royal Residence, 1980. • : ..... , .. ....".' .~ ". / ; ; i, \ i "I i \. '. / ',..... - '~C/' . '.: 'I . i: .- .... -.. .- . ..... " ".-:.::{ ~;. ',' ~~ ...... ~: ;., vii IDustration 3. Contemporary layout ofthe Ondini Royal Residence. It is now referred to as the Ondini Historic Complex. Ondini Historic Complex , . viii Illustration 4. Approximate position ofKwaDukuza in Stanger. Including presumed positions ofsites associated with King Shaka 1825-1828. 6 Golf Course ;)l .~ SJ .. '" .:.... ST .--'-- .1 ~.. } ~./ - / .. / ------_._-------------STANGER (1872 ONWARDS) ix IDustratioD 5. Plan for the development ofthe area surrounding King Shaka's tree and Monument. EXISflNG SHOP .... w w, " Q::' '' ~ .... , Vl a:: w • Q. I :::> , Royal ~ . MU5elJT1 Display o arxl Rest Room u .' .",-:: • ~ \ " .' .- pe<:fes!T'ian 'Walkway d8y : 1 . ~ov~. I ~ ,I d.i i • " U J ,; "-"'-~-" Shaka's Tree .. Sh:lp , • ~ / \ ' r-----.--' ,- .. -........ ~ (urabrsTI . 0 ff ice 1!-:-:--l-:-+--'-~1lII'" . Museu'm StCX"age ; 11' \ I.¥-I•: +---' , \I. ." CATD STREET x Dlustration 6. A Map ofthe Conservation Area in Stanger: the shaded area indicates an approximate boundary. .,. / .,. / .. ~ . I ~i ~ / --, ... i /........ .. "1'- - ':.- ,", ..... /~ ~'. ,/ " :.~ .~ t.~' ....... I' I i '"./ ... , ;"" /' )..,>. "/..... .. 11- to-- I V ;-<'" 'v .... ~ I /. ~ ..( ,. I !; " ',./ ..-<..,./ .. I " -..J .J i, ''V''" ".-_,: '. I / ..... / .....rj: ... ....;.t /" 'y/'\,...:,. '~. /'... l. I ! _.J! )- j / ./ ') /'. ~-- -, If'" J( /'/' II /I - '- IwI1n"7 • .. an n, / /' , xi Dlustration 7. A model for the Battle ofNcome Monument. I I I I /,..----------" I I/ ~ I I/ ~-~ \ I I /- ~-~~ \ I I 1/// -, \ I I! III \\ I I I 1/I r1 -, \ I !~I ill c= -l~ I ! I: - \\ U!~ I \ \\\ lJ I \- \\\ ; / -I \ ~ ~ / I \ ~ ~) / -----/ --.----------~._- \ (I': xii Sources for Illustrations: Illustration 1. Images ofthe contemporary Reconstructed Ondini Royal Residence. Source - Images captured by the S.N. Dlamini (author). Available to interested researchers. Illustration 2. Model for the development ofOndini Royal Residence, 1980. Source - Amafa aKwaZulu Natali Headquarters (AKN), mundi, KwaZulu Planning and Research Committee (KPRC) file. Illustration 3. Contemporary layout ofthe Ondini Royal Residence. It is now referred to as the Ondini Historical Complex. Source - Obtainable as a Guide to the Ondini Historic Complex, KwaZulu Cultural Museum, Ulundi. Illustration 4. Approximate position ofKwaDukuza in Stanger. Including presumed positions ofsites associated with King Shaka, 1825-1828. Source - KwaDukuza Museum (KDM), KwaDukuza, King Shaka file. Illustration 5. Plan for the development ofthe site with King Shaka's tree and Monument in Stanger. Source - Amafa aKwaZulu Natali Office, Pietermaritzburg, Shaka, Dukuza and Allied Sites (SDAS) Vol. 4, No. 2/517. Illustration 6. A map ofthe Conservation Area in Stanger. The shaded area indicated the approximate position ofits boundary. Source - Amafa aKwaZulu Natali Office, Pietermaritzburg, Lower Tugela Magisterial District: Shaka Sites, Shakaville (LTMD SSS) file, 9/2/418/5. Illustration 7. A plan for the Battle ofNcome Monument. Source - John Laband Ncome Project (JLNP) file, Pietermarizburg, University ofNatal. 1 INTRODUCTION Introducing