oral strategies for conflict expression and articulation of criticism in zulu social discourse

363 Pages·2012·3.5 MB·English

ORAL STRATEGIES FOR CONFLICT
EXPRESSION AND ARTICULATION OF
CRITICISM IN ZULU SOCIAL DISCOURSE
By
Noleen Sheila Turner
Submitted in fulfillment of the requirements for the degree
of D.Phil in the Faculty of Humanities: School of Languages
and Literature, University of Durban-Westville.
Promoters: Prof P.J. Zungu
Or J. Conolly
Co-Promoter: Prof J. Coullie
Durban October 2003
DECLARATION
I, Noleen Sheila Turner
Reg' No. 8523331
Hereby declare that the thesis entitled ORAL STRATEGIES
FOR CONFLICT EXPRESSION AND ARTICULATION OF CRITICISM
IN ZULU SOCIAL DISCOURSE is the result of my own
investigation and research and that it has not been
submitted in part or in full for any other Degree or to
any other University.
04 - D4 - 04-
.....................................
Date
11
ABSTRACT
This study examines the oral strategies employed by Zulu
speaking people in the expression of conflict and criticism
in their social discourse. These oral discourses, viz.
izibongo and naming practices, are analysed to ascertain the
socially acceptable ways in which Zulus articulate their
frustrations and discontent in various social settings. These
are commonly used in rural communities, but they also echo in
urban social settings. Hostility and ill-feelings are thus
channelled through the sanctioned form of these various oral
expressions either as a means of merely a1r1ng one's
dissatisfaction or as a means of seeking personal redress.
The study also reveals that these particular forms of oral
expression with critical content, do not exist for their own
intrinsic value simply to artfully describe a particular
individual. They are composed primarily to serve a particular
social function of conflict articulation and expression in
non-conflictual ways.
The function of these oral forms is that of a "socio-cultural
archive" (Conolly 2001), which is vested in the memory of
those who can express in performance, their renditions of
personal and group identity. The aesthetic beauty of these
forms must be regarded as a secondary function and a direct
by-product of the primary function, which is personal
identity expressed in a way which ensures that issues which
could cause conflict are highlighted so as to diminish their
conflictual potential. The reason for this is that in order
to fulfill the first function, which is conflict reduction,
Jousse (1990) states there has to be a form (rhythm, balance
and formula) which makes the expressions memorisable - which
literate people equate to 'poetry'.
111
ACImOWLEDGEMENTS
I wish to register my indebtedness and sincere appreciation
to the following:
1. My promoters, Professor Phyllis Zungu for her
invaluable insights and suggestions, Dr Joan Conolly
for her meticulous attention to detail, extensive
knowledge in the field of oral studies, and her
tireless patience and co-supervisor Prof Judith
Coullie, for her expertise, advice, support and
encouragement in completing this research project.
Their professional competence and committed
superV1S1.0n was of great assistance to me in
completing this thesis.
2. My colleague Malini Ramsay Brijbal for carrying an
extra share of the teaching load in the final phase
of completion.
3. All the wonderful informants and colleagues who so
patiently answered my endless questions and endured
the many interviews which provided the information
that made this study possible. .... Ningadinwa nangomuso!
4. The National Research Foundation (NRF) for the
financial assistance in the form of a bursary that
contributed in making the research possible. Opinions
expressed and conclusions arrive at are those of the
author and are not necessarily to be contributed to
the NRF.
5. The Uni versi ty of Durban Westville for their
financial assistance in the form of a staff grant.
6. To my supportive and loving husband Sidney, our
children, Shannon, Janna and Patrick and my dear
friends for their cajoling interest in keeping my oft
flagging spirits going, so that this project would
see completion.
IV
DEDICATION
This work is dedicated to the memory of 2 sets of
the most wonderful parents any person could be
lucky enough to have been blessed with, my father
and mother Harold and Sheila Robertson, and my
parents-in-law, Lawrence and Joan Turner. You were
all such an inspiration to me. Your selfless
generosity of spirit lives on beyond you. Rest in
peace.
v
PAGE
TABLE OF CONTENTS
ii
Declaration
iii
Abstract
iv
Acknowledgements
v
Dedication
vi
Table of contents
Chapter 1: INTRODUCTION
1.1 General Introduction 1
1.2 Description and Context of the Research 3
1.3 Aim and Focus of the Study 7
1.4 Motivation for the Study 8
1. 4.1 Personal and Social Motivation 8
1. 4.2 Academic Motivation 10
1.5 The Scope of the Study 12
1.6 Limitations of the Study 14
1.7 Terminological Logjams in Oral Studies 17
1. 7.1 Terminology in Zulu Oral Texts:
IzibongolIzihasho 22
1.8 The Text in Context: The Fluidity of the
Performed Text 30
1.9 The Structure of the Study 33
1.10 Synopsis and Concluding Remarks 35
VI
Chapter 2: LITERATURE REVIEW
2.1 Introduction 38
2.2 Conflict Reduction in Oral Communities 38
2.2.1 Scholarship on the Oral Style 39
2.3 Published Research on Oral Strategies for 48
Recording Conflict
2.3.1 Literature Review on Oral 49
Communication & Conflict
in African countries
2.3.2 Research in Oral Communication and 53
Conflict in southern Africa
2.3.2.1 Songs 53
2.3.2.2 Oral Compositions:lzibongo 60
/Izihasho
2.3.2.3 Published Research in the 64
Field of Conflict and
Onomastics
2.4 Recapitulation 71
Chapter 3: THEORETICAL FRAMEWORK OF ORALITY
AND CONFLICT
3.1 Introduction 73
3.2 The Anthropology of Geste and Rhythm 74
3.3 The Theoretical Framework of Oral Studies 77
3.3.1 The Orality-Literacy Debate 77
3.3.2 The Oral Mode and Performance 79
3.3.2.1 Memory and Mnemonics 82
3.4 Theoretical Framework of Conflict in 86
Oral Societies
vii
3. 4.1 Conflict in Africa 86
3.4.2 The Process of Socialization and 89
Control
3.4 .3 The Nature and Form of Dispute 90
3.5 The Forms and Functions of Humour in Oral 98
Composition
3. 6 Recapitulation 100
Chapter 4 CONFLICT EXPRESSION IN ~NG: THE
SCIENCE OF ONOMASTICS AS AGENT OF
CONFLICT MANAGEMENT IN ZULU SOCIETY
4.1 Introduction 101
4.2 Methodology 103
4. 2.1 Identity of Respondents 106
4.2.2 Collecting data 108
4.3 Conflict and Community Values in the Social 110
Arena
4.4 The Function of Zulu Personal and Animal 113
Names
4.4.1 Zulu Naming Practices 113
4.5 The Use of Allusive Language in Onomastics 118
4.6 Naming Reflecting Inter-Personal Conflict 120
4. 6.1 Conflict Between Spouses/Lovers 120
4. 6.1.1 Personal Names 120
4. 6.1.2 Animal Names 123
4.6.1.3 Homestead Names 127
4. 6.2 Conflict Between In-Laws 128
4.6.2. 1 Personal Names 129
4.6.2.2 Animal Names 132
4.6.2.3 Homestead Names 135
Vlll
4.6.3 Conflict Within the Family at Large 136
4.6.3.1 Personal Names 137
4.6.3.2 Animal Names 140
4.6.3.3 Homestead Names 145
4.6.4 Conflict with Neighbours and 147
Members of the Local Community
4.6.4.1 Personal Names 148
4.6.4.2 Animal Names 150
4.6.4.3 Homestead Names 154
4.7 Recapitulation on Personal, Animal and 156
Homestead Names
4.8 Nicknames 157
4.8.1 The Function of Nicknames 159
4.8.1.1 Allusion in Nicknaming 162
4.8.1.2 Nicknames Relating 163
to Physical Appearance
4.8.1.3 Nicknames Relating 165
to Behaviour Traits
4.8.1.4 Nicknames Depicting 168
Character Traits
4.8.1.5 Nicknames Depicting 171
Features of Dress
4.8.1.6 Nicknames Reflecting 171
Idiosyncratic Speech
Patterns
4.8.1.7 Nicknames Given to Females 172
4.9 Conclusion 173
IX
Chapter 5: EVIDENCE OF CONFLICT AND CRITICISM IN ZULU ORAL CLAN
HISTORY
5.1 Introduction 176
5.2 Performance of Clan Izibongo 178
5.3 Criticism in Clan Izibongo 179
5. 3.1 Izibongo zikaQwabe/Gurnede/Khuzwayo/ 180
5. 3.2 Izibongo zikaKhusi 182
5. 3.3 Izibongo zikaLuthuli 184
5. 3.4 Izibongo zikaNdabandaba 186
5.3.5 Izibongo zikaNdimande 186
5. 3. 6 Izibongo zikaMkhize 187
5. 3.7 Izibongo zikaMyeza 188
5. 3.8 Izibongo zikaNgcobo 188
5. 3.9 Izibongo zikaShelernbe 188
5.4 Recapitulation on Clan Izibongo 192
Chapter 6: THE IZIBONGO/ZZIHASHO OF ZULU WOMEN
6.1 Introduction 194
6.2 Izibongo/izihasho Methodology 196
6.2.1 Identification of Respondents 198
6.2.2 Collecting Data 199
6.2.3 Ethics 200
6.3 Women and Izihasho 202
6.4 Izibongo texts Recorded in Print 208
6.4 .1 The Izibongo of Royal Zulu Women 208
6. 4.1.1 Brief Historical 210
Background of Mkabayi
6.4.1.2 Brief Historical Background 216
x