ULWAZI Publication of the uMsunduzi and Ncome Museums MUSEUM DISASTER PREPAREDNESS VESTIGES OF THE BATLOKWA LET’S TALK ABOUT POLYGAMY Volume 8, 2022 KNOWLEDGE = EMPOWERMENT THE IMPACT OF CIVIL UNREST ON HERITAGE BUILDINGS READERS ARE LEADERS, LEADERS ARE READERS FROM DINGAAN’S DAY TO WOMEN’S DAY TO RECONCILIATION DAY: CASTING OFF OLD ASSOCIATIONS TO MAKE WAY FOR NEW CELEBRATIONS

Follow us! UMSUNDUZI AND NCOME MUSEUMS 351 Langalibalele Street, Pietermaritzburg, 3201 | P.O. Box 998, Pietermaritzburg, 3200 Tel: 033 394 6834 | Fax: 033 394 6797 www.msunduzimuseum.org.za Blood River Heritage Site, Ohaleni, 3000 | PO Box 238, Dundee, 3000 Tel: 087 527 0823 | Fax: 034 271 8121 uMSUNDUZI MUSEUM NCOME MUSEUM ISBN 978-0-6397-4551-0 ULWAZI 2022 Foreword by the Director ..........................................................................................3 The impact of civil unrest on heritage buildings – 182 Church Street Pietermaritzburg .......................................................................................................4 Vestiges of the Batlokwa ...........................................................................................8 Museum Disaster preparedness ..............................................................................14 Preservation of library materials in museums ..........................................................18 Let’s talk about polygamy .........................................................................................20 Modern polygamy and black women’s pain as entertainment .................................22 From Dingaan’s Day to Women’s Day to Reconciliation Day: casting off old associations to make way for new celebrations ............................................................................24 Empowerment and women’s rights .........................................................................30 Readers are leaders, leaders are readers ...............................................................34 Thokozani Shabalala: a farewell tribute ...................................................................36 UMsunduzi Museum empowering local women ........................................................38 Umbhali: imibibuzo nezimpendulo ..........................................................................42 Writer's corner ........................................................................................................43 What’s been happening at the Museum ..................................................................46 CONTENTS EDITORS Page No. Ms N. Gwala Ms N. Franzsen Mrs S. Tshisevhe uMsunduzi Museum Weekdays: 09:00 - 16:00 Saturdays: 09:00 - 13:00 Ncome Museum Weekdays: 08:00 - 16:00 Weekends: 08:00 - 15:00 LAYOUT AND DESIGN OPENING HOURS Ncome Museum uMsunduzi Museum Mrs N. Ngcobo Ulwazi - Published by the uMsunduzi and Ncome Museums © 2022 VENUES FOR HIRE! Contact us for more information Please note that opinions expressed in articles are those of the authors. Although every care has been taken to ensure accuracy of information, the publisher cannot be held responsible for any errors or views expressed. Follow us on social media! UMSUNDUZI AND NCOME MUSEUMS

FOREWORD BY THE Dr Mlungisi Ngubane Director, uMsunduzi and Ncome Museums DIRECTOR This publication provides a widely useful compilation of ideas, cases, innovative approaches and practical strategies for enhancing uMsunduzi and Ncome Museums' programs. By taking a new look into the ubiquitous programs, Ulwazi identifies a substantial resource in the effort to increase readership. In this publication an enormously wide range of subjects for histories, politics, anthropology and strategies to deal with disaster preparedness is covered. This volume would be an important resource if it only highlighted the ways museum programs could enrich their missions by establishing research as a more central part of their work. But this publication goes well beyond just making us aware of this seemingly underutilised research setting. It covers and describes all the major factors in building successful programs that enhance achievement. This volume is an important resource for museologists, researchers, educators and other entities that provide similar programs. Firstly, it provides a new perspective on museum programs, showing how they can be important for both recreation and research, understanding how they can effectively serve research needs. Secondly, this volume provides a relevant and constructive set of strategies and ideas for making these programs effective. Research studies in this publication extend these ideas. Ulwazi should be read by anyone who views museum programs as an additional way to help them, because it offers a wide set of practical research and programs. Any person who wants to develop effective disaster management will gain much from this volume. For an example, a reader is offered concrete examples of preservation and conservation cases. These cases show what a good conservation management strategy looks like. The publication brings forth the museum’s commitment to empowering women, as it lays out practical steps for planning programs and providing professional development. Overall, this publication offers a variety of articles with useful research as a major resource. Clearly written, well organised and enormously practical, it should be in every library! Dr Mlungisi Ngubane Director: uMsunduzi and Ncome Museums

pg 4 Ulwazi 2022 HERITAGE BUILDINGS THE IMPACT OF CIVIL UNREST ON 182 CHURCH STREET PIETERMARITZBURG The aftermath of civil unrest- 182B Church Street, photographer Nokuzola Mkhize.

pg 5 Ulwazi 2022 Nosipho Gwala HOD: Research, Information and Collections, uMsunduzi Museum T he July unrest in the country and particularly in the KwaZulu-Natal province gave rise to a number of security concerns. One other element of concern however was the threat to heritage buildings in the city of Pietermaritzburg. At the height of the unrest, looting of store goods was not the only unfortunate occurrence that took place, but also the burning and destruction of property. Unfortunately, some of the destroyed properties were of historical significance. One such building that was damaged during the unrest was 182 Church Street in the city centre. The city has a rich history in its architectural buildings and as such, there are institutions whose sole mandate is to ensure their conservation and preservation. At the height of the unrest, looting of store goods was not the only unfortunate occurrence that took place, but also the burning and destruction of property. KwaZulu-Natal Amafa and Research Institute is the provincial heritage resource authority responsible for heritage conservation and preservation. They function under the guidelines of the KwaZulu-Natal Amafa and Research Institute Act of 2018. The act serves as a guiding tool for ensuring the protection of heritage structures, landmarks and areas. “This legislation aims to – promote good management of the Provincial estate; enable and encourage communities, through the KwaZulu-Natal Amafa and Research Institute to nurture and conserve their legacy so that it may be bequeathed to future generations …” (KwaZulu-Natal Amafa and Research Institute Act of 2018, p27). 182B Church Street, Courtesy of Pietermaritzburg Archives Repository

pg 6 Ulwazi 2022 Amafa therefore follows strict protocols pertaining the demolition and interference with heritage buildings among other things. There is a specific evaluation criteria used to assess the worthiness of conserving sites, buildings, etc. Architectural significance, social/spiritual significance and historical significance are some of the examples of criteria considered when assessing the importance of conserving a heritage building. The same would apply to building number 182 Church Street. Any work that needs to be done on heritage buildings warrants an application to the institution for consideration. This serves as an initial step in ensuring that buildings of heritage importance are protected for future generations. Chapter eight of the Act talks about general protection of heritage resources. “No structure which is, or which may reasonably be expected to be, older than 60 years, may be demolished, Edworks Shoe Factory - 182A Church Street, Pietermaritzburg. Image Courtesy of Pietermaritzburg Archives Repository. REFERENCES • KwaZulu-Natal Amafa and Research Institute Act of 2018. Available at: https://amafainstitute.org.za/wp-content/ uploads/2021/02/the-kwazulu-natal-amafa-and-research-institute-act-english-only.pdf altered or added to without the prior approval of the institute having to be obtained on written application to the institute” (KwaZulu-Natal Amafa and Research Institute Act of 2018, p.27). Around the year 1971 or years prior to that, this building was shared (182A and 182B) between Edworks Shoe Factory and Nagel’s Department store. It had a unique design with one side having a gable in the front while the other also had four distinct pillars. The destruction to heritage buildings may be due to lack of care or knowledge about their significance, but it does highlight an important need for community involvement and education on the importance of conserving and preserving our heritage, which may at times be attached to buildings. Institutions like museums need to consider programs that seek to close this gap in an effort to try to prevent any such occurrences in the future.

pg 7 Ulwazi 2022 Museum Collection - male doll wearing a hide apron.

BATLOKWA VESTIGES OF THE Nadine Franzsen Research Officer, uMsunduzi Museum Figure 8: Nquthu resident Betram Tsotetsi wearing a Sotho blanket (lesulanka), and grass hat (modianyewe). He is holding a walking stick. Photo: N. Franzsen (4 February 2020) pg 8 Ulwazi 2022

Close to Dundee is an area known as Nquthu, which forms part of the uMzinyathi District of KwaZuluNatal. Here resides a Sotho community, known as the Batlokwa (also spelled Batlokoa). The Southern Sotho people are generally known to reside in areas such as Lesotho and the Free State Highveld. Their presence in KwaZuluNatal, however, is less known. In the beginning of the 18th century, the Batlokwa inhabited areas close to the upper reaches of the uMzinyathi River in what is now the KwaZuluNatal Province. The Difaqane, which resulted in widespread violence during the early 1800s led the Batlokwa westward into the Highveld area where they conducted various successful raids. Eventually they were ousted by the Basotho King Moshweshwe and dispersed into separate groups, some of whom moved back to what is now KwaZulu-Natal. One of these groups ultimately settled in the predominantly Zulu area of Nquthu after the Anglo-Zulu War of 1879, where they still reside today. The Batlokwa community in Nquthu still practice their traditions throughout the years despite living in a predominantly Zulu area, although some of their traditions may have been influenced or have disappeared due to acculturation. It has been noted by various authors that traditional customs from various cultures recorded in 19th and early 20th century texts, are no longer practiced (Tyrrell, 1971; Dell, 1998: 53). That is why it is imperative to record Batlokwa customs, especially relating to material culture, in order to preserve this knowledge for future generations. The Batlokwa is adapting to a fast-changing world that is impacting on their material culture, which is not only changing but slowly disappearing. BATLOKWA MATERIAL CULTURE IN THE NQUTHU AREA IN THE 21ST CENTURY Although there is a strong appreciation amongst the Batlokwa for their Sotho traditions, some no longer know the meaning behind certain customs or have stopped practicing some customs completely. Their material culture has especially been affected over time, which had been anticipated by Barbara Tyrrell in the 1970’s when she noted that the Batlokwa traditional dress she witnessed in then Natal would have completely disappeared by now (Tyrrell, 1971). Although some items are no longer in regular use such as brass collars, others are still being used such as beadwork collars, cow-hide skirts and traditional headgear, but mostly during cultural celebrations. Although the Batlokwa have adopted modern materialistic trends in clothing, architecture and household items, their culture and traditions, including traditional cultural objects, have not completely disappeared. PLEASE TURN OVER VESTIGES OF THE pg 9 Ulwazi 2022 BEADWORK Beadwork is still worn by the Batlokwa in Nquthu during traditional occasions and for certain rituals beadwork is even draped over animals, like the cow, during mourning processions. The community profess they have no unique style of beadwork and that the colours, shapes and designs hold no specific meaning, and that they were made according to the crafter’s preference, or perhaps due to individualized methods of teaching, since Batlokwa girls were taught by their mothers how to make beadwork. However, by comparing Batlokwa beadwork items from different time periods, dating back as far as the 20th century, there seem to be some consistency in the use of specific colours and patterns. Chevron, diamond and triangular patterns in white, red, navy blue, green and yellow are often used. There seems to be some correlation in patterns spanning across generations, at least as far back as the 1960s, as illustrated in the table below. This does not apply to all beadwork items however, but even so, in interviews held in the Nquthu area in 2019 and 2020, some residents were able to identify Batlokwa beadwork from old photographs, pointing out the chevron and diamond patterns and the importance in the use of red and white beads. The reasoning behind the importance of these designs is not known however, and points to the loss of some knowledge about the Batlokwa’s traditional material culture. For a small group of people living within a Zulu community, it is notable that their beadwork traditions have survived for so long. Nquthu Municipality, KwaZulu-Natal

pg 10 Ulwazi 2022 BATLOKWA BEADWORK DESIGNS LEPHENYA (BEADED COLLAR) DESCRIPTION Photo: N. Franzsen (17 December 2019) KwaZulu Cultural Museum (ref.: C2661) Photo: Courtesy of H. Molefe • Date produced: 2019 • Area: Nkande, Nquthu. • Description: Beaded collar with chevron pattern in the following colours: navy blue, white, red, green and yellow. • Made by: N. Molefe • Date of photograph: 1981 • Area: Nquthu. • Description: Batlokwa traditional beaded collar with chevron pattern in the following colours: white, red, green, yellow and either navy blue or black (photo unclear). • Additional information: Motlokwa maiden (initiated but not yet married). • Date of purchase: 1990 • Originally purchased by: M. Brodie. • Date produced: unknown. • Area: Nquthu. • Description: Beaded collar with a ruching design (gathered/folded material) and chevron pattern in the following colours: navy blue, white, red, green and yellow. Some orange beads along the neckline. A second collar from the same collection which had the same design had no orange beads

pg 11 Ulwazi 2022 There are Batlokwa communities scattered over KwaZuluNatal in areas such as Impendle, Newcastle, Pongola, Ladysmith and Port Shepstone. They are also located across the different provinces in South Africa namely the Free State, Limpopo, Gauteng, North-West, Eastern-Cape and even other countries like Zimbabwe, Lesotho and Botswana. There is an annual pilgrimage held at various locations, aiming to bring together the Batlokwa groups descendant from Queen MmaNthatisi, as they are located over various provinces and countries in Southern Africa. Although the Batlokwa are proud of their heritage and expect others to respect their culture, they also have respect for various other cultures and are therefore open to multicultural celebrations where everyone can come together. Interwoven with the dynamic history of KwaZulu-Natal, the Batlokwa in Nquthu have persisted in practicing their culture and are proud to keep their traditions alive, with little doubt as to the survival of their culture. Although outside forces have had an impact they still practice many of their traditions and share this knowledge with the younger generation. Over the years there have been some cultural changes that have occurred, some information that has been lost, but the Interwoven with the dynamic history of KwaZulu-Natal, the Batlokwa in Nquthu have persisted in practicing their culture and are proud to keep their traditions alive, with little doubt as to the survival of their culture. Batlokwa still hold on to certain customs. With regards to their material culture, many of their older objects dating to the mid-20th century are still in use, with modern variations making their appearance. Mass production and availability of modern materials has filtered into their traditional dress i.e glass beads being replaced by brightly coloured plastic beads, and the cow hide cape being replaced with factory-produced blankets. These changes have been occurring for decades and indicate how important such traditions are to the Batlokwa culture as they have not completely discarded or replaced them, but rather adapted them to a changing environment. These continuous adaptations mean that cultural traditions and objects need to be documented more often to track these changes and to preserve a record of this for the future. Although there is a concern that Batlokwa cultural traditions are diminishing, as some of the youth are not interested in these practices, there is confidence in the future of their culture as reiterated by the current Morena Bokang Molefe who stated that “We have not lost our culture” (Mboba, 2011). Although he admits that perhaps some cultural aspects have been lost over the years, the elders are continuously directing the youth in the right direction. Drawing of Batlokwa woman by B. Tyrrell Image: Campbell Collections of the University of KwaZulu-Natal. • Date of the artwork: 1964 • Area: Nquthu. • Description: Motlokwa woman wearing a beaded collar with chevron pattern in the following colours: navy blue, white, red, green, yellow and black. PLEASE TURN OVER

Figure 4: Brass collar dating to 1960, worn by Selina Tsotetsi at a New Year’s celebration called Mokgibo in the early 2000s. Brass collars are worn by married Batlokwa women. Photo: Courtesy of S. Tsotetsi pg 12 Ulwazi 2022

REFERENCES • Dell, E. (Ed.) 1998. Evocations of the child: fertility figures of the southern African region. Human & Rosseau: Cape Town. • Mboba, P. 2011. Report on the Batlokoa; Nquthu. In: Mokoena, D. (Prod.). Leihlo La Sechaba. SABC News, 13 January. • Tyrrell, B. 1971. Tribal peoples of Southern Africa. Books of Africa: Cape Town. ACKNOWLEDGEMENTS This project would not have been possible without the assistance of the Batlokoa Traditional Community in Nquthu, KwaZulu-Natal. A special thanks is directed towards Morena Bokang Molefe and the traditional Council for their support to conduct research within the community, and to Mr Aaron Khumalo who travelled along to interviews, and especially to the community members who opened their homes to us to conduct interviews and collect their stories, take photographs and collect items for the Museum collection. This project also aimed to encourage the youth in the area to participate in research activities and we would like to thank Lerato Khanye for her participation. Thank you to all uMsunduzi and Ncome Museum staff including RIC intern Nontobeko Ngubane who made a contribution to this project. The full research with references is available in the Museum publication "Vestiges of the Batlokwa." Contact the uMsunduzi and Ncome Museums for further information. Photograph taken during the interviews with the Batlokwa community. pg 13 Ulwazi 2022

A good plan consists of three components; planning for potential disasters, what to do in case of those disasters and a plan to move forward once disaster has struck. pg 14 Ulwazi 2022 MUSEUM DISASTER PREPAREDNESS Slindokuhle Tshisevhe Collections Officer, uMsunduzi Museum Disaster preparedness or emergency preparedness in museums, libraries, archives, galleries, as well as private collections is of the utmost importance, as the collections are the heart of such institutions. Most traditional museums would cease to exist if something happened to their artefacts, therefore it is imperative for all museums to develop and have an emergency preparedness plan to ensure that they are well equipped to deal with disasters that may potentially occur and ensure that artefacts are kept safe in the face of disaster. Museums should ensure that their disaster plan is customised and caters to the type of collection they have and the state of the buildings that house these collections. There are different types of disasters that can threaten museum artefacts and how one deals with them will vary from one disaster to another. A proper plan is needed to respond appropriately so the safety of the collection, staff and visitors are not compromised. A good plan consists of three components; planning for potential disasters, what to do in case of those disasters and a plan to move forward once disaster has struck. When creating a disaster preparedness plan it is advisable to consult similar institutions for advice and tips on how they formulated their emergency plans. Most importantly you would need to have a consultative process with emergency services for advice on what is required so that all relevant people working in the institution will know about the plan, UMsunduzi Museum’s Disaster Management Workshop where Mr Juggie Padayachee spoke about disaster protocols, procedures and preventative measures.

pg 15 Ulwazi 2022 how to respond to different disasters, what their role will be when dealing with different disasters should they strike and to ensure that the lives of all involved or affected take precedence. Types of museum disasters ● Temperature, humidity levels and pest infestation ● External forces such as civil unrest, damage to buildings ● Water ● Theft ● Fire Temperature, humidity levels and pest infestation To prevent disasters brought on by fluctuating temperatures and humidity levels it is good to have a basic housekeeping plan that will give an indication of equipment that needs to be used. These could be dehumidifiers, which remove excess moisture from the air, air conditioners and fans to keep rooms cool in places with a warm climate, humidity readers to detect a rise in humidity levels so that staff know when to adjust temperature and humidity levels to prevent a mould or pest outbreak. Pests often thrive in warm places so it is PLEASE TURN OVER best to keep collection storerooms cool and regularly fumigate areas to keep pests at bay. Having a good housekeeping plan is the best way to mitigate such disasters as it will tell you what needs to be done, how often it needs to be done and list the personnel responsible for these tasks. External forces such as civil unrest, damage to buildings In July 2021, South Africa came to a standstill due to civil unrest and looting that took place in provinces of KwaZulu – Natal and Gauteng. Luckily most museum artefacts were not affected by this, however this alerted the museum to a potential disaster. In December 2021, Pietermaritzburg was impacted by a huge hailstorm that damaged building structures such as the roof and windows, which left collection spaces exposed to risk of damage. Planning for such disasters is difficult as you can never know when they will occur or how bad the damage will be. Having a disaster management cabinet readily stocked with cleaning equipment such as mops, brooms, buckets and protective gear such as safety hats, masks, gloves, boots and first aid kits is of the utmost importance. All the needed supplies should be in one place so that the removal of artefacts happens safely and quickly to prevent significant damage in case of the above mentioned disasters. Hail storm aftermath on the Museum’s premises and flooding inside the Museum’s exhibition floor space after a severe hailstorm.

pg 16 Ulwazi 2022 Civil unrest in July 2021 that destroyed businesses in Pietermaritzburg

pg 17 Ulwazi 2022 Water damage or flooding Water damage can occur in the case of disasters such as floods, a burst pipe or human error by leaving the tap open after a water outage. This disaster can be mitigated by ensuring that museum artefacts are not placed directly on the floors so that if there is a case of flooding it will not be too easy for objects to be immersed in water, as they will be away from the floor. Theft Theft is a major problem as museums house historical artefacts which may have high value and this can sadly attract thieves who target museums in a bid to steal these valuable artefacts. Having a good security system will mitigate this disaster and this could be in the form of alarm systems, surveillance cameras, security inspections, walkabouts and making sure that storerooms are access-controlled. Fire Fire is one of the worst disasters that can happen and this could be caused by electrical faults in the buildings or can be manmade in the case of arson. In such an emergency it may be unsafe to try and save museum artefacts. With all disasters, threat to human life is of the utmost importance, equipment such as fire extinguishers must be readily available in all the buildings and should only be used by those that have been trained to use them to put out small fires and only if it's safe to do so. The first thing to do in case of a fire emergency is to notify emergency services and sound the alarm so that anyone in the building will know they need to evacuate at the sound of an alarm. Fire marshals are the only ones who are allowed to check if buildings have been evacuated on their way out. There must be clear exit signs so that anyone who may not be familiar with the building will know where to exit the affected building. A roll call will need to be done at the assembly point to check if everyone is accounted for and this designated area needs to be clearly marked and visible to all. People can only enter the building once the relevant authorities have put out the fire and indicated that it is indeed safe to re-enter the affected building. REFERENCES • Hunter, J. 1980. Preparing a Museum Disaster Plan (National Park Service, Omaha, NB1980) • Knell, S. 1994. Care of Collections, Routledge: London After disaster has struck, one would need to have a plan to move forward and include it in the disaster preparedness plan. This is often referred to as salvage and recovery, when emergency responders have notified the institution that hazardous material and threat from danger has been cleared. It would now be safe to proceed and assess the damage and try to salvage any artefacts that did not suffer much damage or those that can still be restored. It is therefore imperative to have a list of service providers who will help you deal with the recovery process swiftly as staff may not be equipped to deal with everything on their own.

pg 18 Ulwazi 2022 PRESERVATION OF LIBRARY MATERIALS IN MUSEUMS Sinenhlanhla Mchunu Librarian, uMsunduzi Museum Preservation in a library is an activity practiced for maintaining or restoring access to documents and records through the study, diagnosis, treatment and prevention of decay and damage (New World Encyclopedia, 2015). In addition to acquiring, processing, and the services provided by the library, Josef (2019) notes that the preservation of library materials is important for the existence of libraries. The existence of library materials that should be preserved is essential in a museum library, besides the room or building, equipment, furniture and the budget. These elements are interrelated and support one another; the function of preservation is to keep the library collection from being disturbed by ignorant hands, insects, or fungus on books placed in humid spaces. According to Josef (2019) preservation has the following functions: • Protect function: library materials are protected from insects, humans, fungi, heat and water etc. with good preservation, insects and small animals will not be able to touch the document. Humans will not be wrong in handling and using library materials. The fungus will not have time to grow, and sunlight and humidity in the library will be easily controlled; • Preservation Function: with care of library materials become durable can be used longer, and hopefully more readers can use these library materials; • Health Function: with good preservation, library materials become clean, free from dust, mold, destructive animals, sources and nests from various diseases, so that users and librarians stay healthy. Readers are more passionate about reading and using the library; • Educational functions: library users and librarians themselves must learn how to use and maintain documents, books, audio etc. They must maintain discipline, do not pollute library materials or library rooms. Educate users and librarians themselves to be highly disciplined and respectful of cleanliness; • Patience Function: caring for library materials are important, so you must be patient, Removing stains from library materials requires patience. • Social Function: Librarians must include library readers to treat the library and library materials. A high sense of sacrifice must be given by everyone, for the sake and importance of library materials. At uMsunduzi Museum library we practice preservation by digitising archival documents so they can be available for a long period. We ensure that library items are cleaned/ dusted on a monthly basis and are handled correctly. Another important element in the preservation of library material is the correct room temperature. The museum ensures that items are kept at rooms with air conditioners in order to maintain a temperature that is cool for books and documents. Books are stored on steel cabinets and shelves for proper storage to avoid damage from insects. UMsunduzi Museum Librarian, Sinenhlanhla Mchunu preserving an archival book by using vinegar and a paper towel to clean it.

pg 19 Ulwazi 2022 REFERENCES • Josef, H.F. 2019. Management and Process: Preservation of Library Materials. In: Regional Library and Archive Office of Yogyakarta Special Region. http://dpad.jogjaprov.go.id/article/news/vieww/management-and-process-preservation-of-library-materials-1784 (accessed on: March 2022) • New World Encyclopedia. 2015. Preservation (library and archival science). New World Encyclopedia, 28 May, Available at: https://www.newworldencyclopedia.org/p/index.php?title=Preservation_(library_and_archival_science)&oldid=988386 (accessed on: March 2022) • Article, Preservation and Conservation of Serials Collection in Selected Libraries in Oyo State, Nigeria, 2018

pg 20 Ulwazi 2022 LET’S TALK ABOUT POLYGAMY Professor Sihawukele Ngubane IsiZulu Language, Literature and Culture Lecturer, University of KwaZulu-Natal Polygamy has been one of the cornerstone customary practices of Nguni people and other African countries since time immemorial. Our great forefathers were polygamists from the pre-colonial era, which has evolved to date. It was in the advent of apartheid and colonialism that Westernism emerged in Africa. By Westernism, we mean the act of introducing ideas and ways of life that are typical of European, North American, and other countries. As a result, Western culture has tremendously influenced African traditional society in mainly positive and negative ways. It gave rise to the acculturation of the value system. It has changed how Africans view themselves regarding how they should and should not behave. It is no coincidence that today we have to justify why we should practice our culture as a human right. Everyone in South Africa has a right to practice their culture and language. There is a critical discourse on culture versus human rights, its role, and how it can be practiced by contemporary societies, especially regarding “isithembu” (polygamy) and customary marriages. Women and feminists have criticised isithembu as a practice that marginalise them and as a tool that perpetuates patriarchy in African societies. In essence, universal human rights must precede any demand for cultural rights. Despite there being an African Charter on Human and Peoples’ Rights that caters to children and women against harmful customary practices and African Women’s Protocols, we need to observe when issues that impact traditions are a concern (Organization of African Unity, 1981: article 60, 61). The customary practice of polygamy allows only a man to marry more than one wife, and this act has long been perceived to be an offender of women’s rights. Attempts have been made to reform family law in the country to promote and protect the rights of women as defined in international human rights law, as well as respecting the practice of polygamy. In the democratic dispensation, the South African government has legalised the practice through recognition of customary marriages with effect from the year 2000. The debate arises when trying to balance polygamy and the protection of women’s rights. It is a right of women to be married to men who they love, and to choose to marry in a polygamous marriage is also a right. No woman is pushed to enter a polygamous marriage unless it is for her protection from harmful incidents when a husband has passed on. It is in a way intended to protect unmarried women from both family and the community at large. The custom of “ukungena” (the traditional custom where a widow is coerced into marrying her late husband’s brother) is no longer acceptable in the contemporary environment. Still, it protected children and a deceased husband’s wife. This intention was not imposed on a woman. After a specified period of mourning, a woman was allowed to either leave a family or stay in the family. This custom is not isolated to the tradition of the Nguni people but is linked to the concept of marriage as the binding of two families. This practice is also known as levirate marriage. Conversely, in civil marriages, only two people are joined in matrimony without consultation with the two families. Customarily, children born by such a stepfather are regarded as children of the deceased husband. The new husband will therefore have more than one wife if he had a wife during the passing on of his brother. Men believe that having a son enhances their position and prominence in the community, and their name remains immortalised. If the first wife bears only girls, it was and still encourages a tendency to take a second wife to bear a son. Colonialisation has pushed men to work in urban areas leaving behind their families and for social purposes; they will have a second wife. We must be mindful that ukuthembuza is an antidote for ukushendeza. The Western principle of having mistresses is interpreted as ukushendeza, which illicit extramarital affairs or cheating. Ukushendeza is an unofficial affair as opposed to ukuthembuza, which is the recognition of extramarital experiences turned into a solid polygamous marriage. In the past, a first wife may recommend her younger sister or a close relative to join her in a marriage that resulted in a polygamous one. The good thing about this was that children would be related and there would be unity in the household. When a man seeks a divorce due to infertility or other reasons, they consider isithembu and keep the first love. There are many social excuses for polygamy, to such an extent that men were involved in it to show off their wealth. Men enter it for different reasons, and one may find that the second wife is taken for another reason than the third and fourth wives. “Until Africans start practicing their own culture, they will never develop,” Kim Jong – Northern Korea Leader.

pg 21 Ulwazi 2022 The topic of polygamy must be treated with necessary sensitivity towards women’s rights in polygamous marriages and their children. While men defend that isithembu is their cultural entitlement, women have a different view on the subject. Women perceive the practice to be conflict with the ideals of gender equality, subordination of women, violating the dignity of women, and increasing women’s risk of contracting HIV/AIDS. They claim it damages their emotions and is economically oppressive. Some women are happy in polygamous marriages as long as they are satisfied with their husbands. Therefore, entering into a polygamous marriage becomes a personal choice. Polygamy was a norm in traditional societies and informed how the household was structured in terms of houses. No man can take a second wife without his first wife’s consent in a customary marriage. Traditionally polygamy was rooted in social and cultural functions. In an ideal homestead of an African man, the first wife is highly regarded as the great house (indlunkulu), which is at the centre of the home just behind the cattle kraal; just below that house, there is iqadi, who is the third wife. Iqadi is the wife who is joined to the first wife together with the fifth, seventh, and ninth wives. On the other side of the homestead, the second wife is called “ikhohlo” (left-hand wing), and there are considered “amabibi” or “kasibalwa” and all the even number of wives in that setup will fall under “ikhohlo.” Traditionally they cannot produce an heir. This is an ideal example of isithembu, which allows a man to have as many wives as possible as he can support all of them. Addressing polygamy, Grace Lawrence-Hart (2019: 01) says that in count several African institutions have been subjected to Western categories and relegated to the background. In contemporary African societies, the polygamy family system has been considered a “sin” or “anti-social,” which is not the case in the above scenario. The community may pressure a couple to take more than one wife if there are no male children. Children are the glory of African marriages. It is common sense for African people that if you have many wives, you are likely to have many children. Marriages in Africa do not revolve around two people who decide whether they will have children or not. Still, it involves the families that are brought together through marriage and their ancestors, community, and clan members. Most men in polygamous marriages have their reasons; some are circumstantial, and others are wilful and deliberate. It is a fact that cannot be denied that culture is dynamic, and what used to work in the past could not be possible in the current environment. Polygamy may or may not be possible in urban areas like our townships since the space does not allow it, providing a healthy space for wives to stay in different homesteads. There is less tension and emotional stress if wives do not live in the same area, and although there is competition amongst them, they are few confrontations. Most women are independent and can economically sustain themselves and their children. One may conclude that if a man is willing to take more than one wife, he is supported by law in South Africa. It is a matter of personal choice for both men and women. You can choose not to join a polygamous marriage or join at a particular point in time. Challenges exist in any relationship, and a polygamous marriage is not an exception. The Recognition of Customary Marriages Act 120 of 1998 protects women’s marital property, which was not usually the case. Previously when the husband died, wives relied on the first wife or his heir to control the deceased husband’s estate, but this is no longer the case with the new Act. Section 7 (6) of the (South Africa, 2000) stipulates that marital property is regulated as follows: A husband in a customary marriage who wishes to enter into further customary marriage with another woman after the commencement of this Act must make an application to the court to approve a written contract that will regulate the future matrimonial property system of his marriage. This provision is a breakthrough for women who find themselves in this predicament in their lives. Advocacy and education on the laws should be popularised widely for monogamous and polygamous customary marriages in South Africa. So that when you fall for a man or a woman and are tempted to join in matrimony, you are fully aware of what you are getting into. The discussion has attested that polygamy is a norm in Africa, and it is the African way of life that many cherish. It enhances the status of both man and woman only if one can afford it; one may not be discouraged to enter into it by Western cultures. Why should we consider Western culture the moral barometer to which all other countries must adhere when we are free? The death of colonialisation and apartheid should free us of what we choose as our desired way of life. If polygamy is a cultural preference depending on a conducive environment and love, so be it. Polygamy was a norm in traditional societies and informed how the household was structured in terms of houses. No man can take a second wife without his first wife’s consent in a customary marriage. REFERENCES • Lawrence-Hart, G. 2019. The Socio-Cultural Significance of Polygamy in Africa. In: International Journal of Social Sciences and Humanities, 5(1): 1-06. Retrieved from https://www.researchgate.net/publication/336850462_The_ Socio-Cultural_Significance_of_Polygamy_in_Africa • Organization of African Unity (OAU). 1981. African Charter on Human and Peoples’ Rights (“Banjul Charter”). Available at: https://www.refworld.org/docid/3ae6b3630.html • South Africa, 2000. The Recognition of Customary Marriages Act 120 of 1998. Pretoria Government Printer. Available at: https://www.justice.gov.za/legislation/acts/1998-120.pdf Please note that opinions expressed in articles are those of the authors. Although every care has been taken to ensure accuracy of information, the publisher cannot be held responsible for any errors or views expressed.

pg 22 Ulwazi 2022 AND BLACK WOMEN’S PAIN AS ENTERTAINMENT Dr. Zamambo Mkhize The African Gender Institute, University of Cape Town MODERN POLYGAMY I n the mid-19th century, Europeans' plan of modernising Africa was to outlaw polygamy which they believed vehemently scrutinised African practices, although they could still benefit from them through the hut tax which provided essential revenue for the colonial administration. African men had to pay a ‘hut tax’ for every household they had, thereby the colonists realised the more households an African man supported, the more ‘hut tax’ was owed to their administration. Thus, there was a conflict within the colonist’s agenda in that they wanted to civilise the Africans to reflect their European ideals of Christianity and patriarchy. However, at the same time they realised certain African practices, such as polygamy, were necessary for monetary gains for their administration (Welsh, 1971; Guy, 2012). This system of patriarchy, which Africans or rather AmaZulu have adopted and accepted, as something as intrinsically as ours, is a foreign system (Oyewumi, 2000). Our familial system of organisation was never centred around gender but on chronological age and seniority. For example, pertaining to work and how it has been separated to “women’s work” and “men’s work” is not something Africans have always practiced. Work was done because it was work and not categorised as women do certain jobs and men do other jobs solely because they are men. African men farmed as women farmed and they traded, as women traded. It was the forced introduction of patriarchy that forced Africans to reorientate their system and regulate women to the private domains (home/private) and only men can go out and work (public domain). This reorientation wreaked havoc and put enormous pressure on African men to be providers and stripped African women of independence in being providers themselves and having autonomy over their financial security. Colonisers saw polygamy as a practice that was abhorrent and disrespectful to women yet in the African culture the first wife not only had to agree to a second wife marrying her husband, but she would be the one who would choose her. In recent years there has been a steady increase in the number of television shows that centre on polygamy, shows such as Uthando Nesthembu, Mnakwethu and Isibaya (to some degree) are a few. I have noticed two things occurring in these shows: first, they are all centred on the man and what he wants, presumably to collect as many women as possible and secondly, African women’s pain. The first point is misleading because if one talks about traditional polygamy, then it should be centred on the women, and their experiences of being in a polygamous family. Another incorrect narrative is that polygamy is about the husband, whereas it is the first wife who broaches the topic of adding an additional wife to her family and would be the one looking for that woman. Polygamy has never been about a man committing adultery and then turning around and demanding his first wife accept his mistress as a second wife. That in itself speaks of enormous levels of disrespect. Disrespect not only for going outside his marriage and having relations with other women but then demanding his wife accept his infidelities under the guise of ‘culture’. It has never been a cultural practice to not only disrespect your wife but also disrespect yourself and your family by committing adultery. The second point raised is the issue of African women’s pain. When these TV shows portray polygamy, what are viewers actually seeing? What is being consumed as entertainment? African women’s pain? As an African woman I do not want to see another African woman be humiliated and to witness her visceral pain as she is coerced to deal with, not only her husband’s infidelity, but also the introduction of the mistress into her family. So many elements are not dealt with all in the name of entertainment. That is a problem, I do not see other races put their women’s humiliation and pain for the entire country to witness and consume, why then as African people do we do that to our women? Polygamy done customarily is that the first wife initiates the conversation for the husband to consider taking a second wife for various reasons. Then if the husband consents, then the process begins. Throughout this process, the woman is respected and protected. The polygamy we are viewing on television is the antithesis of that process, from the beginning to the end. The wife is disrespected by the husband’s infidelity and then by the mistress who does not apologise, but instead demands to be accepted as the second wife. My feeling is that the woman is coerced into accepting a situation she never agreed to and to tolerate it because her community and society tell her you need to defend your marriage at all costs and never allow someone to destroy it even if that person is the man you married. I will end by saying we really need to think about what type of television shows we are consuming. Why do we enjoy men’s infidelity and bad behaviour as entertainment and why do we revel in African women’s pain? REFERENCES • Guy, J. 1987. Analysing pre-capitalist societies in Southern Africa. In: Journal of Southern African Studies, 14(1): 18–37. • Lerner, G. 1986. The creation of patriarchy. (Women and History; V. 1). Oxford University Press. • Oyewumi, O. 2000. Family bonds/conceptual binds: African notes on feminist epistemologies. In: Signs: Journal of Women in culture and Society, 25(4): 1093-1098. • Welsh, D. 1972. The cultural dimension of apartheid. In: African Affairs, 71(282): 35-53. Please note that opinions expressed in articles are those of the authors. Although every care has been taken to ensure accuracy of information, the publisher cannot be held responsible for any errors or views expressed.

pg 23 Ulwazi 2022

Elrica Henning Former HOD of Research, Information and Collection at uMsdunduzi Museum FROM DINGAAN'S DAY TO WOMEN'S DAY TO RECONCILIATION DAY: CASTING OFF OLD ASSOCIATIONS TO MAKE WAY FOR NEW CELEBRATIONS I n the museum collection is a speech written by Emily Hobhouse, a phenomenal woman who made it her mission to bring attention to the suffering of women and children in the concentration camps during the South African War (also known as the Anglo-Boer War/Second Boer War) of 1899- 1902. The speech was delivered during the unveiling of the Women’s Memorial in Bloemfontein on 16 December 1913. She titled it "Vrouwen-Dag" (Women's Day); a deliberate choice of hers as, at the time, the 16th of December was commemorated as "Dingaans Day". She envisioned a new type of celebration, a more inspiring, nobler one, to cast off old associations linked with this day. She called it "Women's Day" and urged women to not forget the sacrifices of women before them, and to take their rightful place in society, a moral force that could bring about change, even in a world where they had not been held in 'great' esteem as the world would have 'greatness' be. Today we celebrate 16 December as "Reconciliation Day" and it is striking how some of Emily's words from more than a hundred years ago, can still resonate strongly. Relief model of the Women’s Memorial in Bloemfontein on exhibition at 333 Boom Street pg 24 Ulwazi 2022

pg 25 Ulwazi 2022 "Vrouwen-Dag" December 16, 1913. “Would ye be wise, ye cities, fly from war! Yet if war come, there is a crown in death. For her that striveth well and perisheth unstained.” Euripides “Trojan Women” -Translated Gilbert Murray FriendsFrom far and near we are gathered to-day to commemorate those who suffered bravely and died nobly in the past. Of old a great man said: - “Acts deserve acts, and not words in their honour”, and this is true. Yet having come so far at your request to share in this solemn dedication, and having been most closely bound with the last hours of their lives, I feel constrained to offer my tribute to the memory of those women and those little children who perished in the Concentration (camps). Many of them it was my privilege to know. How strange a thought that from their memory to-day flows a more vital influence for good than can be found amongst those who have lived and prospered. In this way, perhaps, is the prophetic vision fulfilled: “Refrain thy voice from weeping and thine eyes from tears; they shall come again from the land of the enemy; thy children shall come again to their own border.” Do we not in a very real sense meet them again this day? Yet another thought urges me to offer this tribute of words. From ancient times men have pronounced eulogies over the graves of their fellow-men who had fallen for their country. To-day, I think for the first time, a woman is chosen to make the Commemorative Speech over the National Dead - not soldiers- but women – who gave their lives for their country. My Friends – This day, this Vrouwen Dag is Good. Like the Sabbath in the week, it breaks into the hurrying years, and in the pause, the past can be calmly recalled, it’s inspiration breathed afresh, it’s lessons conned once more. Let us take this moment to consider where we now stand and what these lessons are. You are gathered here from all parts to consecrate this spot to women and children, who were stripped of all – I say it advisedly – of all. Husbands and sons, houses and lands, flocks and herds, household goods and even clothing. Denuded, it was good to watch how yet they “possessed their souls”. “It is tragic”, says a writer, “how few people ever possess their souls before they die.” That these did I know because I saw. I bridge in mind the years, the thirteen years, and move once more amid the tents that whitened the hillside. Torn from familiar simple life, plunged into sickness and destitution, surrounded by strangers, were those poor souls – stripped bare. The sight was one to call forth pity, yet pity did not predominate. Quite of their feelings swallowed that. Even throughout the deepest misery the greater pity was needed elsewhere. “Christ” I have read, “had pity for the poor, the lowly, the imprisoned, the suffering, and so have we, but remember that He had far more pity for the rich, the hard, those who are slaves to their goods, who wear soft raiment, and live in kings’ houses. To Him riches and pleasures seemed greater tragedies than poverty and sorrow.” So, as we turn our minds back thirteen years to dwell on the stormy past, pity enters in, but whom is it we pity? Surely had you watched the inward and spiritual graces that shone forth from that outward and visible squalor, you yourselves might have felt that it was not the captives in those foul camps that were most in need of pity. The rich and highly placed, the financiers who wanted war, the incompetent statesmen who were their tools, the men who sat in the seats of the mighty, the blundering politicians of that dark story – all the miserable authorities incapable of dealing with the terrible conditions they themselves had brought about – these needed and still need our deeper pity. That vast tragedy as it rolled through your land upon its bloody way, came at length face to face with the great array of the women and children – the weak and the young. Wholly innocent of the war, yet called upon to bear its brunt, nobly they rose to meet the trial that awaited them. Sympathy, indeed they craved and did receive, but they towered above our pity. And so to-day. What gave the impetus to this movement? What stirred you to gather pence for this monument? What brought you here from far and wide? It was not pity, it was Honour. Yet, if you have pity and to spare, give it even now to those, who, still alive, must ever carry in their hearts the heavy memories of the blundering wrong by which they wrought that war. You and I here to-day filled only with honour for those their heroic and innocent victims who passed though the fire. For this monument is a symbol. Far away in Rome I have been privileged to watch its creation. I noted its conception in the sculptor’s thought, I saw it first issue in the common clay; moulded by his hand it passed into the pure white plaster, at length chastened to his mind and meet for the supreme ordeal it was cast into the pit of burning metal whence issued the perfected work. Even so did Destiny, the mighty Sculptor, -like clay in his hands – take those simple women and children from their quiet homes, mould and chasten them through the successive stages of their suffering, till at length purified and perfected to the Master-mind by the fierce fire of their trial, the(y) passed from human sight to live forever a sacred memory in your land. Their spirit which we feel so near to us to-day warns ever: - “Beware lest you forget what caused that struggle in the past. We died without a murmur to bear our part in saving our country from those who loved her not but only desired her riches. Do not confuse the issues and join hands with those who look on her with eyes of greed and not with eyes of love”

pg 26 Ulwazi 2022 Is it not the glory of those weak sufferers to have laid down this principle: - In this South Africa of ours, true patriotism lies in the unity of those who live in her and love her as opposed to those who live on her but out of her. The Patriots and the Parasites. This issue fought out of old is ever with you, it is alive to-day: voices of the dead call to you, their spirits lay a restraining hold upon you as they plead: “Here is the true division beside which all other cleavages are meaningless.” There can be no permanent separation betwixt those who love our country, live in her and are bound up with her. At bottom such are one. Alongside of the honour we pay the Sainted Dead, forgiveness must find a place. I have read that when Christ said, “Forgive your enemies", it is not only for the sake of the enemy He says so, but for one’s own sake, "because love is more beautiful than hate.” Surely your dead with the wisdom that now is theirs, know this. To harbor hate is fatal to your own selfdevelopment, it makes a flaw, for hatred, like rust, eats into the soul of a nation as of an individual. As your tribute to the dead, bury unforgiveness and bitterness at the foot of this monument forever. Instead forgive for you can afford it, the rich who were greedy of more riches, the statesmen who could not guide affairs, the bad generalship that warred on weaklings and babes – forgive – because so only can you rise to fall nobility of character and a broad and noble national life. For what really matters is character. History clearly teaches this. In the present day, minds are strangely confused, eyes are blinded, and it is the almost universal idea that the all-important thing for a country is Material Prosperity. It is false. Noble Character forms a great nation. Statesmen who aim at material prosperity as if it were an end in itself, forget or have not recognized, that too often great national prosperity is accompanied by deterioration of national character and the highest well-being of the people. For it is not the rich and prosperous who matters most, but you who live the simplest lives, and upon whom in the last resort, if trial comes, falls the test of the national character. This thought ennobles the humblest life. The dead we now honour met that test and did not shrink. They died for freedom; they clung to it with unfaltering trust that God would make it the heritage of their children. The years have brought changes they little dreamed, but South Africa is one and it is free. It’s freedom is based on all they did; they suffered; they died; they could do no more. The supreme offering was made, the supreme price paid. Their sacrifice still bears fruit. Even could the graves open and give up their dead, we would not wish those women back nor have them relinquish the great position they have won, not even the children would we recall. The children, who - counting the vanished years -, would stand before us now, some 20 000 youths and maidens, fair and comely, - a noble array - peopling the too solitary veld. For who does not feel their spirit move amongst us here to-day? Who fails to recognize the noble example by which they still live? In this vast throng can there be found one unresponsive soul? One heart that will not go hence filled with resolve to live more worthy of the dead. My friends, - Memories and emotions throng. Thirteen years have passed since under the burning January sun I trudged daily forth from your wire-girt town to that kopje of many tears. Daily in that camp, as later in others, I moved from tent to tent, witness of untold sufferings, yet marvelling ever at the lofty spirit which animated the childhood as well as the motherhood of your land. So quickly does suffering educate, that even children of quite tender years shared the spirit of the struggle, and sick, hungry, naked or dying prayed ever for “no surrender”. Think what it meant for an Englishwoman to watch such things. Did you ever ask yourselves why I came to your aid in those dark days of strife? I had never seen your country nor ever known anyone of you. Hence it was no personal link that brought me hither. Neither did political sympathy of any kind prompt my journey. I came – quite simply – in obedience to the solidarity of our womanhood, and to those nobler traditions of English life in which I was nurtured, and which by long inheritance are mine. For when Society is shaken to its foundations, then deep calleth unto deep, the underlying oneness of our nature appears, we learn that “all the world is kin”. And surely, the honour of a country, is not determined by the blundering acts of some passing administration or weak generalship, but lies in the sum-total of her best traditions, which the people at large will rise up to maintain. Even as the noblest men are ever ready to admit and remedy an error, so England as soon as she was convinced of the wrong being done in her name to the weak and defenceless confessed it in very deed, and by through reformation of those camps, rendered them fit for human habitation. Thus she atoned. I stand here as an Englishwoman, and I am confident that all is best and most humane in England is with you

pg 27 Ulwazi 2022 also in heart to-day. Reverent sympathy is felt with you in this Commemoration and in your desire to accord full honour to your Dead. You and I were linked together by the strange decrees of fate at that dark hour; we stand now face to face for the last time. One thing I would ask of you. When you remember the ill done, remember also the atonement made. Dwell also apon all you have gained through this great episode, in the legacy left for you by the dead. Let me explain. It is not mainly sorrow that fills your heart to-day; time has already softened personal grief. Therefore many may and do say it is useless to perpetuate as we to-day memories so drear. But these very memories are needful because they embody that precious legacy from the past. My own face now is turned towards the West, and soon each one of us who witnessed the sufferings of the Concentration Camps will have passed to our own rest; but so long as we who saw those things still live, they will live within us, not as memories of sorrow but of heroic inspiration. For what never dies and never should die is a great example. True is it of your Dead that which Pericles said of his countrymen: - “The grandest of all sepulchres they have, not that in which mortal bones are laid, but a home in the minds of men; their story lives on far away, without visible symbol, woven into the stuff of other men's lives.” Your visible monument will serve to this great end – becoming an inspiration to all South Africans and to the women in particular. Generation after generation it will stand here pressing home in silent eloquence these great thoughts:- In your hands and those of your children lie the power and freedom won; you must not merely maintain but increase the sacred gift. Be merciful towards the weak, the downtrodden, the stranger. Do not open your gates to those worst foes of freedom – tyranny and selfishness. Are not these the withholding from others in your control, the very liberties and rights which you have valued and won for yourselves? So will the monument speak to you. Many nations have foundered on this rock. We in England are ourselves still but dunces in the great world-school, our leaders still struggling with the unlearned lesson, that liberty is the equal right and heritage of every child of man, without distinction of race, colour or sex. A community that lacks the courage to found its citizenship on this broad base becomes “a city divided against itself, which cannot stand.” Lay hold of and cherish this ideal of liberty then – should your statesmen be hostile or coldly neutral, should your rich men be corrupt, should your press which ought to instruct and defend the liberties of all sections of the people, only betray – nevermind – they do not constitute the nation. “The nation,” said John Bright, “is in the cottage.” You are the nation, you whom I see here to-day, you, most of whom live in remote villages and silent farms leading simple hard-working lives. You are your nation’s very soul and on you lies the responsibility of maintaining her ideals by the perfecting of your own character. The old old watchword Liberty, Fraternity, Equality cries from the tomb; what these women, so simple that they did not know that they were heroines valued and died for, all other human beings desire with equal fervour. Should not the justice and liberties you love so well, extend to all within your borders? The old Greeks taught that not until power was given to men could it be known what was in them. This testing time now has come to you. For ponder a moment. We meet on Dingaan’s Day. Your memorial of victory over a barbarous race. We too, the great civilized nations of the world, are still but barbarians in our degree, so long as continue to spend vast sums in killing or planning to kill each other for greed of land and gold. Does not justice bid us remember to-day how many thousands of the dark race perished also in Concentration Camps in a quarrel that was not theirs? Did they not thus redeem the past? Was it not an instance of that community of interest, which binding all in one, roots out racial animosity? And may it not come about that the associations linked with this day will change, merging into nobler thoughts as year by year you celebrate the more inspiring, ”Vrouwen-Dag” we now inaugurate. The plea of Abraham Lincoln for the black comes echoing back to me: - “They will probably help you in some trying time to come to keep the jewel of Liberty in the family of freedom.” Still more intimately, will this monument speak to the womanhood of South Africa, and beyond to a yet wider range. To you, women, it should cry ever, “Go back, go back to simpler lives, to nobler principles. From these martyrs learn the grandeur of character that chooses rather to suffer, to the uttermost than to win life by weakness.” Women, high or low, rich or poor, who have met in your thousands to-day; do not go empty away. You cannot be as if these Dead had not died. Your country demands your lives and your powers in another way. As the national life broadens, difficulties appear little dreamed of in a simpler state. Complicated problems arise which seriously affect the well-being of your sons and daughters. It is for you to think out these problems in your homes, for you to be the purifying element in the body politic, for you to help guide the helm of the state. The Dead have won for you a lofty place in the life of your nation, and the right to a voice in her counsels. From this sacred duty, you surely dare not flinch. No one is too humble or unknown: each one counts.

pg 28 Ulwazi 2022 For remember, these dead women were not great as the world counts greatness; some of them were quite poor women who had labored much. Yet they have become a moral force in your land. They will enrich your history. As the diamonds and the gold glitter in the bedrock of your soil, so their stories written or handed down, will shine like jewels in the dark annals of that time. And their influence will travel further. They have shown the world that never again can it be said that (a) woman deserves no rights a Citizen because she takes no part in war. This statue stands as a denial of that assertion. Women in equal numbers to the men earned the right to such words as the famous Athenian uttered at the grave of his soldiers: ”They gave their bodies to the commonwealth receiving each for her own memory, praise that will never die.” Nay, more - for they gave themselves, not borne on by the excitement and joy of active battle, as men do; but passively, with open eyes, in the long-drawn agony of painful months and days. My friends: - Throughout the world the Women’s day approaches, her era dawns. Proudly, I unveil this monument to the brave South African Women, who sharing the danger that beset this land and dying for it, affirmed for all times and for all people the power of Women to sacrifice life and more than life for the commonwealth. This is your South African Monument, but it is more; for “their story is not graven only on stone, over their native earth.” We claim it as a World-Monument, of which all the World’s Women should be proud; for your dead by their brave simplicity have spoken to Universal Womanhood, and, henceforth they are “woven into the stuff” of every woman’s life. - Emily Hobhouse Transcription: Ms K. Hunter, January 2021 2023 marks 110 years since Emily’s speech.

Women and Resistance, publication available at uMsunduzi Museum. pg 29 Ulwazi 2022

pg 30 Ulwazi 2022 T he term ‘empowerment’ continues to be used widely in humanitarian organisations and governments, especially in developing countries. The Oxford Dictionary defines the term as, “Authority or power given to someone to do something” or “The process of becoming stronger and more confident, especially in controlling one’s own life and claiming one’s rights.” (Murray, 1879). The first definition refers to obtaining external power (power from outside) to fight the forces that disempower – and take away power from someone. This is what government policies seek to achieve through various departments. The second definition refers to engaging internal power (power from within) to fight the external forces that disempower. This is recognising that all humans are created with abilities and gifts/talents (assets) that they can engage with to bring about change in their own lives. A woman should be seen as fully human, with all the tangible and intangible assets (abilities, gifts/talents) to build power from within and bring about personal and community change. Dr Audrey Mukwavi Matimelo Executive Director, Zimele Wethu Foundation Dr Audrey Matimelo speaking at uMsunduzi Museum’s Women’s Month Celebration on 19 August 2021. The theme was, The Year of Charlotte Maxeke – Realising Women’s Rights EMPOWERMENT AND WOMEN'S RIGHTS

. • 237 participants have improved business skills and are running 82 businesses such as; grocery bulk purchasing, craft, block making, hospitality services, catering equipment hire, sewing, and hair salon. "Ms Gretta Magwaza - A Zimele Wethu Foundation beneficiary practicing agriculture as a livelihood in the Swayimane Community."

women working with the Zimele Wethu Foundation, it becomes evident that a woman has inherent tangible and intangible assets of the seven key government service delivery mandates: - Department of Education: Women act as traditional and formal educators in communities. -Department of Social Development: A women is always present for her family and community’s social challenges. - Department of Economic Development: By nature, a woman is a street-smart economist, even when challenged with men’s absence due to migrant labour. - Department of Health: Acts as a family and community nurse, including providing nutrition through farming. - Department of Defence: A woman fights tooth and nail for the protection of her family and community. - Department of Tourism: All our community events at Zimele Wethu Foundation are organised by women on our Self Help Groups. We do not need to outsource events and catering companies. - Department of Arts and Culture: I have observed with admiration how the women we work with continue to be the custodians of arts and culture. Despite such inherent potential in a woman, she remains vulnerable and disempowered by patriarchal practices, the effects of apartheid, exclusion from privileges to own key development assets such as land, good education and access to good health systems, especially in rural communities. Even more, they have the problem of sexual and genderbased violence that President Ramaphosa has correctly and categorically identified as the second serious pandemic next to COVID-19. Yet women are determined to set the foundation for their communities to thrive. Women, let us arise and sing louder our rhythm... Wathinta abafazi Wathinta imbokodo!!! In the spirit of Mama Charlotte Maxeke, we should all be encouraged to arise with our inherent assets (skills/talents/abilities/gifts) and relive the life of activism like Mama Charlotte Maxeke, as the rights of women continue to be trampled upon and levels of sexual and gender-based violence keep rising at alarming rates.

pg 33 Ulwazi 2022 Ms Albertina Tomato Zuma - A Zimele Wethu Foundation beneficiary practicing agriculture as one of her livelihood strategies in the Swayimane Community. REFERENCES • Murray, A.M. J. 1879. The Oxford English Dictionary. Oxford University Press: United Kingdom. • Shongwe, V. 2021. Charlotte Mannya Maxeke: The mother of black freedom in South Africa. Sunday Independent Newspaper: South Africa.

pg 34 Ulwazi 2022 T he Ncome Museum’s Library Book Club was introduced in 2021 to be a useful component to cultivate a culture of reading and writing and to contribute to social transformation and nation building. The book club aims to provide the local youth around the Ncome Museum with access to information and knowledge through reading. It also aims to provide them with programmes and facilities that are not readily available in a rural area. Membership for the group was sought from interested youth who registered for the programme. The majority of members possess varying levels of tertiary education and in future we intend to expand the club to all age groups and work with local schools. In the meantime, we have chosen to work with our core group in order to maintain a structure and build momentum. The club meets three times a quarter and we select a book title, agree on a set time frame to go away to read that book and set a return date. When we meet again, we hold discussions on various topics in the book, we deliberate on the characters, the lessons in the book, the language use and we require input from the entire club. The Book Club has created a platform to assess the needs of our members who have also received assistance in our other projects. The members have indirectly acted as the library ambassadors, creating awareness in the community about our library programmes, events, facilities and materials like books. It has been a challenging but fulfilling experience because as much as the membership keeps evolving due to members taking different life paths in pursuit of education and career opportunities, the foundation has been laid for the growth of the Book Club. With the help of donors, partners and the museum, we hope to grow the Book Club and spread awareness across the community and reach different age groups. READERS ARE LEADERS Nkosinathi George Thango Librarian, Ncome Museum LEADERS ARE READERS NCOME MUSEUM Library Book Club

pg 35 Ulwazi 2022 Members of the Book Club The launch of the Book Club

A FAREWELL TRIBUTE THOKOZANI SHABALALA

pg 37 Ulwazi 2022 Sthembiso Mazibuko Education Officer, Ncome Museum A FAREWELL TRIBUTE Ncome Museum had to say farewell to one of its living legends and a pioneer in museum tour guiding. Mr Thokozani Shabalala, retired and was the first tour guide since the opening of Ncome Museum. Mr Shabalala started working as a museum security officer during the initial phase of the Museum, where he demonstrated tour guiding skills and he was later appointment as tour guide in 1999. THOKOZANI SHABALALA The passion he displayed with tourists made him very popular and celebrated by tourists from all over the world. Reviews on tourism websites mentioned his warm, welcoming and interesting narration and the traditional elements he included that spiced up the story. Having a lengthy chat with someone you are meeting for the first time is a sign of being highly social and open minded. Mshengu, as many would call him by his clan name, did not mind spending 3 hours chatting and taking his guests from the past to the present, as well as the future with regards to challenges of social cohesion and reconciliation. Some of his most recent work includes his Heritage Month narration of the age regiments that fought in the 1838 Battle of Ncome and their colour-coded shields that are in the front of the buffalo horn-shaped museum. Mr Thokozani Shabalala narrates the background information about ibutho (the warrior). You can learn more about Amabutho and the colourcoded shields as you watch the Zulu narration in the video clip at https://www.facebook.com/watch/?v=892413391409423 Siyabonga Donga lukaMavuso for your remarkable contribution to the Museum and your colleagues’ lives. A lot was learnt from you. Longevity and joyous rest at home.

pg 38 Ulwazi 2022 Zama Nxasana Outreach Officer, uMsunduzi Museum UMSUNDUZI MUSEUM EMPOWERING LOCAL WOMEN Museum Outreach Officer, Zama Nxasana presenting certificate of completion to Ms Mitha Thusi

pg 39 Ulwazi 2022 As part of skills development workshops, the Museum’s Education and Outreach Department opened its doors to women from different local communities and provided them with programmes to improve their skills. The purpose of these programmes is to reach out to women from underprivileged communities with capacity building and support by providing information and practical skills. The intended outcome is to ensure access to opportunities that would help them become future entrepreneurs and potentially generate income from local and international markets and targeted audience. During these workshops women were trained looming beadwork making items such as beaded flat bracelets, wristwatches, neckpieces and shoes. Towards the end of these empowering workshops, qualifying women were awarded certificates of completion. Most of the women are already selling their products and generating income out of them independently. Above some of the craft work done Getting herbs from the Museum’s garden to prepare medicinal soap and other cosmetic items Other outreach programmes offered by the museum are the herbal workshops where unemployed women from different communities are trained on how to plant their own herbs that are not only used for their own home-based purposes but also to increase their economic status. They are taught how to plant herbs that are used as ingredients for assorted cooking spices, different medicinal and cosmetic items. One such example is mixing pieces of leftover soap with garden herbs such as calendula, lavender and tea tree to make medicinal soap that reduces the appearance of bruises, stretchmarks and pimples. Below are some of the images from the different skills development workshops and products made: PLEASE TURN OVER

pg 40 Ulwazi 2022 Mrs Lindiwe Mlaba holding beaded shoes. Soap making - grated left over soap pieces, calendula herb, tea tree oil and rose fragrance oil. This soap is good for pimples. Lotion made with lavender herbs infused with almond oil and any aqueous cream (Left). A finished bar of soap (Right). Flat bracelets and a wristwatch from the beadwork workshops. Above some of the craft work done

pg 42 Ulwazi 2022 Dr Nakanjani Sibiya Umbhali ophinde afundise (e-Nyuvesi yaKwaZulu Natali) UMBHALI: IMIBUZO NEZIMPENDULO U: Yini eyakugqugquzela ukuthi ube umbhali? I: Okwangifaka ugqozu lokuthi ngibe umbhali noma uthando lokubhala ukuthi ngakhula kukhona izincwadi ekhaya eziningi nasezihlotsheni, ngakhula futhi kunababhali emndenini. Ngakho ke ngasheshe ngabona ukuthi into engiyithandayo nami le ukufunda bese kuba nothando lokwazi ukuba akukho smanga ekubhaleni into engenziwa nayinoma ubani. U: Kukhona ongakusho ngawe kubafundi bezincwadi abangakwazi? I: Noma kungekho okutheni abafundi engase bangakwazi kodwa abaningi abazi ukuthi ngaqala ukubhala izinkondlo, abaningi bazi imibhalo yami yangamumva. Izinkondlo izona engaqala ngazo ukuzibhala. Ngeshwa lami azange zachuma kwaze kwaba ngibhala eminye imibhalo ehlukahlukene. Kwathi sengikhulile sengishicelele imisebenzi eminingi kwayila ngibuyela ezinkondlweni zashicileka kakhulu kulemibhalo engiqale ngayo ukuyibhala. U: Isiphi isiluleko ongasinika umbhali omusha ozobhala incwadi yakhe yokuqala? I: Isiluleko engingasinika umuntu ofisa ukubhala ukuthi afunde eminye imibhalo eyiloluhlobo afisa ukulibhala. Uma efuna ukubhala amanoveli akafunde amanoveli amaningi ngaphambi kokuba aqale abhale. Uma eseqalile ukubhala akenze imizamo yokuthi umbhalo wakhe ube sezingeni eliphezulu kungabi ukuthi uyabhala nje ngoba efisa ukubhala. Umbhali omusha ozobhala incwadi akenze isiqiniseko sokuba umbhalo uzohlala isikhathi eside emveni kokuba usushicelelwe, kube umsebenzi ozothandwa abantu naye awuthande ngenkathi ewubhala. Kungabi ukuthi ubephelezela abanye abantu kodwa kube umsebenzi ozoba neqhaza elibalulekile ebantwini. U: Kuthatha isikhathi esingakanani ukubhala incwadi? I: Ukuthi kuthatha iskhathi esingakanani ukubhala incwadi kuya ngohlobo. Inkondlo umuntu ngase ayibhale ngosuku olulodwa kodwa umbhalo omude oyinhlobo yenoveli ngase uthathe isikhathi eside. Ngokwesibonelo kungaya ngokuthi ingakanani inoveli. Kumanoveli engiseke ngawabhala, enye yathatha isikhathi eside ngoba yayinkulu kunenye. Ngakhoke kuyangokuthi ingakanani into edingakalayo kuleyo ncwadi. Okunye okufanelwe kukhulunywe ukuthi ukuyibhala akuqali ngoba usuyibhala ngesandla kodwa kuqala engqondweni, uze weneliseke ukuthi usungahlala phansi uyibhale. Ngakhoke akusiyona into ongayiphuthuma. Okungenani kungaba isikhathi esisukela enyangeni kuya onyakeni, kungase kufike ngisho eminyakeni eyisihlanu. Kumina isikhathi esifishane kunaso sonke singangenyanga, kodwa kwenye inoveli kungaba izinyanga ezimbalwa ezingadluli kwezinhlanu. U: Iziphi izingqinamba ohlangabezana nazo uma ubhala? I: Inselelo enkulu ebanga ukuthi umuntu onjengami angakwazi ukuthola isikhathi esanele sokubhala, ukuthi kukhona okunye engikwenzayo emaceleni. Ikakhulukazi umsebenzi wokuziphilisa uwona ogcina usuphazamisa ngoba akulula ukwenza enye into uphinde ugxile ekubeni umbhali. Mese kuhlupha ngokuthi awukwazi kubhala noma yini futhi awukwazi ukubhala inoma ngasiphi isikhathi ongase ufise ukubuye ubhale ngaso. U: Iyiphi incwadi eyintandokazi yakho futhi ngobani? I: Akulula ukusho ukuthi iyiphi incwadi engiyikhonze kunazo zonke; kuya ngokuthi hlobo luni. Kungaba eyezinkondlo, eyezindaba ezimfishane noma amanoveli njalo njalo. Umbuzo ongelula uma ungumbhali usufunde izincwadi eziningi zababhali kanye nezilimi ezahlukahlukene, futhi ozifunde ngezikhathi ezingafani. Akulula ukusho ukuthi iyiphi incwadi ezidlula zonke ngoba kungashona ilanga uma ngizama ukuzibala. Ngakhoke engizikhumbulayo kungenxa yokuthi zazibhalwe ababhali engibakhonzile noma zazikhuluma ngezihloko ezaziheha kumina. U: Yini igama lesihloko sencwadi yakho yokuqala? I: Isihloko sencwadi yami yokuqala engazembula ngayo sithi “Ikusasa eliqhakazile". Ikusasa eliqhakazile iqoqo lezindaba ezimfishane zesizulu eziyishumi nanye, futhi iyona ncwadi engaqala ngayo ukushicilela izincwadi. Okulotshiwe: Sindisiwe Makhathini kanye noThabile Nawe, May 2022. U-Dkt Nakanjani Sibiya ongumbhali wemiqulu eminingi yezindaba ezimfishane, amanoveli, kanye nemidlalo yeshashalazi, ubalule lokhu okulandelayo ngaye…

pg 43 Ulwazi 2022 Carol MacCallum Author WRITER’S CORNER Q: What inspired you to become a writer? A: I decided to write because of my passion for social history. I wanted other people to appreciate how history can come alive if you add social history to it. I discovered this in grade 9 when Dr. Sylvia Vietzen taught me history and she brought the lesson to life by explaining how the people lived at that time. Social history builds a picture around historical events and facts and enhances and enriches it. Q: What advice would you give to a writer working on their first book? A: That is a difficult question, but I think what I would recommend is that they must be disciplined. You have to be disciplined to sit and write all day. Writing is a lonely vocation, so you are not surrounded by people or particular office hours. So you must set yourself a target of certain words or certain chapters that must be done each day. And you must stick to that. Q: How long does it take to write a book? A: I cannot speak for other writers, but for me it takes approximately two and a half years to write and research my books. It all depends on the amount of research that has to be done. Q: What is your favourite book of all time and why? A: That is a very difficult question; I can’t answer that because I don’t have an all-time favourite. My favourites have changed as the years have passed. I started with adventures as a child. I went to historical romances as a teenager and now I enjoy murder mysteries. So it’s changed completely for me. Q: What was the title of your first book? A: The title of my first book was Eavesdropping on Early Maritzburg. That was my first published book and it was the first one I wrote. Transcription: N. Franzsen, August 2021. Carol MacCallum who authored two books featuring the history of Pietermaritzburg and Natal, shared the following about herself…

Voortrekker House, located at 333 Boom Street.

WHAT’S BEEN HAPPENING AT THE MUSEUM? Even though the world is still in the midst of the COVID-19 pandemic, this virus will be in the history books one day in the future. People will look back at how we dealt with this outbreak and how people went on with daily life. The uMsunduzi Museum's Research, Information and Collection department collected items for the Museum's collection and have put them on display in a temporary exhibition, "Navigating Through the Pandemic." NAVIGATING THROUGH THE PANDEMIC - TEMPORARY EXHIBITION pg 46 Ulwazi 2022

The uMsunduzi Museum’s Research, Information and Collection Department held an intimate workshop with History students from the University of KwaZulu-Natal. The aim of the workshop was to expose the students to the work being done at the museum and the progress that has transformed the museum to what it has become today, a multicultural museum showcasing the history of the communities living in Pietermaritzburg and the province. Guest speaker, Mr Nel from the Pietermaritzburg Archives did a presentation on using the archives as a source for research and provided valuable insight to the importance of history and archival documents. RESEARCH, INFORMATION AND COLLECTION WORKSHOP pg 47 Ulwazi 2022

pg 48 Ulwazi 2022 COLLECTION DISASTER MANAGEMENT WORKSHOP Mr Juggie Padayachee and his colleagues from the Disaster Unit did a presentation on the importance of disaster management and demonstrated with a practical example why it is important to have a disaster management plan in place. It is essential for museums to ensure the public's safety, especially when gatherings of larger groups such as guided tours or events are taking place on the premises. Museums often face disaster unexpectedly and whether it is the people or the collection that are in danger, it is essential to be prepared. The Tatham Art Gallery kindly allowed their film 'Closed Because of the Flood' to be played for attendees to watch how quickly a disaster can affect our heritage collections and reiterating the importance of being prepared for the worst.

pg 49 Ulwazi 2022 COURAGEOUS CONVERSATIONS CONFERENCE In November the Museum hosted the 9th Courageous Conversations Conference. Presentations were uploaded on the museum’s Facebook page and Youtube. If you have missed it you can look for the posts on our page or you can go to our Youtube page (uMsunduzi and Ncome Museums).

pg 50 Ulwazi 2022 In an effort to enhance the Museums’ presence in the community as well as to highlight some of our most interesting collection items, the Research, Information and Collections team hosted a stall at the Cascades Lifestyle Centre. Held on 19 November, The public engagement was well received by the audience and interesting family memories were relayed by some as the crowds interacted with our stall. The staff also handed out goodie bags to the audience. uMsunduzi Museum successful hosted a CV-writing and interview preparation workshop programme that took place on 11 November 2021 as a to follow up on participants of this workshop from the previous year workshop that took place in celebration of a Youth month on the 24th June 2021. As The Museum we have has identified the need for such programmes as during selection and recruitment processes we often pick up that job seekers fail to properly structure their CVs to convince the panel members to select them for shortlisting and those that go through the interviews some often fail to present themselves. The objective for this workshop was to equip tertiary students and those who have just graduated with information that will assist them when applying and when they have been shortlisted for jobs. This educational event was supported by various stakeholders such as the Department of Labour, South African National Biodiversity Institute (SANBI), IWWILAH (Dr. Ngcungama), Department of Economic Development, Tourism and Environmental Affairs (EDTEA), DlalaNathi, Durban University of Technology (DUT) and Agribusiness Development Agency (ADA). This is one of the successful skills development workshop hosted by uMsunduzi Museum Education and Outreach Department that prepares tertiary youngsters to be ready for the cooperate world. RESEARCH, INFORMATION AND COLLECTIONS OUTREACH PUBLIC ENGAGEMENT CV WRITING & INTERVIEW PREPARATION - Follow Up Workshop