The Survival Of Several Akan Day Names In 19th South Carolina & Other Linguistic Examples From An Excerpt Of The 1867 Book "Slaves Songs Of The South"

Edited by Azizi Powell

This post presents an excerpt from the 1867 book Slave Songs From The South that provides examples of the use of African American Vernacular English in the South Carolina Sea Isle community of Port Royal, South Carolina, with special attention to examples of the use of titles (such as aunt and uncle) and personal names.

Background information about Port Royal, South Carolina is also included in this post. This post also included background information about the Gullah/Geechee people of South Carolina and other parts of the South and the Gullah/Geechee creole language.

The content of this post is presented for historical, linguistics, and cultural purposes.

All copyrights remain with their owners.

This post honors the strength, the spirit of resilience, and the creativity of all those people of African descent whose words and names are noted in this book. Thanks to the authors of this book, and thanks to the transcribers of the electronic edition of this 1867 book.

Click http://pancocojams.blogspot.com/2016/02/excerpt-of-slave-names-in-colonial.html for a pancocojams post on Black names in colonial South Carolina.

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BACKGROUND INFORMATION
From https://en.wikipedia.org/wiki/Port_Royal,_South_Carolina
"Port Royal is a town on Port Royal Island in Beaufort County, South Carolina, United States"...

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From http://www.nps.gov/guge/learn/historyculture/index.htm Cultural Heritage Corridor FL,GA,NC,SC

History & Culture
"The Gullah/Geechee people are descendents of enslaved Africans from various ethnic groups of west and central Africa. Brought to the New World and forced to work on the plantations of coastal South Carolina, Georgia, North Carolina and Florida, Gullah/Geechee people have retained many aspects of their African heritage due to the geographic barriers of the coastal landscape and the strong sense of place and family of Gullah/Geechee community members.

Today, the cultural and linguistic umbrella of the Gullah/Geechee Cultural Heritage Corridor extends from Wilmington, NC to St. Augustine, FL. People who identify as Gullah or Geechee represent the many ways that Africans in the Americas have held on to and amalgamated the traditions of Africa with the cultures they encountered both during and after enslavement."

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From https://en.wikipedia.org/wiki/Gullah_language
"Gullah (also called Sea Island Creole English and Geechee) is a creole language spoken by the Gullah people (also called "Geechees" within the community), an African-American population living on the Sea Islands and in the coastal region of the US states of South Carolina, Georgia and northeast Florida. Dialects of essentially the same language are spoken in the Bahamas.[2]

The Gullah language is based on English with strong influences from West and Central African languages...

The vocabulary of Gullah comes primarily from English, but it also has words of African origin. Some of the most common African loanwords are: cootuh ("turtle"), oonuh ("you [plural]"), nyam ("eat"), buckruh ("white man"), pojo ("heron"), swonguh ("proud") and benne ("sesame")...

Lorenzo Turner's research

In the 1930s and 1940s the African-American linguist Lorenzo Dow Turner did a seminal study of the Gullah language based on field research in rural communities in coastal South Carolina and Georgia. Turner found that Gullah is strongly influenced by African languages in its sound system, vocabulary, grammar, sentence structure, and semantic system. Turner identified over 300 loanwords from various African languages in Gullah and almost 4,000 African personal names used by Gullah people. He also found Gullahs living in remote sea-side settlements who could recite songs and story fragments and do simple counting in the Mende, Vai and Fulani languages of West Africa. Turner published his findings in a classic work called Africanisms in the Gullah Dialect (1949). His book, now in its fourth edition, was most recently reprinted with a new introduction in 2002.

Before Lorenzo Turner's work, mainstream scholars viewed Gullah speech as substandard English, a hodgepodge of mispronounced words and corrupted grammar which uneducated black people developed in their efforts to copy the speech of their English, Irish, Scottish and French Huguenot slave owners.[3] But Turner's study was so well researched and detailed in its evidence of African influences in Gullah that academics soon reversed course. After Turner's book was published in 1949, scholars began coming to the Gullah region regularly to study African influences in Gullah language and culture."
-snip-
Italics added by me to highlight these sentences.

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FEATURED EXCERPT: "SLAVE SONGS OF THE SOUTH"
Electronic Edition http://docsouth.unc.edu/church/allen/allen.html

William Francis Allen, Charles Pickard Ware,
and Lucy McKim Garrison [1867]
Images scanned by Robin Roenker
Text encoded by Andrew Leiter and Jill Kuhn
...University of North Carolina at Chapel Hill,
2000

This work is the property of the University of North Carolina at Chapel Hill. It may be used freely by individuals for research, teaching and personal use as long as this statement of availability is included in the text.

"
IT will be noticed that we have spoken chiefly of the negroes of the Port Royal islands, where most of our observations were made, and most of our materials collected. The remarks upon the dialect which follow have reference solely to these islands, and indeed almost exclusively to a few plantations at the northern end of St. Helena Island. They will, no doubt, apply in a greater or less degree to the entire region of the southeasterly slave States, but not to other portions of the South. It should also be understood that the corruptions and peculiarities here described are not universal, even here. There are

Page xxiv
all grades, from the rudest field-hands to mechanics and house-servants, who speak with a considerable degree of correctness, and perhaps few would be found so illiterate as to be guilty of them all.

Ordinary negro talk, such as we find in books, has very little resemblance to that of the negroes of Port Royal, who have been so isolated heretofore that they have almost formed a dialect of their own. Indeed, the different plantations have their own peculiarities, and adepts profess to be able to determine by the speech of a negro what part of an island he belongs to, or even, in some cases, his plantation. I can myself vouch for the marked peculiarities of speech of one plantation from which I had scholars, and which was hardly more than a mile distant from another which lacked these peculiarities. Songs, too, and, I suppose, customs, vary in the same way.

A stranger, upon first hearing these people talk, especially if there is a group of them in animated conversation, can hardly understand them better than if they spoke a foreign language, and might, indeed, easily, suppose this to be the case. The strange words and pronunciations, and frequent abbreviations, disguise the familiar features of one's native tongue, while the rhythmical modulations, so characteristic of certain European languages, give it an utterly un-English sound. After six months' residence among them, there were scholars in my school, among the most constant in attendance, whom I could not understand at all, unless they happened to speak very slowly.

Page xxv
... Strange words are less numerous in their patois than one would suppose, and, few as they are, most of them maybe readily derived from English words. Besides the familiar buckra, and a few proper names, as Cuffy, Quash, and perhaps Cudjo, I only know of churray (spill), which may be "throw 'way;" oona or ona, "you" (both singular and plural, and used only for friends), as "Ona build a house in Paradise" ( No. 40); and aw, a kind of expletive, equivalent to "to be sure," as, "Dat clot' cheap." "Cheap aw." "Dat Monday one lazy boy." "Lazy aw--I 'bleege to lick 'em."

Corruptions are more abundant. The most common of them are these: Yearde (hear), as in Nos. 3, etc. "Flora, did you see that cat?" "No ma'am, but I yearde him holler." "Sh'um," a corruption of see 'em, applied (as 'em is) to all genders and both numbers.

Page xxvi
"Wan' to see how Beefut (Beaufort) stan'--nebber sh'um since my name Adam." Huddy (how-do?), pronounced how-dy by purists, is the common term of greeting, as in the song No. 20, "Tell my Jesus huddy O." "Bro' (brother) Quash sen' heap o' howdy." Studdy, (steady) is used to denote any continued or customary action. "He studdy 'buse an' cuss we," was the complaint entered by some little children against a large girl. "I studdy talk hard, but you no yearde me," was Rina's defence when I reproved her for not speaking loud enough. When we left, we were told that we must "studdy come back." Here, however, it seems to mean steady. Titty is used for mother or oldest sister; thus, Titty Ann was the name by which the children of our man-of-all work knew their mother, Ann. Sic-a or sake-a, possibly a condensation of same and like. "Him an' me grow up sic-a brudder an' sister." Enty is a curious corruption, I suppose of ain't he, used like our "Is that so?" in reply to a statement that surprises one. "Robert, you have n't written that very well." "Enty, sir?" "John, it's going to rain to-day." "Enty, sir?" Day-clean is used for day-break. "Do, day-clean, for let me go see Miss Ha'yet; and de day wouldn't clean." Sun-up is also common. Chu' for "this" or "that there;" as "Wha' chu?" "See one knife chu?" Say is used very often, especially in singing, as a kind of expletive; "(Say) when you get to heaven (say) you 'member me." (No. 27.) "Ain't you know say cotton de-de?" In the last sentence "de-de" (accent on first syllable) means

Page xxvii
"is there;"--the first de, a corruption of does for is, will be explained presently; the other is a very common form for dere, there.

I do not remember any other peculiar words, but several words used peculiarly. Cuss is used with great latitude, to denote any offensive language. "Him cuss me 'git out." "Ahvy (Abby) do cuss me," was the serious-sounding, but trifling accusation made by a little girl against her seat-mate. Stan' is a very common word, in the sense of look. "My back stan' like white man," was a boast which meant that it was not scarred with the lash. "Him stan' splendid, ma'am," of the sitting of a dress. I asked a group of boys one day the color of the sky. Nobody could tell me. Presently the father of one of them came by, and I told him their ignorance, repeating my question with the same result as before. He grinned: "Tom, how sky stan'?" "Blue," promptly shouted Tom. Both they seldom use; generally "all-two," or emphatically, "all-two boff togedder." One for alone. "Me one, and God," answered an old man in Charleston to the question whether he escaped alone from his plantation. "Gone home one in de dark," for alone. "Heab'n 'nuff for me one" (i.e., I suppose, "for my part"), says one of their songs (No. 46.) Talk is one of their most common words, where we should use speak or mean. "Talk me, sir?" asks a boy who is not sure whether you mean him or his comrade. "Talk lick, sir? nuffin but lick," was the answer when I asked whether a particular master used to

Page xxviii
whip his slaves. Call is used to express relationship as, "he call him aunt." Draw, for receiving in any way--derived from the usage of drawing a specific amount of supplies at stated times. "Dey draw letter," was the remark when a mail arrived and was distributed among us whites. Meet is used in the sense of find. "I meet him here an' he remain wid me," was the cook's explanation when a missing chair was found in the kitchen. When I remarked upon the absurdity of some agricultural process--"I meet 'em so an' my fader meet 'em so," was the sufficient answer. A grown man, laboring over the mysteries of simple addition, explained the gigantic answer he had got by "I meet two row, and I set down two." "I meet you dere, sir," said Miller frankly, when convinced in an argument. Too much is the common adverb for a high degree of a quality; "he bad too much" was the description of a hard master. Gang, for any large number; "a whole gang of slate-pencils." Mash in the sense of crush; "mammy mash 'em," when the goat had killed one of her kids by lying on it. Sensibble and hab sense are favorite expressions. A scholar would ask me to make him "sensibble" of a thing. "Nebber sh'um since I hab sense" (i.e., since I was old enough to know). Stantion (substantial) was a favorite adjective at Coffin's Point. Strain is also a favorite word. "Dem boy strain me," explained Billy, when some younger boys were attempting to base him. "I don't want to give more nor fifty-five dollar for a horse," said Quash, "but if dey strain you, you may give fifty-six." "Dat tune so strainful," said Rose.

Page xxix

The letters n, r and y are used euphonically. "He de baddes' little gal from y'ere to n'Europe," said Bristol of his troublesome niece Venus; "ought to put him on a bar'l, an' den he fall 'sleep an' fall down an' hut heself, an' dat make him more sensibble." "He n'a comin', sir," was often said of a missing scholar. At first, I took the n for a negative. I set Gib one day to picking out E's from a box of letters. He could not distinguish E from F, and at last, discouraged with his repeated failures, explained, holding out an F, "dis y'ere stan' sic-a-r-um." (This looks like that.) It is suggested also that d is used in the same way, in "He d'a comin';" and s, in singing for instance, "'Tis wells and good" (No. 25). So the vowel a; "De foxes have-a hole" (No. 2), "Heaven bell a-ring" (No. 27).

The most curious of all their linguistic peculiarities is perhaps the following. It is well known that the negroes in all parts of the South speak of their elders as "uncle" and "aunt,--"*

* In South Carolina "daddy" and "maum" are more common.
from a feeling of politeness, I do not doubt; it seemed disrespectful to use the bare name, and from Mr. and Mrs. they were debarred. On the Sea Islands a similar feeling has led to the use of cousin towards their equals. Abbreviating this, after their fashion, they get co'n or co' (the vowel sound u as in cousin) as the common title when they speak of one another; as, C'Abram, Co' Robin, Co'n Emma, C'Isaac, Co'Bob. Bro' (brother) and Si' (sister) and even T' (Titty)

Page xxx
are also often used in the same way; as, Bro' Paris, Si' Rachel, T' Jane. A friend insists that Cudjo is nothing but Co' Joe.

...
Page xxxiii
Proper names furnish many curious illustrations of the corruption in pronunciation. Many of them are impossible to explain, and it is still only a surmise that Finnick is derived from Phoenix, and Wyna from Malvina (the first syllable being dropped, as in 'Nelius for Cornelius, and 'Rullus for Marullus.) Hacless is unquestionably Hercules, and Sack no doubt Psyche; Strappan is supposed to be Strephon. All these are common names on the Sea Islands. Names of trades, as Miller, Butcher, are not uncommon. One name that I heard of, but did not myself meet with, was After-dark, so called because he was so black that "you can't sh'um 'fo' day-clean."…

Page xxxvi
...The following is Strappan's view of Love. "Arter you lub, you lub, you know, boss. You can't broke lub. Man can't broke lub. Lub stan'--'e ain't gwine broke. Man hab to be berry smart for broke lub. Lub is a ting stan' jus' like tar; arter he stick, he stick, he ain't gwine move. He can't move less dan you burn him. Hab to kill all two arter he lub 'fo' you broke lub."
-End of quote-

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AKAN (TWI, ASANTE) DAY NAMES AND OTHER AFRICAN NAMES
The once widely held belief (in the USA anyway) that enslaved Africans didn't name their children has largely been debunked. In the 18th century and to a lesser extent in the 19th century people of African descent in the African Diaspora (United States, the Caribbean, and South American) retained African names but often had folk processed forms of those names.

The above excerpt from Slave Songs From The South mentions the names Cuffy, Quash, and Cudjoe. These are folk processed forms of three Akan (Twi, Asante) day names: Kofi, Kwaku, and Kwadwo. These names are also found in other historical records in the 18th and 19th century in other parts of the United States South and in the 18th and 19th century Caribbean.

Here's information about the meanings of those Twi/Asante [Akan] names:
From http://www.twi.bb/akan-names.php
"The Akan people of Ghana frequently name their children after the day of the week they were born and the order in which they were born. These names have spread through West Africa, from Benin/Dahomey (Fon) and Togo (Ewe) to Cote d'Ivoire (Baoule), and throughout the African diaspora."....

Cuffy = male name [day of the week: Friday] = Kofi
variant forms* Fiifi, Koffi

Quash = male name [day of the week: Wednesday = Kwaku
variant forms* Kaku, Koku, Kuuku, Kweku

Cudjo = male name [day of the week: Monday] Kwadwo
variant forms* Jojo, Kodjo, Kojo
-snip-
*"Variant forms" in that chart means variant forms in Ghana and in other West African nations

The name "Monday" that is mentioned in that featured passage is an English translation of the Akan day name "Kwadwo" (Kodjo) etc. And the name "Joe" that was given to Black males in 18th and 19th century South (USA) and the Caribbean could have come from the name "Kodjo."

I also wonder if the female name "Abby", mentioned in this Slave Songs Of The South excerpt is a folk processed form of Twi/Asante name "Abena" = female born on Tuesday.

The name "Essie" (which isn't mentioned in that excerpt but is a female name that I've read in other books about 19th century Black Americans) may be a folk processed form of another Twi/Asante day name: "Afua" = female born on Friday; [African variants: Afi, Afia, and Efia.

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The Languages Used In South African Singer Bucie's Song "Easy To Love"

Edited by Azizi Powell

This post showcases the official video of South African singer Bucie's song "Easy To Love", featuring Heavy K. Information about Bucie is also given in this post.

This post also presents selected comments from this video's discussion thread which focus on the languages used in that song.

Click http://pancocojams.blogspot.com/2016/02/comments-about-skin-color-in-youtube.html for another pancocjams post that features this video. That post provides a compilation of the comments about skin color that were posted to this video's discussion thread to date. Those comments provide information about attitudes in South Africa about "light skinned" and "dark skinned" people Black people.

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The content of this post is presented for linguistic, cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Bucie and Heavy K for their musical skills. Thanks to all those who are quoted in this post and thanks to the publisher of this video on YouTube.

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This post is part of ongoing pancocojams series on linguistics. I'm particularly interested in African American Vernacular English, Jamaican Patois, African Creole languages, and the combinations of those languages/dialects with traditional African languages in YouTube music, and/or in YouTube discussion threads.

Click the tabs below to find other pancocojams posts in this series.

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INFORMATION ABOUT BUCIE
From https://bucie.wordpress.com/about/
..."Loaded with the vocal capabilities, sumptuous looks and captivating moves, [Bucie] has really transformed into a new jewel of South African music industry.

Born as Busisiwe Nolubabalo Nqwiliso in 1987 in Kimberly, Bucie
was like any other teenage girls of her age growing up in her home
town Klerksdorp who attended high school and loved to sing for fun
together with some friends and led the local church choir and
participated in a number of arts programs. It all began to change
drastically after she was introduced to Thandukwazi “Demor”
Sikhosana”, a South African music producer who is also the co-owner
of Demor Music.

Demor, the then music lecturer at Central Johannesburg College,
where Bucie was a music student, was looking for a female artist to
sign to a newly formed record Label (Demor Music) where Bucie later
bought shares and now co-owns. A friend of hers recommended her
to Demor and after a quick audition in one of the school’s offices, The producer knew he had found more than just the voice he was looking for - ... Demor, says ...
“It was a combination of beauty,talent, amazing vocal ability and
personality. From that I could just see a superstar,”

...Bucie’s second offering entitled “Turn Me on” earned Bucie her international success following class collaboration with Black Coffee released and licensed to a German based Label GOGO MUSIC, withremixes by renowned House music producers and remixers such as Ralf Gum, Raw Artistic Soul with no1 selling single on Track source.

2010 saw Demor Music collaborating with Soulistic music once more
as Bucie and Black Coffee brought their magic again with their smash world wide hit Superman which topped the charts, and earned the duo award nominations such as SAMA, MTV BASE, METRO and
2011 Winter Music Conference Awards (Miami)"

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From https://en.wikipedia.org/wiki/Bucie
"Bucie (born Busisiwe Nolubabalo Nqwiliso, 10 March 1987)[1] is a South African R&B and House singer. Her 2014 "Easy To Love" single peaked at number 9 on South Africa's official music chart.[2]"
-snip-
Click
https://sahouse.wordpress.com/tag/heavy-k/for information about Heavy K.

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SHOWCASE VIDEO - Bucie feat Heavy K - Easy to Love( Official Video)

.

DEMORMUSICTV, Published on Feb 26, 2014

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SELECTED COMMENTS FROM THIS VIDEO'S DISCUSSION THREAD
https://www.youtube.com/watch?v=rT1GMoi0hGo

These comments focus on which language or languages are used in Bucie's song "Easy To Love". I've included all the comments on this subject to date that are found in that discussion thread.

These comments are presented in chronological order with the oldest comments given first except for replies. These comments may not be in consecutive order.

Four asterisks after a particular comment marks the end of a particular sub-thread of comments with replies.

I've assigned numbers for referencing purposes only.

1. Sherifat Adeniyi, 2014
"what language is this in? Afrikaans or Zulu or another?"

**
Reply
2. Neo Jafta, 2014
"Zulu"

**
Reply
3. Laura Lira, 2014
"That's Xhosa"

**
Reply
4. bandile21, 2014
"It's a mixture of Zulu and Xhosa. The chorus is in Zulu and English obviously"

**
Reply
5. Malusi Mqadi, 2014
"Zulu"

**
Reply
6. KAMVA TREVOR SONGO Zenani, 2014
"Xhosa"

**
Reply
7. manayesh, 2014
"zulu. 'I' in xhosa is 'ndi' and she says 'ngi' which is zulu for 'I'."

**
Reply
8. Sulezi Makalima, 2014
+Malusi Mqadi
"Xhosa"

**
9. Reply
Malusi Mqadi, 2014
"+Sherifat Adeniyi and how do you say it in Zulu?"

**
10. Whoonga Goat, 2014
"she's theting not khuluming"

**
Reply
11. The Prince, 2015
"Afrikaans"*

**
Reply
12. Whoonga Goat, 2015
"+The Prince lol"*

**
Reply
13. The Prince, 2015
"+Rex Normal Lol I see people arguing whether it's Xhosa or Zulu. I hate to break it to them but the song is in Afrikaans. Problemo solved"*

**
Reply
14. Shirley Mlotywa, 2015
"+The Prince loooooooool prince you killing me yooooo dude:*

**
Reply
15. Sherifat Adeniyi, 2015
"Now I'm confused haha is it Afrikaans, Xhosa or Zulu"?

**
Reply
16. Shirley Mlotywa, 2015
"Zulu dear"

**
Reply
17. Sherifat Adeniyi, 2015
"thank you"

**
Reply
18. Lwando (Earl), 2015
"+Sherifat Adeniyi its Xhosa, they're arguing because Xhosa and Zulu are mostly similar. I really can't hear Zulu word here."

**
Reply
19. Phakamani Samukelo, 2015
"isiZulu baba amaXhosa athanda kaab ukuy'fak eyntwen maaan"

**
Reply
20. Lwando (Earl), 2015
"so Phakamani in Zulu niyathetha?"

**
Reply
21. Whoonga Goat, 2015
"+Lwando Giyama in his imagination maybe lol"

**
Reply
22. Lwando (Earl), 2015
"+God Goon hahaha lol..listening is s skill hey, qha some people lack it."

**
The Prince, 2015
23. "+Phakamani Samukelo Ignorance is bliss"
-snip-
*Click http://overcomingapartheid.msu.edu/sidebar.php?id=65-258-3 for historical background that explains why Prince wasn't being serious about his comment that Bucie was singing in Afrikaans. The link given after #37 also provides clues as to why other commenters thought that Prince's comment was funny.

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24. Ruth Wambui, 2014
"awwwwwhhh so so Loving the pretty Bucie....though I only understand the chorus...kwazi kwa lulu"

**
Reply
25. Arthur “kabe25” - Kunshani
""kwaze kwalula ukuthanda"...... Zulu for "its now so easy to love you" ........."

**
26. magicalparadise, August 2015
"What language is Bucie singing in? Such a lovely song."

**
Reply
27. Joy Sitholé, September 2015 6 months ago
"Mixture of Zulu and Xhosa (very similar)"

**
Reply
28. magicalparadise , September 2015
"thanks for info!"

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29. magicalparadise, September 2015
"What language is Bucie singing in? Such a lovely song!"
-snip-
This question was posted two times by the same commenter.

**
Reply
30. Whoonga Goat, September 2015
"+magicalparadise Xhosa"

**
Reply
31. magicalparadise, September 2015
"+God Goon okay!" *

**
Reply
32. TheLoxionKasie, December 2015
"+Ntombizanele Bless* She's singing in both languages. You know South Africans jump back and forth between languages when they speak, so act like you know."

**
Reply
33. magicalparadise, December 2015
"+Ntombizanele Bless*
appreciate the feedback. I'm learning more about the traditional language of South Africa via Z.A house music."

**
Reply
34. magicalparadise, 2015
"+TheLoxionKasie thanks for the reply."

**
35. TheLoxionKasie, 2015
"+Ntombizanele Bless* In short, we should believe you cause you say so? No, sisi, it doesn't work like that. Bucie is Xhosa, but this song is in both Xhosa and Zulu. If you want, I can tell you which parts are in Zulu, but am sure you know that already :P

Indlel'ohambha ngayo (borderline/both)
Othetha ngayo (Xhosa)
Ohleka ngayo (borderline/both)
Mmm, uncumo lwakho (Xhosa)
He's my African man
nob' unobeka idayimane phambi kwami (Xhosa)
uth'angikhethe (Zulu)
Ndihambha nawe oh ndihambha name (Xhosa)

Indoda ecikiziweyo, ezithembileyo (Xhosa)
Ehlonipha masiko with no compromise (Funky Zulu)**
Sonke siyazi (Zulu)
Now that's a turn on
Nob' unobeka iferari phambi kwami (Xhosa) uth'angikhethe (Zulu)
Ndihambha nawe oh ndihamba name (Xhosa)"

**
Reply
36. magicalparadise, January 2016
"+TheLoxionKasie Excellent! thanks for the breakdown! Linguistics is fascinating!"

**
Reply
37. TheLoxionKasie, January 2016
"+Ntombizanele Bless* LOL so, it is now 99% Xhosa and no longer 100% Xhosa? So if "hlonipha amasiko" is ALSO Xhosa, on what grounds is it not Zulu? Why on earth would someone sing in Xhosa and then suddenly forget to stick to the language when it comes to one specific word? makes no sense. You have already admitted that the song is not 100% Xhosa. So, you are reaching. This is a song made in a mix of languages in true Gauteng style. Xhosa and Zulu are the two languages in the song. And no, she doesn't say "uthi andikhethe". If she were speaking Xhosa in that line, she would have said "Uthi mandikhethe". But she isn't. Zulu is the line, with thanks."
-snip-
*God Goon and Ntombizanele Bless both appear to be screen names for Whoonga Goat. Another possibility is that the comments posted by Ntombizanele Bless have been deleted. That appears to be the case given some of the comments in #37. In any event, from these replies, Ntombizanele Bless appears to have written that "Easy To Love" was sung in Xhosa.

**
"Funky Zulu" probably refers to the South African Creole language "Iscamtho". Click http://www.news24.com/SouthAfrica/News/Be-proud-of-your-township-lingo-says-expert-20150807 Be proud of your township lingo, says expert" for an interesting 2015 article bout Iscamtho.

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nosipho Ntuli, November 2015
38. SOUTH AFRICA .......SOOOOOOOOOOOOOOO PROUD ISIZULU IS LANGUAGE OF LOVE.....

**
Reply
39. Siya Sima , January 2016
"+nosipho Ntuli And so is twin Xhosa. Listen to this song sung in both Xhosa and Zulu. Hay kodwa la mawele asithi yhu!!"

**
Reply
40. Siya Sima, January 2016
"+nosipho Ntuli  Zulu and Xhosa; sibling rivalry yhu, iyatshisa manyan :)"

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