Edited by Azizi Powell
This is the third post in an ongoing pancocojams series about African stick fighting.
This post showcases five videos of South African stick fighting. These featured examples are from Bhaca, Xhosa, and Zulu ethnic groups.
Selected comments from one video's discussion thread are also included in this post.
Additional videos on this subject or links to videos on this subject can be found in other pancocojams posts in this series.
Click the "African stick fighting" tag below for other posts in this series.
The content of this post is presented for historical, cultural, and educational purposes.
All copyrights remain with their owners.
Thanks to all those who are featured in these videos, all the producers of these videos, and all the publishers of these videos on YouTube.
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SHOWCASE VIDEOS
These videos are given in chronological order based on their publishing dates with the oldest dated video given first.
Video #1: xhosa stickfighting competition
Nick Aldridge, Published on Nov 29, 2010
xhosa stick fighting tournament in mfuleni township, cape town south africa.
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Video #2: Goodbye Bafana - Stick-fight Scene
BlackXades, Published on Jul 24, 2012
Goodbye Bafana is a 2007 drama film, directed by Bille August, about the relationship between Nelson Mandela and James Gregory, his censor officer and prison guard, based on Gregory's book Goodbye Bafana: Nelson Mandela, My Prisoner, My Friend.
This is the stick-fight scene
-snip-
From https://timesofindia.indiatimes.com/What-is-Bafana-Bafana-and-how-does-it-get-its-name/articleshow/5935771.cms
The word "Bafana" is a Zulu word , plural for "umfaan", meaning boy. There is also a movie about Mandela in jail titled "Goodbye Bafana. Bafana Bafana is the national football team"...
-snip-
The word "football" here means "soccer"
-snip-
Here are some comments from this video's discussion thread, with numbers added for referencing purposes only:
1. rasnac, 2017
"This is Nguni stick fighting if I'm not mistaken."
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REPLY
2. the red baron, 2017
"rasnac you're right...it is a Zulu stickfighting art...."
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REPLY
3. Aoi Kawasaji, 2017
"Nope, that's an induku. If anything, it might not be. Zulu word for a generic stick is also stick."
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4. MrBracey100, 2017
"Very nice to see some African stick fighting even if it was a brief scene. Makes me lament for the Black Panther movie Wesley Snipes wanted to do for so long before he ended up doing Blade. He wanted his Black Panther to showcase African centric martial arts like stick fighting and capoeira. It would have been sweet. I get tired of always seeing either wushu or TKD in films."
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REPLY
5. alvi syahri, 2017
"MrBracey100 yeah, as much as I like kung fu, it's nice to see something different"
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REPLY
6. MrBracey100, 2017
"alvi syahri I think that's part of the reason why films like On Bak and The Raid Redemption play so well here. Folks enjoy seeing something new from martial arts cinema."
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REPLY
7. KillerSalmon, 2018
"The Black Panther movie had a LEETLE bit of Zulu stick fighting, but only insofar as the shield that T'Challa used was based off of the forward stick used in the art - however, that was about it, since he basically swung for the fences with each shot instead of doing setups."
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Video #3: Nguni stick fighting
Expresso Show, Published on Sep 10, 2013
In celebration of our South African heritage we have the team from Ligwalagwala FM live in studio this morning.
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Video #4: Bhaca Stick Fighting - iintonga - Kwa Bhaca - Mount Frere - eHlane - KwaNomgxabha 3
amaBhaca, Published on Dec 4, 2014
www.Bhaca.co.za Bhaca Stick Fighting - iintonga - Kwa Bhaca - Mount Frere - South African (26 December 2005) eHlane - KwaNomgxabha ukuphuma kwamaKrwala akwa bhut' Sandile Jali - AmaNgelengele - AmaZawa - kwa Makotana evenkileni.
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Video #5: FIGHT AT WEDDING 3 - BANDA GETS BEATEN AGAIN ( 2009)
siyabonga makhathini, Published on Feb 15, 2018
It is customary in a Zulu wedding that warriors from the grooms area fight against warriors traveling with the brides Entourage.Its way for warriors to get to know each other better, learn to respects their new brothers because it is not just a marriage between two people but two communities.After the fight they all go and eat and drink together as one group sharing warrior stories and creating new alliances
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Showing posts with label African stick fighting. Show all posts
Showing posts with label African stick fighting. Show all posts
Sunday, August 26, 2018
South African Stick Fighting (Excerpts From Three Online Paper/Articles And Selected Comments From Three YouTube Discussion Threads)
This is the second post in an ongoing pancocojams series about African stick fighting.
This post quotes excerpts of three articles and selected comments from three YouTube discussion threads about stick fighting in South Africa.
This is only a small sample of the online articles and comments about this subject.
Click the "African stick fighting" tag below for other posts in this series.
The content of this post is presented for historical, cultural, and educational purposes.
As a reminder, pancocojams is a non-commercial cultural blog that I curate on a volunteer basis. I publish excerpts of articles and book excerpts, many of which are obscure and difficult to find, with the hope that this blog's visitors will read the entire articles or books that are quoted.
All copyrights remain with their owners.
Thanks to all those who are quoted in this post.
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ARTICLE EXCERPTS
These articles are given in no particular order and are numbered for referencing purposes only.
Excerpt #1:
From https://www.sahistory.org.za/article/nguni-stick-fighting
"Introduction
This article looks at the history of an indigenous Nguni sport known as Stick Fighting, which was popular in the Nguni ethnic group (Zulu). It further looks at how the sport has evolved over time. The word or term Nguni is the collective name for ethnic groups of Bantu people residing in the Southern Africa. These groups are divided into Southern Nguni and Northern Nguni. The Southern Nguni consist of Zulu, Ndebele and Swazi people and the Northern Nguni comprises of Xhosa, Bomvana, Mpondo and Thembu people.[i]
Zulu Stick fight
Origins
There is a great debate about the origins of this indigenous sport within the Zulu group, some trace it to the times of Shaka Zulu and others to Amalandela, the son of Gumede, around 1670. However it is generally agreed that during Shaka’s reign this sport was used as a way of training young men for war and self-defense.[ii] This was extended to the times of Dingaan, who was Shaka’s successor. As new leaders emerged the purpose of stick fighting also changed. During the reign Cetshwayo who succeeded Dingaan, it was used as means of resolving internal disputes, however, there were protocols as it was not intended for the purposes of killing.[iii]
Stick fighting forms an integral part of Zulu cultural tradition, fulfilling as it does an important teaching purpose. As such, for Zulu males, stick fighting is pivotal in upholding a social system that constructs accepted roles and modes of behavior.[iv]
Participants
Participation is restricted to males only, there is no specific age for when one should start practicing and generally boys learn the activity while they are heading the cattle. This provides an opportunity for them to fight their way up to the position of leadership among other herders. Young boys learn this by observing and imitation. The boys also use the opportunity to sharpen their skills. At this stage they use small tree shrubs instead of real sticks. Real sticks are allowed, but when they are used; the fighters avoid hitting each other’s heads.[v] Following this stage young men graduate and participate in public ceremonies such as social gatherings (inter-district stick fighting competitions) and weddings. Fighters and their sticks are usually ritually prepared using traditional medicine prepared by a herbalist.[vi] The fights are officiated either by Induna yenzinsizwa (headmen of young men also referred to as igoso; or umphathi wezinsizwa (war captains) officials who ensure that things do not get out of hand.
Weapons
Traditionally, men own their fighting sticks, which are stored in the roofs of their houses. In most cases a man would own a variety of sticks from which a selection would be made by the owner before a fight. At the age of 16 a Zulu boy would be taken into the forest by his father where he would cut his own stick from the trees. By the time the boy reaches adulthood he may acquire further sticks, either making them himself or having sticks made by a specialist.[vii]
The activity of stick fighting activity requires the use of three different sticks, each with a different purpose. The first is used for striking (Induku), the second for defense i.e. body protection (Ubhoko), this stick long comparing to the one for striking; there is also a short stick (umsila) accompanied by a small shield (ihawu) to protect the knuckles.[viii]
Induku is described as “ a strong stick or shaft of wood without a knob. The stick is carved smooth and used specifically for stick fighting. The length of the induku depends on the physical stature of its owner, but is generally about 88 centimetres in length. The induku’s circumference increases slightly from bottom to top and the extra weight that the head carries enhances the mobility of the stick during offensive manoeuvres. A piece of cowhide can be tied around one end of the stick to secure the fighter’s grip on the weapon, and the whisk of a cow’s tail can be tied around the bottom of the stick to hide a sharp point. Although this sharp point can be used for stabbing, doing so is considered inappropriate during an honorable stick fight.”[ix]
Ubhoko is described as “ a long, smooth stick that tapers down to a sharp point. As a defensive weapon, it is skilfully manoeuvred with the wrist of the left hand and used to protect the body of a combatant from the opponent’s blows. Although its length depends on the physical stature of its owner, the ubhoko is meant to ensure protection from head to foot, so is notably longer than induku. Ubhoko is generally about 165 centimetres in length. Although the ubhoko could be used as a stabbing weapon; in a stick fight, protocol demands that it be used exclusively for the purpose of defense”[x]
Umsila is described as being “ held in the left hand together with ubhoko. Not used for fighting as such, it is used instead to uphold the small shield, or ihawu, that protects the left hand. Fighters in Nongoma maintain that umsila is also used to protect the face during a stick fight. As an aesthetic accessory, Nongoma fighters tie strings of antelope skin to the top of umsila.”[xi]
Ihawu is described as “a relatively small and oval-shaped piece of cow skin, held in the left hand. During Shaka’s regime, warriors were ranked by means of the colour of the shields they carried. There is no set size for ihawu, although it should be large enough to protect the hand and wrist and small enough not to impede on ubhoko’s mobility. As a rule, however, the shield used for stick fighting is between 55 centimetres and 63 centimetres long and 31 to 33 centimetres wide.”[xii]
The fight
Before the fight begins two fighters face each other and tap one another’s shield or sticks. This is viewed as fair sportsmanship. In other instances this rule is not followed as the stick fighters launch the fight by landing chopping blows. These blows are dangerous as they are meant to overpower the opponent, resulting in serious injuries.
Some of these injuries or permanent marks assume added importance as they are viewed as badges of honour, the most highly recognized being a scar on the head which is known as inkamb’ beyibuza (wherever you go people ask what’s that from?).
The evolution of stick fighting
In time this also meant a change from stick fighting being used as a way of training young men for war and self-defense, to a sport that at times could get out of control. This has occurred when hostilities have gone beyond the sporting grounds, placing the lives of non-participants’ under threat. This is one of the reasons why in past centuries the sport took place in an open space away from the homestead. The character of the fight also depends on the mood and occasion as some fights take place at organized tournaments. Stick fighting is also popular during weddings or at young women’s coming out ceremonies called Umemulo. Young and single participants known as Amasoka are not only hoping to win, but also to make mark for themselves by being favorites and being popular among the girls. [xiii]
Last updated : 26-Jun-2018
This article was produced for South African History Online on 05-Oct-2016"
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Excerpt #2
From www.arts.uzulu.ac.za/2008/fulltext/Z%20J%20Mashiyane.doc [cached online to a non-secure site; security warning]
STICK FIGHTING AMONG THE NDEBELES By Z J Mashiyane
Department of African Languages
University of Zululand
Faculty of Arts, University of Zululand [2008]
"Abstract
This article looks at the practice of stick fighting as was practised and engaged in by Ndebele young boys. It analyses the game by looking into the methods and rules used in the game and other cultural practices linked to this game. It further attempts to check how much value is still attached to this game by the modern Ndebele people.
Introduction:
The game of iintonga is perhaps as old as the Ndebele nation itself if not the Black nation itself. It has been found to be taking place in almost all the Black nationalities in one form or another. Consistent with the theme of this conference, the iintonga game can, in my view, in one way or another indicate to us how legitimate a claim for a land is. It is an indisputable fact that coming with the land restitution claims are a number of cunning twisted fakes with double agendas. Some of these become apparent when we find that more than one group of people present an application over the same piece of land. A machinery has to be put in place to check such irregularities. It is argued therefore, that cultural practices such as iintonga game can perhaps help us. If any individual were to claim to be a Ndebele, and was claiming a piece of land as the one that once belonged to his forefathers, it would perhaps be a good thing to test him and find out how much of the Ndebele culture he understands. The game of iintonga would be a good question.
The term “iintonga’’ as it stands is a plural form of “intonga” which means a stick. For a stick to be referred to as an intonga it has to be about a meter in length with a radius of about a centimeter and a knob not be too conspicuous on the other side. The intonga is used primarily as a sort of a walking stick. But perhaps the main reason of carrying an iintonga is that traditionally a male is not expected to undertake any form of journey empty handed. The question normally put forward is “What if a snake is encountered on the road?” A snake in this sense will refer to anything which wiould prove to be a menace, human beings included. An intonga should not be confused with idondolo. An idondolo is primarily used for balancing by the elderly when they walk. The latter is never used for fighting but is often used for correctional punishment especially by one’s elderly. It is common to hear a grandmother shouting, “Ngizakufak’ idondolo!”
The term “iintonga” in the context of this paper refers collectively to fighting sticks, where more often than not, the shield is also included without giving it any special mentioning.
This game is found to be taking place in almost all Black nationalities of our country and beyond our borders. Msimang (1985) says that this game is also popular among the Zulu people and is called “ukungcweka”. He further explains that, “Ukungcweka ngumdlalo omuhle wokufundisana induku” (Ukungcweka is a lovely game where people teach each other the stick fighting game)
Msimang (ibid) explains further that, “Anilweli udelisani kuphela nifundisana induku nemiphoso, nawo onke amangwevu okulwa.” (This really should not be taken as a fight but as a method of teaching each other the technique of stick fighting. ) (Msimang, 1985, 167)
[…]
Among the Ndebele there is an age group which is expected to engage in the iintonga game. This is a group of boys that has just graduated from herding cattle and is at the stage where they will go for initiation. The boys are going through a stage called “ukugwaba” and they themselves are called “abasegwabo” or affectionately as “abogwabani”. They are a group halfway between boyhood and manhood. They are fond of moving in a group and would always make their presence felt especially when there is an umnyanya, a traditional party. Their favourite umnyanya is known as “iqude”, which is a ceremony marking that a young girl is now a teenager. This group of boys will always chant lovely songs and entertain the guests with melodious music accompanied by the most current way of dancing.
Boys herding cattle also do engage in the iintonga game though to a lesser extent. These boys play iintonga more as a foretaste of things to come. More often than not, instead of using sticks they will use small tree shrubs. They use these on daily bases to perfect their skills in this game.
In some homes where there are girls only and no boys to herd the cattle, the job is done by girls. Such girls end up taking part in all activities engaged in by herd boys. These girls also learn the art of playing iintoga. Sometime they work this art to the pick of perfection. Many boys and sometime future husbands to these girls are often embarrassed when during times of misunderstandings an open challenge is advanced to them.
The iintoga game is never engaged in by grown up men. When men take up iintonga for each other, it is viewed in a much more serious light because that will be a fight.
The basic necessities
Just like any other game, the iintonga game follows certain procedures. For you to can play you need two very necessary items. One needs isibhuku, a knobkerrie and ikhande, a shield. A Ndebele youngster and his knobkerrie are inseparable. He always keeps it with him whatever the cost. When not under threat he will find a place around his waist and allow it to hang there. Normally a young tree is uprooted and both the bottom part and the handle are nicely carved. It is used specially for striking and never for shielding. The size of the knob depends on individual taste. It may be anything from a golf size to a coffee mug. As long as it will not be too heavy for the owner.
Knobkerries come in all shapes and sizes. The length of the handle also depends on individual taste. A long handle normally indicates that the owner is a coward who is always ready to strike standing far away and always be ready to run away. A short handle, known as “unokorwana” indicates that the owner is very brave and is not afraid of a close contact encounter. With this one you cannot stand far away from your opponent. You jump close to him using a method called “ukukhwela”.
The shield is for self protection against blows from the opponent. Shields for this group are different from those carried by Zulu warriors. This one is round-shaped with a radius of about the size of a ruler. All in all it is about the size of a 51cm television set with a long stick protruding both on the top and the bottom part.
It is made out of a cowhide with the hairy part facing the opponent. The inner part is well cushioned with soft sheep wool. The cushion is there to act as a shock absorber in case a blow lands on the shield. A player who is a regular participant in the game of iintonga this becomes evident from his shield as it will have areas without any hair. The shield is normally not carried around. It is only carried around when there is a likelihood for it to be used. It has a small string whereby its owner can carry it on his back.
The nature of the iintonga game
Several ways can be used to set up a game. The two most favourite ones are those of “imbizo” where several bouts of stick fighting will take place. The name imbizo is from the verb “biza” which means to call. So this is a call wherein the message circulate by word of mouth stipulating the day and venue of the “coming together.”
Another popular way is that one of meeting at a traditional party called iqude. Here the normal proceedings of the day carry on undisturbed until late after lunch. These youngsters normally travel in schools depending on the area they come from. It is not common for them to mix. This is because more often than not, they despise one another or are bearing grudges for each other, girls being at the centre of the whole squabble. All the abasegwabo who are guests of this ceremony will remain in their respective groups.
[...]
The actual game
The name "evadleni" is a special name used to refer to a competition of this nature. The meeting place is normally a flat plain. They identify a spot known as itjhatjhalazi, meaning a plain piece of ground. By this time they will all have their fighting material with them. A knobkerrie and shield is put at the centre of the plain. Once these have been put, it is a declaration that the games may begin. Any individual who feels like challenging an opponent would take the knobkerrie and shield and wild it in the air moving up and down showing how he would attack his opponent. The Ndebele people use the term “ukutjhagala”. This performance is an open challenge normally interpreted to mean, "let anyone worthy of his salt dare come and get me!"
Once the challenger starts performing the ukutjhagala movements, a prospective opponent from the other group will jump up with his own knobkerrie and shield. According to the rules of the game it has to be somebody more or less one’s own size and more or less your age. If the challenger is satisfied with the opponent he would move towards him which is a sign that the game is starting. There is no referee or umpire, nor is there any timekeeper. The bout would go on and on up until one of them is defeated. There is no winning in points, nor is there any technical knock out. There is only one win and it is a knock out.
[...]
A game may last any length of time. For many it lasts for less than a minute. Normally it depends on who strikes first and strike at a place which would force the opponent to retire. If the blow is a good one the opponent will immediately give up by falling on his knees or buttocks.
[...]
Part played by foul play and witchcraft
Just like in most games, no matter how much precautions are taken, foul play always surfaces here and there. The commonest of them all is to strike the opponent when he is down or has lost grip of his knobkerrie. This practice normally has devastating consequences. It may change the game into a free-for-all fight. Often this is an opportunity used by some opportunistic opponents who are bearing grudges against each other. Often for reasons totally outside this game. A grudge against someone who took one’s girlfriend is one of the most common ones.
One other common foul play is the use of umuthi. Depending on whether you believe in muthi or not but the Ndebele people believe there is considerable of muthi involved in the iintonga game.
This is usually caused by an over zealous quest to be the winner.
[...]
It is believed that the muthi used by some people on their knobkerries is so strong to such an extent that even if he may playfully throw a blow at you and miss you, you will feel dizzy and fall down. These and many other tricks are used as foul play in the iintonga game.
It is perhaps because of the above reasons that a knobkerrie is one's personal and very private property. A Ndebele youth would never lend it out to someone else. These are restrictions he gets from his inyanga.
Going together with these, his knobkerrie is never touched by females. It is believed that the muthi in it would be weakened (ukuphupha). If a female finds it lying down across her way she may for the above reason not jump over it. Young girls are taught from a young age to observe all these. They obey this up to their dying days even if they one day happen to get married they treat their husband's knobkerries with the same reverence. Girls are tested time and again on this. If a knobkerrie is lying across the door way through which a young lady wishes to pass, that door is as good as closed, she would not be able to remove it nor can she jump over it.
[...]
Conclusion:
With the advent of the new slogan “azibuye emasisweni” people tend to go back to their roots. They re-examine the type of lives which were led by their forefathers. All practices and activities which identified them as a nation must be revived. It is my belief that the iintonga game can be revived successfully with a big following. Modernisation and a few adjustments can be made. For instance I have in mind that the knobkerrie can be manufactured from a spongy material which will not be life threatening but which will be hard enough to knock someone down.
Perhaps among many lessons, the iintoga game teaches one to be disciplined especially in addressing people."...
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Excerpt #3
From http://www.africanews.com/2016/08/25/south-africa-nguni-stick-fighting//
25/08/2016
SOUTH AFRICA
"Away from South Africa’s football, cricket and rugby pitches, a different sport is pulling crowds. This is the Nguni stick fighting known as Intonga in the local Xhosa language.
Despite being previously banned in some parts of South Africa, the sport is once again catching.
This martial art has been among the pastimes of the country’s teenage Nguni tribe herders. It’s a stick battle that can last up to five hours where the opponents take turns at playing offense and defense, and scoring points based on which body part is struck.
It can be a bloody sport, some competitors have died, but devotees wave off criticism, saying it encourages cultural expression. It is even said that Nelson Mandela himself coached the sport.
Organisers hope to have a tournament in future with players from across the continent, because this sport exists in in different forms amongst many African tribes and countries."
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COMMENTS FROM SELECTED YOUTUBE VIDEO DISCUSSION THREADS
These video discussions threads are given in no particular order and are numbered for referencing purposes only. The selected comments from those particular discussion threads are also numbered for the same purposes.
Video Discussion Thread #1:
From https://www.youtube.com/watch?v=UBAHfVdKwa0
Nguni Stick Fighting (South Africa); published by NTOKS09STLMO, on Feb 20, 2014
1. Tumisang Motsoahae, 2014
" I do not understand it is not only nguni people who do stick fight basotho and batswana do stick fight this is an african way of fighting in entertainment in sesotho we call it teiping ea ho kalla."
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Video Discussion Thread #2
https://www.youtube.com/watch?v=k1_FN5jUNsg
"Knobkerrie - The Zulu Fighting Stick; published by Scholagladiatoria, on Jun 8, 2018
[All of these comments are from June 2018]
1. mzamo try
"hi
A Zulu stick fighter here,
I am afraid almost everything you said is not true,but I don't blame you because it is the South African whites who write our Zulu(African) history, they have always had access to the resources of writing history books they write it the way they want it to be.Sadly the politics and factors around publishing books still favours them. However, the two sticks you have right there are called " izagila" (plural) and "isagila" (singular), another word is "Amawisa"(plural)and "iwisa" (singular), and they are not Knobkerries.
Those sticks were not used in the warfare and they are(were) not used in the Zulu stick fight as well. They are not used in the latter because they do not allow agility,force and precision if used with the knob is against your palm and if used the other way around you can permanently paralyse your fellow opponent .Those sticks are not deadly enough to be utillised in war. In the war they used a spear"umkhonto" that was arm long to enable manifestation of bravery and deadly moves acquired during the practice for war ( in the stick fight). The Zulu warriors were taught to stab the delicate body part so that their rivalry will not have strength, energy and time to strike back.Those parts are the neck and right under the rib-cage through the abdomen to aim for the heart.
Those sticks were, and are still, carried by men of a certain age to represent their maturity in the society. The age range of these men is(was) usually above 40 years, but this age was(is) also measured with social accomplishments, i.e having a house,a wife or wives, livestock and children who are becoming young men and women etc. Those stick therefore emphasize maturity in manhood/ adulthood.
A average Zulu male is suppose to have a stick so that he can enforce his views to his peers and using it in the stick fight. The older men had a bigger obligation of using an iron fist to run the household, having political views and maintaining his respect status crafted by elements of fear they already have for him. and the more he grows the bigger and heavier the stick. In essence those sticks you have where and are used to scare those around you to main order and respect. Think about it, if a well-built, big African man carrying the bigger knob you have there was to say, in a serious face and tone, stop saying whatever that you are saying because it is not morally or socially acceptable. in that time there was no constitution protecting you and beating people is socially accepted. In addition to that this man is a well known stick fighter and he has been in five deadly wars. Would you not take his command?"
-snip-
I reformatted this comment to enhance its readability.
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2. Kevlarr The Barbarian
"The true name of the stick you have depends on the location your in. Different parts of Africa would call the same exact object different things."
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3. Meme Commando Mike
"In South Africa we would call it a knobkerrie, as it is a generic term for a stick with a knob on one end. The knob size might make a difference in academically but not colloquially.
Also to give you an idea of how many different cultures we have: we have eleven official languages, only two of which are of European origin. Those other 9 languages are the ones most spoken and exclude several other indigenous languages"
**
4. Bearded Bjorn
"The longer Knobkerrie you showed is commonly used by herdsman. The longer shaft gave you a bit more heft when dealing with lesser cats up to cheetahs and the like. But like you said, I’d much rather have a spear. Though from what I know, spears were not usually allowed in settlements, hence the longer Knobkerrie being used while herding stock into towns and such."
**
5. CrashCourseHEMA
"We have similar weapons/tools in Australia from the various Aboriginal peoples. AMAZINGLY I believe some Central Australian groups used WOODEN SWORDS and PARRYING SHIELDS. Amazing stuff. Of course our neighbours in New Zealand would also be able to weigh in here...
EDIT: I can't speak for South Africa, but AFAIK there were similar controls down here as well (limited size, carry, etc)."
**
6. Junichiro Yamashita
"saun lee coetzee i read that zulu fighting sticks had a chisel shaped end and the other end pointed,would it be a different type of weapon?"
**
REPLY
7. "saun lee coetzee
The stick you describe sounds like a digging stick, used for gathering roots and bulbs. It could be used as a weapon, but not ideally so. At weddings and other social events it is tradition that stick fights take place, these use lighter sticks without knobs or points. The walk around stick that you would carry herding or about your daily business are generally have a knob, but are not pointed. Serious fighting sticks often are pointed on the non-striking end, applies both to the striking and shield stick. Striking stick length: ground to hip ball joint; Shield stick: ground to elbow joint. These lengths are subject to wide variability depending on region, clan and personal preference. This is a good introduction: https://www.youtube.com/watch?v=i7gkbqcMmgc&t=196s"
-snip-
This is the link for WE STILL ARE WARRIORS - ( FULL DOCUMENTARY ) by siyabonga makhathini, Published on May 4, 2014
Selected comments from that video's discussion thread are given as Video Discussion Thread #3.
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Video Discussion Thread #3
https://www.youtube.com/watch?v=i7gkbqcMmgc&t=196s
WE STILL ARE WARRIORS - ( FULL DOCUMENTARY ) by siyabonga makhathini, Published on May 4, 2014 [Note that the length of this video is 1:15:41 minutes]
1. Zwelikhona Madlala, 2015
"Yho! I once saw this doccie on SABC1 and i had goosebumps all over. Incredible piece of art. Was very disappointed ngesikhathi ibuya ilambatha kuma SAFTA, wanted my main man uBanda to win. MARVELOUS!!!"
**
REPLY
2. siyabonga makhathini, 2015
"It actually did win SAFTA for best documentary 2007, watch clip at end of documentary.Thanks for encouraging words"
-snip-
SABC1 is a South African television channel
"SAGTA" = South African Film and Television Awards
**
REPLY
3. Mhlengi Ntswane, 2018
"siyabonga makhathini What i love about this documentary is that it shows that KwaZulu Accepts everyone who's born there...like me for example my father is Mpondo and my Mother is Zulu and i was born in KwaZulu but the level of love i recieved while i was growing up was beyond beautiful...how can you not love this place?💎😍"
**
4. semounaful, 2016
"Mandela tells a little about this stick fight in his autobiography"long walk to freedom". As a young boy they used to play this game"
**
5.
Hugh Davison, 2017
"Great doccie! - this would make an awesome series on discovery channel or some such"
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This post quotes excerpts of three articles and selected comments from three YouTube discussion threads about stick fighting in South Africa.
This is only a small sample of the online articles and comments about this subject.
Click the "African stick fighting" tag below for other posts in this series.
The content of this post is presented for historical, cultural, and educational purposes.
As a reminder, pancocojams is a non-commercial cultural blog that I curate on a volunteer basis. I publish excerpts of articles and book excerpts, many of which are obscure and difficult to find, with the hope that this blog's visitors will read the entire articles or books that are quoted.
All copyrights remain with their owners.
Thanks to all those who are quoted in this post.
****
ARTICLE EXCERPTS
These articles are given in no particular order and are numbered for referencing purposes only.
Excerpt #1:
From https://www.sahistory.org.za/article/nguni-stick-fighting
"Introduction
This article looks at the history of an indigenous Nguni sport known as Stick Fighting, which was popular in the Nguni ethnic group (Zulu). It further looks at how the sport has evolved over time. The word or term Nguni is the collective name for ethnic groups of Bantu people residing in the Southern Africa. These groups are divided into Southern Nguni and Northern Nguni. The Southern Nguni consist of Zulu, Ndebele and Swazi people and the Northern Nguni comprises of Xhosa, Bomvana, Mpondo and Thembu people.[i]
Zulu Stick fight
Origins
There is a great debate about the origins of this indigenous sport within the Zulu group, some trace it to the times of Shaka Zulu and others to Amalandela, the son of Gumede, around 1670. However it is generally agreed that during Shaka’s reign this sport was used as a way of training young men for war and self-defense.[ii] This was extended to the times of Dingaan, who was Shaka’s successor. As new leaders emerged the purpose of stick fighting also changed. During the reign Cetshwayo who succeeded Dingaan, it was used as means of resolving internal disputes, however, there were protocols as it was not intended for the purposes of killing.[iii]
Stick fighting forms an integral part of Zulu cultural tradition, fulfilling as it does an important teaching purpose. As such, for Zulu males, stick fighting is pivotal in upholding a social system that constructs accepted roles and modes of behavior.[iv]
Participants
Participation is restricted to males only, there is no specific age for when one should start practicing and generally boys learn the activity while they are heading the cattle. This provides an opportunity for them to fight their way up to the position of leadership among other herders. Young boys learn this by observing and imitation. The boys also use the opportunity to sharpen their skills. At this stage they use small tree shrubs instead of real sticks. Real sticks are allowed, but when they are used; the fighters avoid hitting each other’s heads.[v] Following this stage young men graduate and participate in public ceremonies such as social gatherings (inter-district stick fighting competitions) and weddings. Fighters and their sticks are usually ritually prepared using traditional medicine prepared by a herbalist.[vi] The fights are officiated either by Induna yenzinsizwa (headmen of young men also referred to as igoso; or umphathi wezinsizwa (war captains) officials who ensure that things do not get out of hand.
Weapons
Traditionally, men own their fighting sticks, which are stored in the roofs of their houses. In most cases a man would own a variety of sticks from which a selection would be made by the owner before a fight. At the age of 16 a Zulu boy would be taken into the forest by his father where he would cut his own stick from the trees. By the time the boy reaches adulthood he may acquire further sticks, either making them himself or having sticks made by a specialist.[vii]
The activity of stick fighting activity requires the use of three different sticks, each with a different purpose. The first is used for striking (Induku), the second for defense i.e. body protection (Ubhoko), this stick long comparing to the one for striking; there is also a short stick (umsila) accompanied by a small shield (ihawu) to protect the knuckles.[viii]
Induku is described as “ a strong stick or shaft of wood without a knob. The stick is carved smooth and used specifically for stick fighting. The length of the induku depends on the physical stature of its owner, but is generally about 88 centimetres in length. The induku’s circumference increases slightly from bottom to top and the extra weight that the head carries enhances the mobility of the stick during offensive manoeuvres. A piece of cowhide can be tied around one end of the stick to secure the fighter’s grip on the weapon, and the whisk of a cow’s tail can be tied around the bottom of the stick to hide a sharp point. Although this sharp point can be used for stabbing, doing so is considered inappropriate during an honorable stick fight.”[ix]
Ubhoko is described as “ a long, smooth stick that tapers down to a sharp point. As a defensive weapon, it is skilfully manoeuvred with the wrist of the left hand and used to protect the body of a combatant from the opponent’s blows. Although its length depends on the physical stature of its owner, the ubhoko is meant to ensure protection from head to foot, so is notably longer than induku. Ubhoko is generally about 165 centimetres in length. Although the ubhoko could be used as a stabbing weapon; in a stick fight, protocol demands that it be used exclusively for the purpose of defense”[x]
Umsila is described as being “ held in the left hand together with ubhoko. Not used for fighting as such, it is used instead to uphold the small shield, or ihawu, that protects the left hand. Fighters in Nongoma maintain that umsila is also used to protect the face during a stick fight. As an aesthetic accessory, Nongoma fighters tie strings of antelope skin to the top of umsila.”[xi]
Ihawu is described as “a relatively small and oval-shaped piece of cow skin, held in the left hand. During Shaka’s regime, warriors were ranked by means of the colour of the shields they carried. There is no set size for ihawu, although it should be large enough to protect the hand and wrist and small enough not to impede on ubhoko’s mobility. As a rule, however, the shield used for stick fighting is between 55 centimetres and 63 centimetres long and 31 to 33 centimetres wide.”[xii]
The fight
Before the fight begins two fighters face each other and tap one another’s shield or sticks. This is viewed as fair sportsmanship. In other instances this rule is not followed as the stick fighters launch the fight by landing chopping blows. These blows are dangerous as they are meant to overpower the opponent, resulting in serious injuries.
Some of these injuries or permanent marks assume added importance as they are viewed as badges of honour, the most highly recognized being a scar on the head which is known as inkamb’ beyibuza (wherever you go people ask what’s that from?).
The evolution of stick fighting
In time this also meant a change from stick fighting being used as a way of training young men for war and self-defense, to a sport that at times could get out of control. This has occurred when hostilities have gone beyond the sporting grounds, placing the lives of non-participants’ under threat. This is one of the reasons why in past centuries the sport took place in an open space away from the homestead. The character of the fight also depends on the mood and occasion as some fights take place at organized tournaments. Stick fighting is also popular during weddings or at young women’s coming out ceremonies called Umemulo. Young and single participants known as Amasoka are not only hoping to win, but also to make mark for themselves by being favorites and being popular among the girls. [xiii]
Last updated : 26-Jun-2018
This article was produced for South African History Online on 05-Oct-2016"
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Excerpt #2
From www.arts.uzulu.ac.za/2008/fulltext/Z%20J%20Mashiyane.doc [cached online to a non-secure site; security warning]
STICK FIGHTING AMONG THE NDEBELES By Z J Mashiyane
Department of African Languages
University of Zululand
Faculty of Arts, University of Zululand [2008]
"Abstract
This article looks at the practice of stick fighting as was practised and engaged in by Ndebele young boys. It analyses the game by looking into the methods and rules used in the game and other cultural practices linked to this game. It further attempts to check how much value is still attached to this game by the modern Ndebele people.
Introduction:
The game of iintonga is perhaps as old as the Ndebele nation itself if not the Black nation itself. It has been found to be taking place in almost all the Black nationalities in one form or another. Consistent with the theme of this conference, the iintonga game can, in my view, in one way or another indicate to us how legitimate a claim for a land is. It is an indisputable fact that coming with the land restitution claims are a number of cunning twisted fakes with double agendas. Some of these become apparent when we find that more than one group of people present an application over the same piece of land. A machinery has to be put in place to check such irregularities. It is argued therefore, that cultural practices such as iintonga game can perhaps help us. If any individual were to claim to be a Ndebele, and was claiming a piece of land as the one that once belonged to his forefathers, it would perhaps be a good thing to test him and find out how much of the Ndebele culture he understands. The game of iintonga would be a good question.
The term “iintonga’’ as it stands is a plural form of “intonga” which means a stick. For a stick to be referred to as an intonga it has to be about a meter in length with a radius of about a centimeter and a knob not be too conspicuous on the other side. The intonga is used primarily as a sort of a walking stick. But perhaps the main reason of carrying an iintonga is that traditionally a male is not expected to undertake any form of journey empty handed. The question normally put forward is “What if a snake is encountered on the road?” A snake in this sense will refer to anything which wiould prove to be a menace, human beings included. An intonga should not be confused with idondolo. An idondolo is primarily used for balancing by the elderly when they walk. The latter is never used for fighting but is often used for correctional punishment especially by one’s elderly. It is common to hear a grandmother shouting, “Ngizakufak’ idondolo!”
The term “iintonga” in the context of this paper refers collectively to fighting sticks, where more often than not, the shield is also included without giving it any special mentioning.
This game is found to be taking place in almost all Black nationalities of our country and beyond our borders. Msimang (1985) says that this game is also popular among the Zulu people and is called “ukungcweka”. He further explains that, “Ukungcweka ngumdlalo omuhle wokufundisana induku” (Ukungcweka is a lovely game where people teach each other the stick fighting game)
Msimang (ibid) explains further that, “Anilweli udelisani kuphela nifundisana induku nemiphoso, nawo onke amangwevu okulwa.” (This really should not be taken as a fight but as a method of teaching each other the technique of stick fighting. ) (Msimang, 1985, 167)
[…]
Among the Ndebele there is an age group which is expected to engage in the iintonga game. This is a group of boys that has just graduated from herding cattle and is at the stage where they will go for initiation. The boys are going through a stage called “ukugwaba” and they themselves are called “abasegwabo” or affectionately as “abogwabani”. They are a group halfway between boyhood and manhood. They are fond of moving in a group and would always make their presence felt especially when there is an umnyanya, a traditional party. Their favourite umnyanya is known as “iqude”, which is a ceremony marking that a young girl is now a teenager. This group of boys will always chant lovely songs and entertain the guests with melodious music accompanied by the most current way of dancing.
Boys herding cattle also do engage in the iintonga game though to a lesser extent. These boys play iintonga more as a foretaste of things to come. More often than not, instead of using sticks they will use small tree shrubs. They use these on daily bases to perfect their skills in this game.
In some homes where there are girls only and no boys to herd the cattle, the job is done by girls. Such girls end up taking part in all activities engaged in by herd boys. These girls also learn the art of playing iintoga. Sometime they work this art to the pick of perfection. Many boys and sometime future husbands to these girls are often embarrassed when during times of misunderstandings an open challenge is advanced to them.
The iintoga game is never engaged in by grown up men. When men take up iintonga for each other, it is viewed in a much more serious light because that will be a fight.
The basic necessities
Just like any other game, the iintonga game follows certain procedures. For you to can play you need two very necessary items. One needs isibhuku, a knobkerrie and ikhande, a shield. A Ndebele youngster and his knobkerrie are inseparable. He always keeps it with him whatever the cost. When not under threat he will find a place around his waist and allow it to hang there. Normally a young tree is uprooted and both the bottom part and the handle are nicely carved. It is used specially for striking and never for shielding. The size of the knob depends on individual taste. It may be anything from a golf size to a coffee mug. As long as it will not be too heavy for the owner.
Knobkerries come in all shapes and sizes. The length of the handle also depends on individual taste. A long handle normally indicates that the owner is a coward who is always ready to strike standing far away and always be ready to run away. A short handle, known as “unokorwana” indicates that the owner is very brave and is not afraid of a close contact encounter. With this one you cannot stand far away from your opponent. You jump close to him using a method called “ukukhwela”.
The shield is for self protection against blows from the opponent. Shields for this group are different from those carried by Zulu warriors. This one is round-shaped with a radius of about the size of a ruler. All in all it is about the size of a 51cm television set with a long stick protruding both on the top and the bottom part.
It is made out of a cowhide with the hairy part facing the opponent. The inner part is well cushioned with soft sheep wool. The cushion is there to act as a shock absorber in case a blow lands on the shield. A player who is a regular participant in the game of iintonga this becomes evident from his shield as it will have areas without any hair. The shield is normally not carried around. It is only carried around when there is a likelihood for it to be used. It has a small string whereby its owner can carry it on his back.
The nature of the iintonga game
Several ways can be used to set up a game. The two most favourite ones are those of “imbizo” where several bouts of stick fighting will take place. The name imbizo is from the verb “biza” which means to call. So this is a call wherein the message circulate by word of mouth stipulating the day and venue of the “coming together.”
Another popular way is that one of meeting at a traditional party called iqude. Here the normal proceedings of the day carry on undisturbed until late after lunch. These youngsters normally travel in schools depending on the area they come from. It is not common for them to mix. This is because more often than not, they despise one another or are bearing grudges for each other, girls being at the centre of the whole squabble. All the abasegwabo who are guests of this ceremony will remain in their respective groups.
[...]
The actual game
The name "evadleni" is a special name used to refer to a competition of this nature. The meeting place is normally a flat plain. They identify a spot known as itjhatjhalazi, meaning a plain piece of ground. By this time they will all have their fighting material with them. A knobkerrie and shield is put at the centre of the plain. Once these have been put, it is a declaration that the games may begin. Any individual who feels like challenging an opponent would take the knobkerrie and shield and wild it in the air moving up and down showing how he would attack his opponent. The Ndebele people use the term “ukutjhagala”. This performance is an open challenge normally interpreted to mean, "let anyone worthy of his salt dare come and get me!"
Once the challenger starts performing the ukutjhagala movements, a prospective opponent from the other group will jump up with his own knobkerrie and shield. According to the rules of the game it has to be somebody more or less one’s own size and more or less your age. If the challenger is satisfied with the opponent he would move towards him which is a sign that the game is starting. There is no referee or umpire, nor is there any timekeeper. The bout would go on and on up until one of them is defeated. There is no winning in points, nor is there any technical knock out. There is only one win and it is a knock out.
[...]
A game may last any length of time. For many it lasts for less than a minute. Normally it depends on who strikes first and strike at a place which would force the opponent to retire. If the blow is a good one the opponent will immediately give up by falling on his knees or buttocks.
[...]
Part played by foul play and witchcraft
Just like in most games, no matter how much precautions are taken, foul play always surfaces here and there. The commonest of them all is to strike the opponent when he is down or has lost grip of his knobkerrie. This practice normally has devastating consequences. It may change the game into a free-for-all fight. Often this is an opportunity used by some opportunistic opponents who are bearing grudges against each other. Often for reasons totally outside this game. A grudge against someone who took one’s girlfriend is one of the most common ones.
One other common foul play is the use of umuthi. Depending on whether you believe in muthi or not but the Ndebele people believe there is considerable of muthi involved in the iintonga game.
This is usually caused by an over zealous quest to be the winner.
[...]
It is believed that the muthi used by some people on their knobkerries is so strong to such an extent that even if he may playfully throw a blow at you and miss you, you will feel dizzy and fall down. These and many other tricks are used as foul play in the iintonga game.
It is perhaps because of the above reasons that a knobkerrie is one's personal and very private property. A Ndebele youth would never lend it out to someone else. These are restrictions he gets from his inyanga.
Going together with these, his knobkerrie is never touched by females. It is believed that the muthi in it would be weakened (ukuphupha). If a female finds it lying down across her way she may for the above reason not jump over it. Young girls are taught from a young age to observe all these. They obey this up to their dying days even if they one day happen to get married they treat their husband's knobkerries with the same reverence. Girls are tested time and again on this. If a knobkerrie is lying across the door way through which a young lady wishes to pass, that door is as good as closed, she would not be able to remove it nor can she jump over it.
[...]
Conclusion:
With the advent of the new slogan “azibuye emasisweni” people tend to go back to their roots. They re-examine the type of lives which were led by their forefathers. All practices and activities which identified them as a nation must be revived. It is my belief that the iintonga game can be revived successfully with a big following. Modernisation and a few adjustments can be made. For instance I have in mind that the knobkerrie can be manufactured from a spongy material which will not be life threatening but which will be hard enough to knock someone down.
Perhaps among many lessons, the iintoga game teaches one to be disciplined especially in addressing people."...
****
Excerpt #3
From http://www.africanews.com/2016/08/25/south-africa-nguni-stick-fighting//
25/08/2016
SOUTH AFRICA
"Away from South Africa’s football, cricket and rugby pitches, a different sport is pulling crowds. This is the Nguni stick fighting known as Intonga in the local Xhosa language.
Despite being previously banned in some parts of South Africa, the sport is once again catching.
This martial art has been among the pastimes of the country’s teenage Nguni tribe herders. It’s a stick battle that can last up to five hours where the opponents take turns at playing offense and defense, and scoring points based on which body part is struck.
It can be a bloody sport, some competitors have died, but devotees wave off criticism, saying it encourages cultural expression. It is even said that Nelson Mandela himself coached the sport.
Organisers hope to have a tournament in future with players from across the continent, because this sport exists in in different forms amongst many African tribes and countries."
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COMMENTS FROM SELECTED YOUTUBE VIDEO DISCUSSION THREADS
These video discussions threads are given in no particular order and are numbered for referencing purposes only. The selected comments from those particular discussion threads are also numbered for the same purposes.
Video Discussion Thread #1:
From https://www.youtube.com/watch?v=UBAHfVdKwa0
Nguni Stick Fighting (South Africa); published by NTOKS09STLMO, on Feb 20, 2014
1. Tumisang Motsoahae, 2014
" I do not understand it is not only nguni people who do stick fight basotho and batswana do stick fight this is an african way of fighting in entertainment in sesotho we call it teiping ea ho kalla."
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Video Discussion Thread #2
https://www.youtube.com/watch?v=k1_FN5jUNsg
"Knobkerrie - The Zulu Fighting Stick; published by Scholagladiatoria, on Jun 8, 2018
[All of these comments are from June 2018]
1. mzamo try
"hi
A Zulu stick fighter here,
I am afraid almost everything you said is not true,but I don't blame you because it is the South African whites who write our Zulu(African) history, they have always had access to the resources of writing history books they write it the way they want it to be.Sadly the politics and factors around publishing books still favours them. However, the two sticks you have right there are called " izagila" (plural) and "isagila" (singular), another word is "Amawisa"(plural)and "iwisa" (singular), and they are not Knobkerries.
Those sticks were not used in the warfare and they are(were) not used in the Zulu stick fight as well. They are not used in the latter because they do not allow agility,force and precision if used with the knob is against your palm and if used the other way around you can permanently paralyse your fellow opponent .Those sticks are not deadly enough to be utillised in war. In the war they used a spear"umkhonto" that was arm long to enable manifestation of bravery and deadly moves acquired during the practice for war ( in the stick fight). The Zulu warriors were taught to stab the delicate body part so that their rivalry will not have strength, energy and time to strike back.Those parts are the neck and right under the rib-cage through the abdomen to aim for the heart.
Those sticks were, and are still, carried by men of a certain age to represent their maturity in the society. The age range of these men is(was) usually above 40 years, but this age was(is) also measured with social accomplishments, i.e having a house,a wife or wives, livestock and children who are becoming young men and women etc. Those stick therefore emphasize maturity in manhood/ adulthood.
A average Zulu male is suppose to have a stick so that he can enforce his views to his peers and using it in the stick fight. The older men had a bigger obligation of using an iron fist to run the household, having political views and maintaining his respect status crafted by elements of fear they already have for him. and the more he grows the bigger and heavier the stick. In essence those sticks you have where and are used to scare those around you to main order and respect. Think about it, if a well-built, big African man carrying the bigger knob you have there was to say, in a serious face and tone, stop saying whatever that you are saying because it is not morally or socially acceptable. in that time there was no constitution protecting you and beating people is socially accepted. In addition to that this man is a well known stick fighter and he has been in five deadly wars. Would you not take his command?"
-snip-
I reformatted this comment to enhance its readability.
**
2. Kevlarr The Barbarian
"The true name of the stick you have depends on the location your in. Different parts of Africa would call the same exact object different things."
**
3. Meme Commando Mike
"In South Africa we would call it a knobkerrie, as it is a generic term for a stick with a knob on one end. The knob size might make a difference in academically but not colloquially.
Also to give you an idea of how many different cultures we have: we have eleven official languages, only two of which are of European origin. Those other 9 languages are the ones most spoken and exclude several other indigenous languages"
**
4. Bearded Bjorn
"The longer Knobkerrie you showed is commonly used by herdsman. The longer shaft gave you a bit more heft when dealing with lesser cats up to cheetahs and the like. But like you said, I’d much rather have a spear. Though from what I know, spears were not usually allowed in settlements, hence the longer Knobkerrie being used while herding stock into towns and such."
**
5. CrashCourseHEMA
"We have similar weapons/tools in Australia from the various Aboriginal peoples. AMAZINGLY I believe some Central Australian groups used WOODEN SWORDS and PARRYING SHIELDS. Amazing stuff. Of course our neighbours in New Zealand would also be able to weigh in here...
EDIT: I can't speak for South Africa, but AFAIK there were similar controls down here as well (limited size, carry, etc)."
**
6. Junichiro Yamashita
"saun lee coetzee i read that zulu fighting sticks had a chisel shaped end and the other end pointed,would it be a different type of weapon?"
**
REPLY
7. "saun lee coetzee
The stick you describe sounds like a digging stick, used for gathering roots and bulbs. It could be used as a weapon, but not ideally so. At weddings and other social events it is tradition that stick fights take place, these use lighter sticks without knobs or points. The walk around stick that you would carry herding or about your daily business are generally have a knob, but are not pointed. Serious fighting sticks often are pointed on the non-striking end, applies both to the striking and shield stick. Striking stick length: ground to hip ball joint; Shield stick: ground to elbow joint. These lengths are subject to wide variability depending on region, clan and personal preference. This is a good introduction: https://www.youtube.com/watch?v=i7gkbqcMmgc&t=196s"
-snip-
This is the link for WE STILL ARE WARRIORS - ( FULL DOCUMENTARY ) by siyabonga makhathini, Published on May 4, 2014
Selected comments from that video's discussion thread are given as Video Discussion Thread #3.
****
Video Discussion Thread #3
https://www.youtube.com/watch?v=i7gkbqcMmgc&t=196s
WE STILL ARE WARRIORS - ( FULL DOCUMENTARY ) by siyabonga makhathini, Published on May 4, 2014 [Note that the length of this video is 1:15:41 minutes]
1. Zwelikhona Madlala, 2015
"Yho! I once saw this doccie on SABC1 and i had goosebumps all over. Incredible piece of art. Was very disappointed ngesikhathi ibuya ilambatha kuma SAFTA, wanted my main man uBanda to win. MARVELOUS!!!"
**
REPLY
2. siyabonga makhathini, 2015
"It actually did win SAFTA for best documentary 2007, watch clip at end of documentary.Thanks for encouraging words"
-snip-
SABC1 is a South African television channel
"SAGTA" = South African Film and Television Awards
**
REPLY
3. Mhlengi Ntswane, 2018
"siyabonga makhathini What i love about this documentary is that it shows that KwaZulu Accepts everyone who's born there...like me for example my father is Mpondo and my Mother is Zulu and i was born in KwaZulu but the level of love i recieved while i was growing up was beyond beautiful...how can you not love this place?💎😍"
**
4. semounaful, 2016
"Mandela tells a little about this stick fight in his autobiography"long walk to freedom". As a young boy they used to play this game"
**
5.
Hugh Davison, 2017
"Great doccie! - this would make an awesome series on discovery channel or some such"
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Saturday, August 25, 2018
Online Excerpt Of "Zulu Stick Fighting: A Socio-Historical Overview" by Marié-Heleen Coetzee (with one YouTube video of Zulu Stick Fighting)
Edited by Azizi Powell
This is the first post in an ongoing pancocojams series about African stick fighting.
This post quotes excerpts of the 2002 paper "Zulu Stick Fighting: A Socio-Historical Overview" by Marié-Heleen Coetzee (2002)
This post also showcases a YouTube video of Zulu stick fighting.
Click the "African stick fighting" tag below for other posts in this series.
The content of this post is presented for historical, cultural, and educational purposes.
As a reminder, pancocojams is a non-commercial cultural blog that I curate on a volunteer basis. I publish excerpts of articles and book excerpts, many of which are obscure and difficult to find, with the hope that this blog's visitors will read the entire articles or books that are quoted.
All copyrights remain with their owners.
Thanks to Marié-Heleen Coetzee for writing this paper and sharing it online. Thanks also to siyabonga makhathini for sharing information about videos of Zulu stick fighting.
****
ONLINE PAPER EXCERPT:
Coetzee, Marié-Heleen. (2002) "Zulu Stick Fighting: A Socio-Historical Overview"
From https://ejmas.com/jalt/jaltart_Coetzee_0902.htm
"1. Cultural Background
1a. Introduction
The Zulus are one of the Nguni people of South Africa. Linguistically and culturally, the Xhosa, Pondo, and Thembu are Southern Nguni, while the Zulu, Swazi, and Ndebele are Northern Nguni.
During the 1810s, a Zulu leader named Shaka kaSenzangakona established an empire in northeastern South Africa whose military relied on phalanxes rather than skirmish lines. His armies were highly successful, and within a few decades, his style of warfare spread as far north as Lake Tanganyika.
Although Shaka was assassinated in 1828, his kingdom survived until 1879, when it was destroyed by the British, who feared a Zulu attack on the white settlements then expanding outward from Durban. The Zulu culture, however, survived into the present, and today there are about 8.8 million Zulus, most of whom still live in KwaZulu-Natal. (The name Natal is owed to the Portuguese explorer, Vasco da Gama, who reached its coast on Christmas Day, 1497.)
1b. Origins of Zulu Stick Fighting
The genealogy of the presumed originators of Zulu stick fighting is traced to Amalandela, son of Gumede, who inhabited the Umhlatuze valley about 1670 (Werner, 1995:28). The exact location of Amalandela’s former habitat remains an enigma.
According to Bryant (1949:3), Amalandela was a member of the Ntunga Nguni clan. According to Dalrymple (1983:74), he fathered two sons, respectively named Qwabe and Zulu, and the latter gave his name to the Zulu people.
The recent history of stick fighting is traced to the legacy of the Zulu king Shaka. Shaka lived from 1787 to 1828, and during his reign, he established the Zulu Empire and became Southern Africa’s most legendary warrior-king.
Until recently, historians credited Shaka with the development of Zulu warfare, with its emphasis on stabbing spears and phalanxes, but recent research suggests that the weapons, strategies, and tactics accredited to him were established before his rise to power. The great warriors preceding Shaka, like so many historical figures and events, are hidden from documented history, and forgotten even in the oral traditions.
Nonetheless, it is generally agreed that during Shaka’s reign, stick fighting was used as a means of training young men for both self-defence and war. Shaka himself, in Ritter’s version of the story, was already a highly proficient stick fighter at the age of 11 (1957:14).
2. Social Uses of Zulu Stick Fighting
2a. Introduction
Zulu stick fighting provides an opportunity for men to build courage and skill, to distinguish themselves as proficient warriors, and to earn respect in the community (Ntuli, Interview, 1996). Leitch (Interview, 1996) is of the opinion that the techniques and manoeuvres applied in stick fighting are identical to those implemented during traditional Zulu warfare, the only difference being the weapons used. Nonetheless, stick fighting is a game, and the dynamics of stick fighting are generally playful. The exceptions are when sticks are used for self-defense or in a faction fight, or when amashinga (professional stick fighters) compete.
[...]
2c. Twentieth Century
In Shaka’s time, stick fighting was used as training for warfare. However, during subsequent years, Zulus began using stick fighting to represent conflict resolution on a symbolic rather than military level. This form of symbolism still appears in the inter-district umgangela, or stick fighting competitions, held in rural areas such as Nongoma. Still later, stick fighting came to function as an expression of Zulu ethnicity, and to show political affiliation with the Zulu-dominated Inkatha Freedom Party (Mnqayi, Personal Communication, 1998).
Leitch (Interview, 1996) argues that this decontextualisation and exploitation of stick fighting for political gain has negatively affected perceptions of the art. For example, crowds misuse elements of stick fighting during marches in cities, or use their fighting sticks to express ethnicity. This association of stick fighting with violence and riots negates its profundity and beneficial social implications, and accordingly, many Zulu people distance themselves from the art (Mnqayi, Personal Communication, 1998).
Leitch (Interview, 1996) also believes that instances where crowds run out of control parody the traditional function of stick fighting in society. Control, respect, and accountability lack in such marches, whereas they are of the utmost importance in a stick fight. Qoma (as cited by Krog, 1994:42) states that the use of sticks became politicised to the extent that any African person carrying a stick is classified a "violent Zulu". As such, a practice that once played an instrumental role in building the pride of a nation has come to be regarded with contempt by some (Ntuli, Interview, 1996).
In the Tugela Basin and the South Coast (different areas than where I did my research), stick fighting has all but disappeared. Stick fighting is practised less frequently than in the past in KwaDlangezwa and Ongoye, too, apparently due to its association with recent violence (Mnqayi, Personal Communication, 1998). Leitch (Interview, 1996) believes that traditional stick fighting is nowadays only found in areas where there is little political friction.
Nonetheless, traditional stick fighting still takes place in some of rural areas of KwaZulu-Natal, where it continues to act as a process of socialisation, and to transmit the social norms of the community in which it operates. Therefore, while the practice of stick fighting is constantly modified by changes in the social system, it can still serve as a vehicle for mastering the body and mind, and be instrumental in nurturing the practitioner’s dignity and pride as a man (Ndaba, Interview, 1996).
2d. Stick Fighting as Martial Art
In the immigrant communities of Johannesburg, migrant Zulu workers sometimes teach stick fighting as a martial art. Meanings derived from these interactions are primarily related to sportsmanship (Qoma in Krog, 1994:42), and lack the integral social affiliations of traditional stick fighting. Stick fight demonstrations offered to tourists, such as at Shakaland (Home-video recording, 1996), are performances.
2e. Summary
Long past its days of glory, stick fighting is no longer a common practice among the Zulu people, and practitioners struggle to validate its existence in these days of political turmoil, acculturation, and modernisation. Nonetheless, stick fighting appears to assist in upholding the traditional social system by perpetuating socially accepted modes of male behaviour and ideals. Stick fighting, as a cultural tradition, therefore continues to fulfil its traditional didactic function in some Zulu communities.
3. Zulu Fighting Sticks (Izinduku)
3a. Introduction
Zulu men traditionally owned fighting sticks (izinduku). The sticks were stored in the roof of a house, and were carried for self-defence or used when the owner was challenged to a stick fight (Ntuli, Interview, 1996).
Adult males often owned several fighting sticks, and from these, they selected a pair to fight with (Ndlangavu as cited by Krog, 1994:42).
3b. Appearance and Construction
At the age of about 16, a Zulu boy’s father took him into the forest to choose and cut his own fighting sticks from trees. (Fighting Sticks, Episode 2, [S.a.]). As an adult, a man might make his own izinduku or employ a specialist to do so. Apartheid laws prohibiting South African people of colour from owning guns or displaying traditional weapons in public led to the use of instruments such as umbrellas and ordinary walking sticks as substitutes for traditional izinduku (Fighting Sticks, Episode 1, [S.a.]). Nonetheless, the practice of carrying sticks still prevails in some rural areas of KwaZulu-Natal, such as KwaDlangezwa.
Izinduku may differ in appearance according to their region of manufacture (Mzobe, Interview, 1996). However, regardless of appearance, izinduku must be stout enough to withstand the impact of blows from an opponent’s weapons.
Although the choice of wood for fighting sticks is often specific to the practitioner’s family lineage, (Fighting Sticks, Episode 2, [S.a.]), various local trees are suitably strong for use as fighting sticks. Thus, izinduku are made from trees such as the umqambathi, umazwenda, ibelendlovu, umphahla (Ntuli, Interview, 1996), umthathe, and umunquma (Ndlangavu as cited by Krog, 1994:24). [EN1]
Decorations on izinduku are for aesthetic purposes or to identify members of the different sides in a regional stick fight (Zulu, Interview, 1996). Decorations on the fighting sticks of informants observed at Nongoma include painted patterns, beadwork, and pieces of cloth.
3c. Offensive Fighting Stick (Induku)
For faction fighting and war, there are a number of sticks available. Examples include the short stabbing spear or iklwa, the swallow-tail axe or isisila senkonjane, the isizenze axe used by commoners, and the long spear named isijula (Derwent et al., 1998:86). The knobkerrie, or iwisa and isagila, is also available. Stick fighters, however, make use of two specific sticks in single combat.
The first stick is the offensive fighting stick, or induku. [EN2] This is a strong stick or shaft of wood without a knob carved smooth and used specifically for stick fighting.
The length of the induku depends on the physical stature of its owner, but is generally about 88 centimetres in length. The induku’s circumference increases slightly from bottom to top, and the extra weight that the head carries enhances the mobility of the stick during offensive manoeuvres.
The induku is held in the right hand, and used to strike at the opponent’s body and head. [EN3] A piece of cowhide can be tied around one end of the stick to secure the fighter’s grip on the weapon, and the whisk of a cow’s tail can be tied around the bottom of the stick to hide a sharp point. Although this sharp point can be used for stabbing, doing so is not considered appropriate during an honourable stick fight.
3d. Blocking Stick (Ubhoko)
Ubhoko or blocking stick, is a long, smooth stick that tapers down to a sharp point. As a defensive weapon, it is skilfully manoeuvred with the wrist of the left hand, and used to protect the body of a combatant from the opponent’s blows. Although its length depends on the physical stature of its owner, the ubhoko is meant to ensure protection from head to foot, and so is notably longer than is generally about 165 centimetres in length. Like induku,ubhoko’s circumference increases from the grip upwards.
Although the ubhoko could be used as a stabbing weapon, in a stick fight, protocol demands that it be used exclusively for the purpose of defence. The action of defence with ubhoko can be referred to as ukuvika or ukuzihlaba (Mzimela, 1990:12).
3e. Umsila (Short Stick) and Ihawu (Shield)
Another short stick, umsila, is held in the left hand together with ubhoko. Not used for fighting as such, it is used instead to uphold the small shield, or ihawu, that protects the left hand. (The umsila runs vertically down the middle of the shield through four triangular nooses, and tapers to a point.) Fighters in Nongoma maintain that umsila is also used to protect the face during a stick fight. As an aesthetic accessory, Nongoma fighters tie strings of antelope skin to the top of umsila.
Ihawu is a relatively small and oval shaped piece of cow skin, held in the left hand. During Shaka’s regime, warriors were ranked by means of the colour of the shields they carried (Fighting Sticks, Episode 1 [S.a.]), but this convention is seemingly not evident in the choice of shields used for stick fighting.
There is no set size for ihawu, although it should be large enough to protect the hand and wrist, and small enough not to impede on ubhoko’s mobility. As a rule, however, the shield used for stick fighting is between 55 centimetres and 63 centimetres long, and 31 to 33 centimetres wide. A handle big enough to hold two or three fingers (the index, middle, and ring fingers) is located at the back of the shield, left of the umsila. Fighters first clutch the handle with two or three fingers before placing ubhoko in the left hand.
A soft cushion is placed on the inside of the shield to ensure that the hand remains protected from an opponent’s blows. Traditionally, this cushion was made from sheepskin, and called igusha. In contemporary times, sponge or other soft material, named isibhusha, has been utilised as a protective measure inside the ihawu (Zulu, Interview, 1996).
[...]
5d. Female Sparring
No matter how important the role of sparring with sticks in the social construction of masculinity, it is an undesirable skill for females. Should a woman "jump over the sticks", especially during her menstrual cycle, misfortune is supposed to fall upon the owner of the sticks (Ntuli, Interview, 1996). Ironically, menstrual blood can be a potent medicine for strengthening the sticks when applied in conjunction with a number of other substances (Zulu, Interview, 1996). Nonetheless, Leitch (Fighting Sticks, Episode 1, [S.a.]) indicates that Zulu women can and will use this martial art when necessary. If a man has no sons to tend to the cattle, one of his daughters has to go to the field with the herd boys and she learns to stick fight with them. Tankiso Mafisa (Personal Communication, 1996) stated that her mother used to tend to cattle as a young girl, and stick fight with the boys.
6. Competitive Stick Fighting
6a. Playing Sticks (Ukudlalisa Induku)
Competitive stick fighting at festivals is called ukudlalisa induku, or "play sticks" (or alternatively, ukudlala induku, which roughly translates as "play sticks with you"). Although Msimang (1975:166) argues that by teaching methods, techniques, manoeuvres, and rules, sparring prepares the boys for fighting in single combat, Zulu stick fighting is essentially playful in nature.
Schoeman (1975:166) says that playing sticks at festivals such as the iphapu (lung festival) provide an opportunity for Zulu boys and men to experience first-hand different strategies, techniques, and rules. Derwent et al. (1998:36) argue that a challenge to play sticks can only take place at a wedding, but other sources contest this viewpoint. For example, stick fights challenges have been reported at the first fruits festivals (Clegg, 1981:8), the installation of a new traditional leader (Larlham, 1985:13), and inter-district fighting (Clegg, 1981:8). Stick fighting also occurs at social gatherings such as beer drinking (Stewart, Interview, 1996), an imbizo (Zulu, Interview, 1996), the iphapu festival (Schoeman, 1982:49), courtship (Stewart, Interview, 1996), and the thomba ceremony (Elliot, 1978:143). These sources do not indicate the nature of the combat, e.g., whether it was ukungcweka or a challenge.
Stick fighters begin to fight competitively at public ceremonies and social gatherings at about 18 years of age (Ntuli, Interview, 1996). The youngest fighters are about 15 years old, but it is unusual for a boy to start fighting publicly before he has fully passed puberty. When a boy reaches puberty, he receives a second name that is indicative of a contribution he made to the community (Stewart, Interview, 1996). This second name, or isithopo, may be self-composed or granted by peers and parents. Either way, the second name gradually develops into a personal izibongo that mediates an individual’s personal and social identity (Brown, 1998:87). This is mentioned because during a stick fight, the fighter is called by his second name, and his friends recite the story of how he acquired this second name (Stewart, Interview, 1996; Mzobe, Interview, 1996). Dumisani Mbhense (Personal Communication, 1996) points out that the recital of praises by the fighter’s peers is an enjoyable aspect of the action. Consequently, izibongo are statements of friendship among a combatant and his friends/family.
Leitch (Interview, 1996) points out that stick fighting is considered an activity for the young. Thus, a man will usually stop fighting in his mid-thirties, by which time he has earned respect as a proficient stick fighter. Older men assume responsibility for upholding the fabric of society, and become mentors to the younger men. Furthermore, to "retire" from stick fighting while your reputation as a fighter is intact is a means of ensuring that you remain respected as a warrior in your older days
6b. Surrogate and Professional Stick Fighters
Although Zulu people consider it chivalrous to fight one’s own fight, it is acceptable to stick fight on behalf of another person. Such a person might be an aggrieved younger brother who lacks experience in the skill, or someone who is unable to fight at the time. For example, a migrant labourer can request a man back at home to fight on his behalf. As such, he does not have to leave his work to stick fight and settle the issue at hand (Fighting sticks, Episode 1, [S.a.]).
Stick fighting can also take place on a "professional level". Leitch explains that a professional stick fighter, or ishinga, travels around in search of stick fights (Interview, 1996). According to Mzobe (Interview, 1996), the term ishinga refers to a very brave and even rude person. Unlike "social fighters", to use Leitch’s (Interview, 1996) phrasing, an ishinga’s only ambition is to demolish the opposition and earn another victory as the top stick fighter. His only reward is social recognition. He normally uses well-worn fighting equipment, and has an unkempt appearance. Men tend not to fight him, since the element of play is seemingly lacking in the ishinga’s approach to stick fighting. Mzobe (Interview, 1996) states that in cities such as Johannesburg, amashinga can fight for prizes or money. However, social stick fighting normally does not have an economic reward for the participants involved.”
[...]
7. Rules and Protocols of Stick Fighting
[...]
7c. The Ukugiya (Solo Display of Skills) and Associated Izibongo (Praises) and Izigiyo (Chants)
Once people have gathered around the selected space, the stick fighters take turns demonstrating ukugiyaukugiya prepared fighters psychologically for warfare and reaffirmed the army’s superior skills, and today ukugiya still takes place before a stick fight (Leitch, Interview, 1996).
Ukugiya do not follow set floor- or step patterns (Dalrymple, 1983:160), and are usually accompanied with praises, called izibongo, and war cries and chants, called izigiyo (Gunner & Gwala, 1994:1). Izigiyo are characterised by a militaristic phallocentrism, and often liken men to powerful totems such as bulls or lions that are self-reliant and "fiercely individualistic" (Derwent et al., 1998:70,136).Gunner and Gwala (1994:230) cite an example:
Igoso: Yaphind’ inkunzi!
Abanye: Yahlaba!
Gunner and Gwala (1994:231) translated this war chant into English:
Leader: The bull came again!
Others: It stabbed!
Credo Mutwa (1992:12) also uses a Zulu izigiyo in his play uNosilimela:
Ikhalaphi?
Induku zethu
Sizwa ngothi
Ikhalaphi?
Gunner and Gwala (1994:230) document this chant, too, although their documentation differs slightly from Mutwa’s in terms of spelling and punctuation. Gunner and Gwala’s last line also differs from Mutwa’s, reading "Ukuthi Ikhalaphi". Anyway, their English translation (1994: 231) of this izigiyo reads:
Where does it call from?
Our stick?
We can tell by the smell of blood!
Where it calls from!
Izibongo occupy a distinctive cultural space, and served a political function within the stratified Zulu monarchy (Brown, 1998:50). Izibongo in the ukugiya before a stick fight is understood in relation to izibongo recited at other occasions, but remains distinctly different from those. For detailed accounts of the various izibongo and discussion of their social significance, compare Gunner and Gwala (1994) and Brown (1998).
Izibongo in the ukugiya often link the fighter with a powerful animal. For example, Shaka’s izibongo often referred to him as lion or elephant (Brown, 1998:98). Izibongo can also associate a fighter with the heroic deeds of his ancestors (Leitch, Interview, 1996). These observations echo in the izibongo of Siyabonga Mzobe, recited by himself as an example of the manner in which his friends praise and encourage him during a stick fight:
Habu, Habu kaluphonjwana,
awumuhlabi, uyamshosholoza.
Thatha mfo kaMzobe,
mbulale!
Mzobe translated the praise as:
Small horns,
you don’t stab him, you are showing him.
Take it son of Mzobe,
kill him!
The ukugiya is therefore a statement of the fighter’s own ethos; a statement of himself as warrior, a celebration of youthful masculinity, and a display of physical prowess that can include re-enactment of heroic battles of the past. The praise is not necessarily serious, but can include comic elements such as jokes and humorous physical actions intended to amuse onlookers (Leitch, Interview, 1996).
Although Gunner and Gwala (1994:1) point out that izigiyo and ukugiya are closely associated with "war and martial prowess", they add that in contemporary South African life, "they stress a potential rather than constant all-embracing link with war and the martial". Thus, the ukugiya is not performed exclusively as an introduction to physical conflict. Instead, it has transcended its historical roots to become a celebration of youthful masculinity:
The ukugiya dance is often wild, flamboyant, athletic and even balletic. It often shows the exuberance and vigour of youth, particularly male youth, rather than harking back to the old martial ties and the days when men in the regiments (amabutho) performed ukugiya and were praised after battle. These warlike ties can, however, be called upon, depending on the context of place and time where the dancing and praising happens to be. (Gunner and Gwala, 1994:1-2)
The ukugiya is still performed before faction fights (Ntuli, Interview, 1996) and stick fights (Clegg, 1981:10). Its continued use in stick fights is perhaps in recognition of stick fighting as a form of symbolic warfare.
[...]
8. Stick Fighting and the Larger Community
[...]
8a (3). Spectators and Officials
Spectators are always present during stick fights to acknowledge what happened (Mbanjwa, Interview, 1996), and to judge if the fight was fair (Fighting sticks, Episode 1, [S.a.]). Although spectators play an integral role in the proceedings of a stick fight, they are not to interfere with the fighting.
Spectators consist mainly of men and young unmarried women in traditional attire (Mamthetwa as cited by Zulu, Interview, 1996). Men whistle, women ululate, and the spectators generally show a verbal appreciation of exciting actions (Zulu, Interview, 1996). The reaction of spectators can enhance the performance of the fighters, and the fight is followed with great enthusiasm (Leitch, Interview, 1996).
Although the duties of the warrior captains, or umphathi wensiswa, include maintaining order during the fights (Leitch, 1996), Clegg (1981:9-14) believes that the umgangela cannot contain the tension between the districts. This can lead to violent encounters; hence the development of the isishameni style of dancing, which is today a more socially acceptable expression of conflict in KwaZulu-Natal. Leitch (Interview, 1996), with reference to KwaZulu, is of the opinion that the escalating violence in contemporary Zulu society is a direct result of the decline in the practice of stick fighting. Faction fighting can be seen as a modern manifestation of tensions between parties, but is by no means an acceptable method of resolving conflict through physical interaction (Ntuli, Interview, 1996).
[…]
8d. The Umshado (Wedding) Ceremony
A Zulu wedding is a public event that takes place over a period of about three days (Dalrymple, 1983:121). It involves specific rituals in various stages of the ceremony that Dalrymple (1983:121-194) and Bryant (1949:533-604) have described in detail. Therefore, I will only pay attention to the role that stick fighting plays in the occasion.
Nowadays stick fighting often takes place before a wedding ceremony to settle any disputes between parties (Larlham, 1985:6). However, Mbanjwa (Interview, 1996) and Dalrymple (1983:131) indicate that stick fighting can also take place after the wedding ceremony. For example, the last afternoon of the wedding observed by Dalrymple (1983:121-131) concluded with older men drinking beer in the cattle enclosure while younger men fought with sticks.
Ntuli (Interview, 1996) indicates that stick fighting is an expected part of a Zulu wedding, and that participants will engage in a fight even if there are no disputes to be settled. Accordingly, men attend the wedding fully prepared for a stick fight. Young men might also decorate their bodies and their hair with beadwork, or dress up in beautiful pants and string vests to impress the girls present. Mzobe (Interview, 1996) notes that to this day, Zulu men often dress in traditional attire for a wedding, and even hire the appropriate clothes if they do not possess their own.
Stick fighting takes place at a wedding to impress the girls and to build a reputation as a stick fighter of calibre (Leitch, Interview, 1996). A man might even pretend to be interested in another man’s girlfriend to provoke a fight (Shakaland, Home-video recording, 1996). Alternatively, a man might intentionally overdress and appear very arrogant in order to anger other men (Stewart, Interview, 1996).
It seems that people at the wedding are aware of the playful dynamics operating in the attempts to provoke a stick fight, and go along with the game. Zulu (Interview, 1996) sees a wedding as an opportunity to "play umgangela", suggesting that the action is not an overly serious competition between men.
As always, a suitable space for the fighting is selected. This space must be in view of the wedding party, but not disturbing the proceedings. The warrior captain chooses the ground, usually situated on a hillside that overlooks the wedding. (Although level ground is preferable, steep slopes will not prevent a stick fight from taking place.) The place at which a stick fight happens is termed umgangelo, and spectators delineate its space by forming a human circle big enough to accommodate the action (Leitch, Interview, 1996).
To ensure correct protocol, the fighting takes place under the supervision of the warrior captains or leaders of the group. There is a specific structure in the flow of events. Firstly, people gather around the selected space and the men take turns to ukugiya. Larlham (1985:6) states that the performance of a ukugiya serves as a challenge to any man who wishes to display his prowess as a stick fighter. Dalrymple (1983: 160), however, indicates that a person who disrupts an ukugiyaat a Zulu wedding risks a stick fight. After the performance of a ukugiya, the challenge takes place.
Mzobe (Interview, 1996) points out that a man could challenge another by teasing him. At his sister’s wedding in 1995, Mzobe’s peers jokingly remarked that his lean physique would hinder him in a stick fight. Mzobe accepted this challenge in an attempt to prove his fighting skills. The challenge is unambiguous and clearly distinguishable from the action.
To begin the stick fight, a man from the opposite party accepts the challenge by taking a step forward. The resulting fight can incorporate comical elements designed to entertain the spectators and infuriate the opponent (Leitch, Interview, 1996). The reactions of the spectators vary according to the course that the fight takes. The spectators exclaim their delight at a good manoeuvre and watch quietly as the fight grows serious. Ululating girls assist in building the excitement, and perform their stamping dance (ukuggiza) (Larlham, 1985:8), thus encouraging the fighters to prove their superiority at stick fighting. As soon as a man is defeated, another from the opposition takes the stage. A great number of men can partake in the stick fighting depending on the following of the bridal parties (Stewart, Interview, 1996). Leitch (Interview, 1996) indicates that five or six hundred men can be engaged in the fighting, without any fatalities occurring.
Stick fighting at weddings has been discouraged of late, due to the serious nature of the injuries that might occur. Mafisa (Personal Communication, 1996) states that stick fighting at Zulu weddings is no longer a common practice, and only occurs in the rural areas.
[…]
9. Conclusion
Traditional stick fighting, as performed in the rural areas of KwaZulu-Natal, continues to serve as a process of socialisation, and to transmit the social norms of the community in which it operates. In recent years, stick fighting has become politicised to the extent that this practice, which once played an instrumental role in building the pride of the Zulu nation, has come to be regarded with contempt or suspicion by some. Contemporary practices of stick fighting such as occurs in the hostels of mines, in the parks of Johannesburg, or in the competitive team sport played by men travelling to countries such as Japan, is a faint echo of the art’s traditional richness and social importance. In a country historically associated with the violation and exploitation of indigenous cultures in all spheres of life, vibrant arts such as Zulu, Pedi, Xhosa, Sotho or Ndebele stick fighting are long awaiting the recognition and respect that these arts deserve: fighting arts that are uniquely, and proudly, South African.
Bibliography
[...]"
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SHOWCASE VIDEO: ZULU CUSTOMARY STICK FIGHT 1 - SOUTHERN ZULULAND 2018
siyabonga makhathini, Published on Apr 2, 2018
It is a Zulu custom that at a wedding warriors from the grooms area fight against warriors who are part of the brides entourage .There are also a lot of warriors who are wedding crashers ..uninvited just looking to enjoy a good fight.Warriors will all come together as one group to eat, drink and share warrior stories. Some who have fought against each other form alliances to go battle other warriors at future weddings.It all in the name of good fun and building respect amongst warriors
-snip-
Here's a comment from the producer/publisher of this video and a number of other YouTube videos on Zulu stick fighting:
siyabonga makhathini, 2018
"Stick fights usually occur at customary weddings , warriors will usually form a circle. When you step into the circle you are allowing your self to be challenged by any warrior. If by chance you do not want to fight the warrior who steps up to challenge you .You step out of the warrior zone . The rules are that you can hit a warrior anywhere with your stick , stabbing is usually not allowed unless two warriors have a score to settle then they ask for permission to go all out.There are injuries sometimes, wounds are covered with sand and cow dung.This is just a way for warriors to get to know and respect each other.They then all go together as a group to go have a drink and share warrior stories together."
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Thanks for visiting pancocojams.
Visitor comments are welcome.
This is the first post in an ongoing pancocojams series about African stick fighting.
This post quotes excerpts of the 2002 paper "Zulu Stick Fighting: A Socio-Historical Overview" by Marié-Heleen Coetzee (2002)
This post also showcases a YouTube video of Zulu stick fighting.
Click the "African stick fighting" tag below for other posts in this series.
The content of this post is presented for historical, cultural, and educational purposes.
As a reminder, pancocojams is a non-commercial cultural blog that I curate on a volunteer basis. I publish excerpts of articles and book excerpts, many of which are obscure and difficult to find, with the hope that this blog's visitors will read the entire articles or books that are quoted.
All copyrights remain with their owners.
Thanks to Marié-Heleen Coetzee for writing this paper and sharing it online. Thanks also to siyabonga makhathini for sharing information about videos of Zulu stick fighting.
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ONLINE PAPER EXCERPT:
Coetzee, Marié-Heleen. (2002) "Zulu Stick Fighting: A Socio-Historical Overview"
From https://ejmas.com/jalt/jaltart_Coetzee_0902.htm
"1. Cultural Background
1a. Introduction
The Zulus are one of the Nguni people of South Africa. Linguistically and culturally, the Xhosa, Pondo, and Thembu are Southern Nguni, while the Zulu, Swazi, and Ndebele are Northern Nguni.
During the 1810s, a Zulu leader named Shaka kaSenzangakona established an empire in northeastern South Africa whose military relied on phalanxes rather than skirmish lines. His armies were highly successful, and within a few decades, his style of warfare spread as far north as Lake Tanganyika.
Although Shaka was assassinated in 1828, his kingdom survived until 1879, when it was destroyed by the British, who feared a Zulu attack on the white settlements then expanding outward from Durban. The Zulu culture, however, survived into the present, and today there are about 8.8 million Zulus, most of whom still live in KwaZulu-Natal. (The name Natal is owed to the Portuguese explorer, Vasco da Gama, who reached its coast on Christmas Day, 1497.)
1b. Origins of Zulu Stick Fighting
The genealogy of the presumed originators of Zulu stick fighting is traced to Amalandela, son of Gumede, who inhabited the Umhlatuze valley about 1670 (Werner, 1995:28). The exact location of Amalandela’s former habitat remains an enigma.
According to Bryant (1949:3), Amalandela was a member of the Ntunga Nguni clan. According to Dalrymple (1983:74), he fathered two sons, respectively named Qwabe and Zulu, and the latter gave his name to the Zulu people.
The recent history of stick fighting is traced to the legacy of the Zulu king Shaka. Shaka lived from 1787 to 1828, and during his reign, he established the Zulu Empire and became Southern Africa’s most legendary warrior-king.
Until recently, historians credited Shaka with the development of Zulu warfare, with its emphasis on stabbing spears and phalanxes, but recent research suggests that the weapons, strategies, and tactics accredited to him were established before his rise to power. The great warriors preceding Shaka, like so many historical figures and events, are hidden from documented history, and forgotten even in the oral traditions.
Nonetheless, it is generally agreed that during Shaka’s reign, stick fighting was used as a means of training young men for both self-defence and war. Shaka himself, in Ritter’s version of the story, was already a highly proficient stick fighter at the age of 11 (1957:14).
2. Social Uses of Zulu Stick Fighting
2a. Introduction
Zulu stick fighting provides an opportunity for men to build courage and skill, to distinguish themselves as proficient warriors, and to earn respect in the community (Ntuli, Interview, 1996). Leitch (Interview, 1996) is of the opinion that the techniques and manoeuvres applied in stick fighting are identical to those implemented during traditional Zulu warfare, the only difference being the weapons used. Nonetheless, stick fighting is a game, and the dynamics of stick fighting are generally playful. The exceptions are when sticks are used for self-defense or in a faction fight, or when amashinga (professional stick fighters) compete.
[...]
2c. Twentieth Century
In Shaka’s time, stick fighting was used as training for warfare. However, during subsequent years, Zulus began using stick fighting to represent conflict resolution on a symbolic rather than military level. This form of symbolism still appears in the inter-district umgangela, or stick fighting competitions, held in rural areas such as Nongoma. Still later, stick fighting came to function as an expression of Zulu ethnicity, and to show political affiliation with the Zulu-dominated Inkatha Freedom Party (Mnqayi, Personal Communication, 1998).
Leitch (Interview, 1996) argues that this decontextualisation and exploitation of stick fighting for political gain has negatively affected perceptions of the art. For example, crowds misuse elements of stick fighting during marches in cities, or use their fighting sticks to express ethnicity. This association of stick fighting with violence and riots negates its profundity and beneficial social implications, and accordingly, many Zulu people distance themselves from the art (Mnqayi, Personal Communication, 1998).
Leitch (Interview, 1996) also believes that instances where crowds run out of control parody the traditional function of stick fighting in society. Control, respect, and accountability lack in such marches, whereas they are of the utmost importance in a stick fight. Qoma (as cited by Krog, 1994:42) states that the use of sticks became politicised to the extent that any African person carrying a stick is classified a "violent Zulu". As such, a practice that once played an instrumental role in building the pride of a nation has come to be regarded with contempt by some (Ntuli, Interview, 1996).
In the Tugela Basin and the South Coast (different areas than where I did my research), stick fighting has all but disappeared. Stick fighting is practised less frequently than in the past in KwaDlangezwa and Ongoye, too, apparently due to its association with recent violence (Mnqayi, Personal Communication, 1998). Leitch (Interview, 1996) believes that traditional stick fighting is nowadays only found in areas where there is little political friction.
Nonetheless, traditional stick fighting still takes place in some of rural areas of KwaZulu-Natal, where it continues to act as a process of socialisation, and to transmit the social norms of the community in which it operates. Therefore, while the practice of stick fighting is constantly modified by changes in the social system, it can still serve as a vehicle for mastering the body and mind, and be instrumental in nurturing the practitioner’s dignity and pride as a man (Ndaba, Interview, 1996).
2d. Stick Fighting as Martial Art
In the immigrant communities of Johannesburg, migrant Zulu workers sometimes teach stick fighting as a martial art. Meanings derived from these interactions are primarily related to sportsmanship (Qoma in Krog, 1994:42), and lack the integral social affiliations of traditional stick fighting. Stick fight demonstrations offered to tourists, such as at Shakaland (Home-video recording, 1996), are performances.
2e. Summary
Long past its days of glory, stick fighting is no longer a common practice among the Zulu people, and practitioners struggle to validate its existence in these days of political turmoil, acculturation, and modernisation. Nonetheless, stick fighting appears to assist in upholding the traditional social system by perpetuating socially accepted modes of male behaviour and ideals. Stick fighting, as a cultural tradition, therefore continues to fulfil its traditional didactic function in some Zulu communities.
3. Zulu Fighting Sticks (Izinduku)
3a. Introduction
Zulu men traditionally owned fighting sticks (izinduku). The sticks were stored in the roof of a house, and were carried for self-defence or used when the owner was challenged to a stick fight (Ntuli, Interview, 1996).
Adult males often owned several fighting sticks, and from these, they selected a pair to fight with (Ndlangavu as cited by Krog, 1994:42).
3b. Appearance and Construction
At the age of about 16, a Zulu boy’s father took him into the forest to choose and cut his own fighting sticks from trees. (Fighting Sticks, Episode 2, [S.a.]). As an adult, a man might make his own izinduku or employ a specialist to do so. Apartheid laws prohibiting South African people of colour from owning guns or displaying traditional weapons in public led to the use of instruments such as umbrellas and ordinary walking sticks as substitutes for traditional izinduku (Fighting Sticks, Episode 1, [S.a.]). Nonetheless, the practice of carrying sticks still prevails in some rural areas of KwaZulu-Natal, such as KwaDlangezwa.
Izinduku may differ in appearance according to their region of manufacture (Mzobe, Interview, 1996). However, regardless of appearance, izinduku must be stout enough to withstand the impact of blows from an opponent’s weapons.
Although the choice of wood for fighting sticks is often specific to the practitioner’s family lineage, (Fighting Sticks, Episode 2, [S.a.]), various local trees are suitably strong for use as fighting sticks. Thus, izinduku are made from trees such as the umqambathi, umazwenda, ibelendlovu, umphahla (Ntuli, Interview, 1996), umthathe, and umunquma (Ndlangavu as cited by Krog, 1994:24). [EN1]
Decorations on izinduku are for aesthetic purposes or to identify members of the different sides in a regional stick fight (Zulu, Interview, 1996). Decorations on the fighting sticks of informants observed at Nongoma include painted patterns, beadwork, and pieces of cloth.
3c. Offensive Fighting Stick (Induku)
For faction fighting and war, there are a number of sticks available. Examples include the short stabbing spear or iklwa, the swallow-tail axe or isisila senkonjane, the isizenze axe used by commoners, and the long spear named isijula (Derwent et al., 1998:86). The knobkerrie, or iwisa and isagila, is also available. Stick fighters, however, make use of two specific sticks in single combat.
The first stick is the offensive fighting stick, or induku. [EN2] This is a strong stick or shaft of wood without a knob carved smooth and used specifically for stick fighting.
The length of the induku depends on the physical stature of its owner, but is generally about 88 centimetres in length. The induku’s circumference increases slightly from bottom to top, and the extra weight that the head carries enhances the mobility of the stick during offensive manoeuvres.
The induku is held in the right hand, and used to strike at the opponent’s body and head. [EN3] A piece of cowhide can be tied around one end of the stick to secure the fighter’s grip on the weapon, and the whisk of a cow’s tail can be tied around the bottom of the stick to hide a sharp point. Although this sharp point can be used for stabbing, doing so is not considered appropriate during an honourable stick fight.
3d. Blocking Stick (Ubhoko)
Ubhoko or blocking stick, is a long, smooth stick that tapers down to a sharp point. As a defensive weapon, it is skilfully manoeuvred with the wrist of the left hand, and used to protect the body of a combatant from the opponent’s blows. Although its length depends on the physical stature of its owner, the ubhoko is meant to ensure protection from head to foot, and so is notably longer than
Although the ubhoko could be used as a stabbing weapon, in a stick fight, protocol demands that it be used exclusively for the purpose of defence. The action of defence with ubhoko can be referred to as ukuvika or ukuzihlaba (Mzimela, 1990:12).
3e. Umsila (Short Stick) and Ihawu (Shield)
Another short stick, umsila, is held in the left hand together with ubhoko. Not used for fighting as such, it is used instead to uphold the small shield, or ihawu, that protects the left hand. (The umsila runs vertically down the middle of the shield through four triangular nooses, and tapers to a point.) Fighters in Nongoma maintain that umsila is also used to protect the face during a stick fight. As an aesthetic accessory, Nongoma fighters tie strings of antelope skin to the top of umsila.
Ihawu is a relatively small and oval shaped piece of cow skin, held in the left hand. During Shaka’s regime, warriors were ranked by means of the colour of the shields they carried (Fighting Sticks, Episode 1 [S.a.]), but this convention is seemingly not evident in the choice of shields used for stick fighting.
There is no set size for ihawu, although it should be large enough to protect the hand and wrist, and small enough not to impede on ubhoko’s mobility. As a rule, however, the shield used for stick fighting is between 55 centimetres and 63 centimetres long, and 31 to 33 centimetres wide. A handle big enough to hold two or three fingers (the index, middle, and ring fingers) is located at the back of the shield, left of the umsila. Fighters first clutch the handle with two or three fingers before placing ubhoko in the left hand.
A soft cushion is placed on the inside of the shield to ensure that the hand remains protected from an opponent’s blows. Traditionally, this cushion was made from sheepskin, and called igusha. In contemporary times, sponge or other soft material, named isibhusha, has been utilised as a protective measure inside the ihawu (Zulu, Interview, 1996).
[...]
5d. Female Sparring
No matter how important the role of sparring with sticks in the social construction of masculinity, it is an undesirable skill for females. Should a woman "jump over the sticks", especially during her menstrual cycle, misfortune is supposed to fall upon the owner of the sticks (Ntuli, Interview, 1996). Ironically, menstrual blood can be a potent medicine for strengthening the sticks when applied in conjunction with a number of other substances (Zulu, Interview, 1996). Nonetheless, Leitch (Fighting Sticks, Episode 1, [S.a.]) indicates that Zulu women can and will use this martial art when necessary. If a man has no sons to tend to the cattle, one of his daughters has to go to the field with the herd boys and she learns to stick fight with them. Tankiso Mafisa (Personal Communication, 1996) stated that her mother used to tend to cattle as a young girl, and stick fight with the boys.
6. Competitive Stick Fighting
6a. Playing Sticks (Ukudlalisa Induku)
Competitive stick fighting at festivals is called ukudlalisa induku, or "play sticks" (or alternatively, ukudlala induku, which roughly translates as "play sticks with you"). Although Msimang (1975:166) argues that by teaching methods, techniques, manoeuvres, and rules, sparring prepares the boys for fighting in single combat, Zulu stick fighting is essentially playful in nature.
Schoeman (1975:166) says that playing sticks at festivals such as the iphapu (lung festival) provide an opportunity for Zulu boys and men to experience first-hand different strategies, techniques, and rules. Derwent et al. (1998:36) argue that a challenge to play sticks can only take place at a wedding, but other sources contest this viewpoint. For example, stick fights challenges have been reported at the first fruits festivals (Clegg, 1981:8), the installation of a new traditional leader (Larlham, 1985:13), and inter-district fighting (Clegg, 1981:8). Stick fighting also occurs at social gatherings such as beer drinking (Stewart, Interview, 1996), an imbizo (Zulu, Interview, 1996), the iphapu festival (Schoeman, 1982:49), courtship (Stewart, Interview, 1996), and the thomba ceremony (Elliot, 1978:143). These sources do not indicate the nature of the combat, e.g., whether it was ukungcweka or a challenge.
Stick fighters begin to fight competitively at public ceremonies and social gatherings at about 18 years of age (Ntuli, Interview, 1996). The youngest fighters are about 15 years old, but it is unusual for a boy to start fighting publicly before he has fully passed puberty. When a boy reaches puberty, he receives a second name that is indicative of a contribution he made to the community (Stewart, Interview, 1996). This second name, or isithopo, may be self-composed or granted by peers and parents. Either way, the second name gradually develops into a personal izibongo that mediates an individual’s personal and social identity (Brown, 1998:87). This is mentioned because during a stick fight, the fighter is called by his second name, and his friends recite the story of how he acquired this second name (Stewart, Interview, 1996; Mzobe, Interview, 1996). Dumisani Mbhense (Personal Communication, 1996) points out that the recital of praises by the fighter’s peers is an enjoyable aspect of the action. Consequently, izibongo are statements of friendship among a combatant and his friends/family.
Leitch (Interview, 1996) points out that stick fighting is considered an activity for the young. Thus, a man will usually stop fighting in his mid-thirties, by which time he has earned respect as a proficient stick fighter. Older men assume responsibility for upholding the fabric of society, and become mentors to the younger men. Furthermore, to "retire" from stick fighting while your reputation as a fighter is intact is a means of ensuring that you remain respected as a warrior in your older days
6b. Surrogate and Professional Stick Fighters
Although Zulu people consider it chivalrous to fight one’s own fight, it is acceptable to stick fight on behalf of another person. Such a person might be an aggrieved younger brother who lacks experience in the skill, or someone who is unable to fight at the time. For example, a migrant labourer can request a man back at home to fight on his behalf. As such, he does not have to leave his work to stick fight and settle the issue at hand (Fighting sticks, Episode 1, [S.a.]).
Stick fighting can also take place on a "professional level". Leitch explains that a professional stick fighter, or ishinga, travels around in search of stick fights (Interview, 1996). According to Mzobe (Interview, 1996), the term ishinga refers to a very brave and even rude person. Unlike "social fighters", to use Leitch’s (Interview, 1996) phrasing, an ishinga’s only ambition is to demolish the opposition and earn another victory as the top stick fighter. His only reward is social recognition. He normally uses well-worn fighting equipment, and has an unkempt appearance. Men tend not to fight him, since the element of play is seemingly lacking in the ishinga’s approach to stick fighting. Mzobe (Interview, 1996) states that in cities such as Johannesburg, amashinga can fight for prizes or money. However, social stick fighting normally does not have an economic reward for the participants involved.”
[...]
7. Rules and Protocols of Stick Fighting
[...]
7c. The Ukugiya (Solo Display of Skills) and Associated Izibongo (Praises) and Izigiyo (Chants)
Once people have gathered around the selected space, the stick fighters take turns demonstrating ukugiyaukugiya prepared fighters psychologically for warfare and reaffirmed the army’s superior skills, and today ukugiya still takes place before a stick fight (Leitch, Interview, 1996).
Ukugiya do not follow set floor- or step patterns (Dalrymple, 1983:160), and are usually accompanied with praises, called izibongo, and war cries and chants, called izigiyo (Gunner & Gwala, 1994:1). Izigiyo are characterised by a militaristic phallocentrism, and often liken men to powerful totems such as bulls or lions that are self-reliant and "fiercely individualistic" (Derwent et al., 1998:70,136).Gunner and Gwala (1994:230) cite an example:
Igoso: Yaphind’ inkunzi!
Abanye: Yahlaba!
Gunner and Gwala (1994:231) translated this war chant into English:
Leader: The bull came again!
Others: It stabbed!
Credo Mutwa (1992:12) also uses a Zulu izigiyo in his play uNosilimela:
Ikhalaphi?
Induku zethu
Sizwa ngothi
Ikhalaphi?
Gunner and Gwala (1994:230) document this chant, too, although their documentation differs slightly from Mutwa’s in terms of spelling and punctuation. Gunner and Gwala’s last line also differs from Mutwa’s, reading "Ukuthi Ikhalaphi". Anyway, their English translation (1994: 231) of this izigiyo reads:
Where does it call from?
Our stick?
We can tell by the smell of blood!
Where it calls from!
Izibongo occupy a distinctive cultural space, and served a political function within the stratified Zulu monarchy (Brown, 1998:50). Izibongo in the ukugiya before a stick fight is understood in relation to izibongo recited at other occasions, but remains distinctly different from those. For detailed accounts of the various izibongo and discussion of their social significance, compare Gunner and Gwala (1994) and Brown (1998).
Izibongo in the ukugiya often link the fighter with a powerful animal. For example, Shaka’s izibongo often referred to him as lion or elephant (Brown, 1998:98). Izibongo can also associate a fighter with the heroic deeds of his ancestors (Leitch, Interview, 1996). These observations echo in the izibongo of Siyabonga Mzobe, recited by himself as an example of the manner in which his friends praise and encourage him during a stick fight:
Habu, Habu kaluphonjwana,
awumuhlabi, uyamshosholoza.
Thatha mfo kaMzobe,
mbulale!
Mzobe translated the praise as:
Small horns,
you don’t stab him, you are showing him.
Take it son of Mzobe,
kill him!
The ukugiya is therefore a statement of the fighter’s own ethos; a statement of himself as warrior, a celebration of youthful masculinity, and a display of physical prowess that can include re-enactment of heroic battles of the past. The praise is not necessarily serious, but can include comic elements such as jokes and humorous physical actions intended to amuse onlookers (Leitch, Interview, 1996).
Although Gunner and Gwala (1994:1) point out that izigiyo and ukugiya are closely associated with "war and martial prowess", they add that in contemporary South African life, "they stress a potential rather than constant all-embracing link with war and the martial". Thus, the ukugiya is not performed exclusively as an introduction to physical conflict. Instead, it has transcended its historical roots to become a celebration of youthful masculinity:
The ukugiya dance is often wild, flamboyant, athletic and even balletic. It often shows the exuberance and vigour of youth, particularly male youth, rather than harking back to the old martial ties and the days when men in the regiments (amabutho) performed ukugiya and were praised after battle. These warlike ties can, however, be called upon, depending on the context of place and time where the dancing and praising happens to be. (Gunner and Gwala, 1994:1-2)
The ukugiya is still performed before faction fights (Ntuli, Interview, 1996) and stick fights (Clegg, 1981:10). Its continued use in stick fights is perhaps in recognition of stick fighting as a form of symbolic warfare.
[...]
8. Stick Fighting and the Larger Community
[...]
8a (3). Spectators and Officials
Spectators are always present during stick fights to acknowledge what happened (Mbanjwa, Interview, 1996), and to judge if the fight was fair (Fighting sticks, Episode 1, [S.a.]). Although spectators play an integral role in the proceedings of a stick fight, they are not to interfere with the fighting.
Spectators consist mainly of men and young unmarried women in traditional attire (Mamthetwa as cited by Zulu, Interview, 1996). Men whistle, women ululate, and the spectators generally show a verbal appreciation of exciting actions (Zulu, Interview, 1996). The reaction of spectators can enhance the performance of the fighters, and the fight is followed with great enthusiasm (Leitch, Interview, 1996).
Although the duties of the warrior captains, or umphathi wensiswa, include maintaining order during the fights (Leitch, 1996), Clegg (1981:9-14) believes that the umgangela cannot contain the tension between the districts. This can lead to violent encounters; hence the development of the isishameni style of dancing, which is today a more socially acceptable expression of conflict in KwaZulu-Natal. Leitch (Interview, 1996), with reference to KwaZulu, is of the opinion that the escalating violence in contemporary Zulu society is a direct result of the decline in the practice of stick fighting. Faction fighting can be seen as a modern manifestation of tensions between parties, but is by no means an acceptable method of resolving conflict through physical interaction (Ntuli, Interview, 1996).
[…]
8d. The Umshado (Wedding) Ceremony
A Zulu wedding is a public event that takes place over a period of about three days (Dalrymple, 1983:121). It involves specific rituals in various stages of the ceremony that Dalrymple (1983:121-194) and Bryant (1949:533-604) have described in detail. Therefore, I will only pay attention to the role that stick fighting plays in the occasion.
Nowadays stick fighting often takes place before a wedding ceremony to settle any disputes between parties (Larlham, 1985:6). However, Mbanjwa (Interview, 1996) and Dalrymple (1983:131) indicate that stick fighting can also take place after the wedding ceremony. For example, the last afternoon of the wedding observed by Dalrymple (1983:121-131) concluded with older men drinking beer in the cattle enclosure while younger men fought with sticks.
Ntuli (Interview, 1996) indicates that stick fighting is an expected part of a Zulu wedding, and that participants will engage in a fight even if there are no disputes to be settled. Accordingly, men attend the wedding fully prepared for a stick fight. Young men might also decorate their bodies and their hair with beadwork, or dress up in beautiful pants and string vests to impress the girls present. Mzobe (Interview, 1996) notes that to this day, Zulu men often dress in traditional attire for a wedding, and even hire the appropriate clothes if they do not possess their own.
Stick fighting takes place at a wedding to impress the girls and to build a reputation as a stick fighter of calibre (Leitch, Interview, 1996). A man might even pretend to be interested in another man’s girlfriend to provoke a fight (Shakaland, Home-video recording, 1996). Alternatively, a man might intentionally overdress and appear very arrogant in order to anger other men (Stewart, Interview, 1996).
It seems that people at the wedding are aware of the playful dynamics operating in the attempts to provoke a stick fight, and go along with the game. Zulu (Interview, 1996) sees a wedding as an opportunity to "play umgangela", suggesting that the action is not an overly serious competition between men.
As always, a suitable space for the fighting is selected. This space must be in view of the wedding party, but not disturbing the proceedings. The warrior captain chooses the ground, usually situated on a hillside that overlooks the wedding. (Although level ground is preferable, steep slopes will not prevent a stick fight from taking place.) The place at which a stick fight happens is termed umgangelo, and spectators delineate its space by forming a human circle big enough to accommodate the action (Leitch, Interview, 1996).
To ensure correct protocol, the fighting takes place under the supervision of the warrior captains or leaders of the group. There is a specific structure in the flow of events. Firstly, people gather around the selected space and the men take turns to ukugiya. Larlham (1985:6) states that the performance of a ukugiya serves as a challenge to any man who wishes to display his prowess as a stick fighter. Dalrymple (1983: 160), however, indicates that a person who disrupts an ukugiyaat a Zulu wedding risks a stick fight. After the performance of a ukugiya, the challenge takes place.
Mzobe (Interview, 1996) points out that a man could challenge another by teasing him. At his sister’s wedding in 1995, Mzobe’s peers jokingly remarked that his lean physique would hinder him in a stick fight. Mzobe accepted this challenge in an attempt to prove his fighting skills. The challenge is unambiguous and clearly distinguishable from the action.
To begin the stick fight, a man from the opposite party accepts the challenge by taking a step forward. The resulting fight can incorporate comical elements designed to entertain the spectators and infuriate the opponent (Leitch, Interview, 1996). The reactions of the spectators vary according to the course that the fight takes. The spectators exclaim their delight at a good manoeuvre and watch quietly as the fight grows serious. Ululating girls assist in building the excitement, and perform their stamping dance (ukuggiza) (Larlham, 1985:8), thus encouraging the fighters to prove their superiority at stick fighting. As soon as a man is defeated, another from the opposition takes the stage. A great number of men can partake in the stick fighting depending on the following of the bridal parties (Stewart, Interview, 1996). Leitch (Interview, 1996) indicates that five or six hundred men can be engaged in the fighting, without any fatalities occurring.
Stick fighting at weddings has been discouraged of late, due to the serious nature of the injuries that might occur. Mafisa (Personal Communication, 1996) states that stick fighting at Zulu weddings is no longer a common practice, and only occurs in the rural areas.
[…]
9. Conclusion
Traditional stick fighting, as performed in the rural areas of KwaZulu-Natal, continues to serve as a process of socialisation, and to transmit the social norms of the community in which it operates. In recent years, stick fighting has become politicised to the extent that this practice, which once played an instrumental role in building the pride of the Zulu nation, has come to be regarded with contempt or suspicion by some. Contemporary practices of stick fighting such as occurs in the hostels of mines, in the parks of Johannesburg, or in the competitive team sport played by men travelling to countries such as Japan, is a faint echo of the art’s traditional richness and social importance. In a country historically associated with the violation and exploitation of indigenous cultures in all spheres of life, vibrant arts such as Zulu, Pedi, Xhosa, Sotho or Ndebele stick fighting are long awaiting the recognition and respect that these arts deserve: fighting arts that are uniquely, and proudly, South African.
Bibliography
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SHOWCASE VIDEO: ZULU CUSTOMARY STICK FIGHT 1 - SOUTHERN ZULULAND 2018
siyabonga makhathini, Published on Apr 2, 2018
It is a Zulu custom that at a wedding warriors from the grooms area fight against warriors who are part of the brides entourage .There are also a lot of warriors who are wedding crashers ..uninvited just looking to enjoy a good fight.Warriors will all come together as one group to eat, drink and share warrior stories. Some who have fought against each other form alliances to go battle other warriors at future weddings.It all in the name of good fun and building respect amongst warriors
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Here's a comment from the producer/publisher of this video and a number of other YouTube videos on Zulu stick fighting:
siyabonga makhathini, 2018
"Stick fights usually occur at customary weddings , warriors will usually form a circle. When you step into the circle you are allowing your self to be challenged by any warrior. If by chance you do not want to fight the warrior who steps up to challenge you .You step out of the warrior zone . The rules are that you can hit a warrior anywhere with your stick , stabbing is usually not allowed unless two warriors have a score to settle then they ask for permission to go all out.There are injuries sometimes, wounds are covered with sand and cow dung.This is just a way for warriors to get to know and respect each other.They then all go together as a group to go have a drink and share warrior stories together."
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