Two Examples Of South African Zulu Ukusina (high kick) Videos With A Focus On The Songs That Accompany Those Dances, Part I

INTUTHUKO YENTOMBI, Sep 30, 2021
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Google translate from Zulu to English: "Intuthuko yentombi" = "Development of the young woman"

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Edited by Azizi Powell

This is Part I of a two part pancocojams series on YouTube videos of Zulu females performing ukusina (ingoma; high kick) dances. The focus of this post is the singing that accompanies those dance performances.

This post presents some information about Zulu ukusina dances. This post also showcases two YouTube videos of ukusina dances and presents some comments from the discussion thread for one of those videos.  
 
Click https://pancocojams.blogspot.com/2023/07/examples-of-south-african-zulu-ukusina.html for Part II of this pancocojams series. That post showcases seven additional  YouTube videos of Zulu ukusina dances and presents a few comments from some of those videos. 

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

All copyrights remain with their owners.

Thanks to all those who are featured in these videos and thanks to the publishers of these videos on YouTube. Thanks also to all those who are quoted in this post.

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PANCOCOJAMS EDITOR'S NOTE
There are many YouTube videos (including some Tik Tok compilations) of South Africa's Zulu ukusina dancing. Some of these videos include the Zulu word "ingoma".  The English translation for that Zulu word is usually "song" or "dance". In Swahili the word "ngoma" is translated in English as "drum".

The English language comments for the YouTube/TikTok videos that I have come across mostly focus on how the dance is performed, and especially its high kicks and very few English language comments refer to the songs that accompany this dance.

Click http://pancocojams.blogspot.com/2015/12/real-information-about-south-african_19.html and http://pancocojams.blogspot.com/2015/12/real-information-about-south-african.html for Part I and Part II of a 2015 pancocojams series entitled "REAL Information About South African Ingoma & Indlamu".

Some content from those posts is included in the overview section that follows these notes.
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DISCLAIMER:
This post doesn't purport to present examples of or information about all the different types of songs that are sung while ukusina is performed.

Additions are welcome.

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EXCERPT FROM VUSABANTU NGEMA'S DISSERTATION ABOUT ZULU DANCES
From http://uzspace.uzulu.ac.za/bitstream/handle/10530/71/Symbolism+&+Implications+in+the+Zulu+Dance+Forms+-+V+Ngema.pdf;jsessionid=28025874320FA7591F6FE1EF49FEBFED?sequence=1 
dissertation by Vusabantu Ngema  [This pdf link is no longer active.in July 2023]

Click http://www.amazon.com/Symbolism-implications-Zulu-dance-forms/dp/384732988X for a summary of and purchase information about Vusabantu Ngema's 2012 book entitled Symbolism and implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu.

...[page 16]
The third focal point shall be on those dances that are popular and recreational. These are the dances that are mainly for recreation and show of[f] artistry and strength. They are dynamic and spectacular with an aim to out-shine (other competitors). They are often a reflection of some individual flare. These are the dances that are sometimes used at sporting events by young Zulu men and women. They are [p. 17] characterized by strong display of physical strength and character of an individual. They are an important avenue for release of energy.

Definition of Terms
1.7.2 Dance (Ukusina) [pages 18 - 19]
...“In Africa or among Africans dance is not just about steps and their execution instead, it is the expression that goes beyond steps, music, and song. It is the way of life, worship, and training. But AmaZulu refer to Ukusina as that kind of dancing that involves lifting the feet.

1.7.3. Ukudiga
It refers to the kind of dancing that involves the feet in pounding the ground. Ukudiga is commonly used by Izangoma.

1.7.4 Ingoma
The original term for the Zulu anthem was ingoma which referred to the royal dance song that was preferred at that first fruit festival (Umkhosi) every fruit.

...the term ingoma is now used to classify the broad category of Zulu recreational dance.

[...]

Team dances

Team dances that do not require drum accompaniment are recently being referred to as Ingoma. Although the term Ingoma has always been regarded as a general term for dancing among the Zulu people, it has emerged as term now used (particular) in competitions in order to categorize dancing activities in a much more manageable manner.

[...]

The third type of solo dancing among the Zulus is based on Ukusina and is divided into two styles. The first one... is improvisational and is accompanied by singing and clapping. Here there are no particular dance patterns to followed by a dancer. But the second type (of the form of solo dancing) is used in team dancing such as Indlamu and Ingoma. In the performance of Isishamina in particular, there is always an introductory solo before the main dance routine. In most Indlamu performances these solo performances are found sometimes in the middle of performances or towards the end...[page 49]

[...]

"Young girls at Ndomo also perform some form of dual dancing but they lift the knees and shake them attentively to the rhythm of the drum. This kind of performance is referred to as Indlamu or Ingadlela yezintombi and is done in an accompaniment of song and the clapping of hands by the spectators who usually stand in a circular formation. Couples (girls) take turn in the middle of the centre to perform quick movements described above. [page 51]

[...]

The structure of popular dances always consist of a verse and a chorus as opposed to repetitive structures found in ritualistic dances. The basic rhythm patterns and movements are canonized so as to allow everybody (dancers and audience) to follow and appreciate. The essence of [p. 61] popular dance is not the meaning of the movements but the ability to move to the beat with accuracy and style."...
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From watching a number of YouTube videos of ukusina, "call and response" appears to be the general singing style of the songs that accompany these Zulu dances.

For the historical and cultural record, please add information in this video's comment section or in this pancocojams post comment section about these songs. I'm particularly interested in knowing if these songs are traditional, or from protest songs sung during apartheid and/or if these songs are newly created.
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SHOWCASE VIDEO #2: Amatshitshi Team Maroon - Balibulele izwe lobaba.  They killed the fatherland.

Nelisiwe Sibiya, Mar 25, 2022
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Google translate from Zulu to English: "Balibulele izwe lobaba" = "They killed the fatherland."

Here are some comments from this video's discussion thread, with numbers added for referencing purposes only:

1. @keketsoeleazarnteka5355, 2022
This is just amazing...I don't know language but I really enjoyed watching this lady leading and that shallow-melodious voice form the right side...🇱🇸🇱🇸🇱🇸

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2. @theambivert8515, 2022
"Could someone please type the lyrics, my group wants to learn this song😭❤️"

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Reply
3. @nomcebomasondo1437, 2022
"Kancane kancane sekuqhuma ama divorce balibulele izwe lobaba"
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Google translate from Zulu to English: Zulu to English: "Little by little, divorces are exploding and killing the fatherland"

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Reply
4. @nomcebomasondo1437, 2022
"Kancane kancane sekuqhuma ama divorce balibulele izwe lo baba
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Google translate from Zulu to English: "Little by little, divorces are exploding and killing the country"

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Reply  
5. @ayandangobese2728, 2022
"They have destroyed our forefathers land"

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6. @Arthur-Silva, 2022
"Incredible! Anyone know the translation by any chance?"

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Reply
7. @everytingscrumptious, 2022
"They’ve ruined/killed our forefathers land”

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Reply
8. @khayaluv, 2022
"I'm motswana from Botswana, but can feel the pain from this song. I don't know much Zulu bt the e songs says

They are killing us for our forefathers land. Probably an apartheid song"

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Reply
9. @user-ow3mb7ph7c, 2023
"This children are crying for their father's land. Is a very painful truth behind the song"

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10. @nothilebuthelezi8951, 2022
"In the simple terms, cry the beloved cry, the meaning of song"

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11. @bonganitshabalala4966, 2022
"The song says they have killed the nation/land of of our fathers..❤️❤️🇿🇦, I love isiZulu and the Zulu culture✊✊✊. Beautiful mayibuye iAfrika👋👋👋"

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12.  @sibusisotshabalala9060, 2022
"The truth behind the song is painful, amakhaya wethu afile there's no unity. This western influenced life we living discourages the family tree philosophy,  "immediate families" r living in isolation from one another this days. I luv our cultural/traditional songs cuz they have a conscious deeper meaning that speaks to the soul. I wish all black people could go back to their roots or at least acknowledge them"
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Google translate from Zulu to English: "amakhaya wethu afile" = "our homes are dead"

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13. @evanskibet4545, 2022
"the vocal accompanied by the claps...washhandswashhandsbeautiful"
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That “hand claps…wash hands, wash hands" description refers to the (individual) hand clapping followed by the palm rubbing motion that is done in this video. I've also noticed that "clap hands then wash hands, wash hands" motion performed as accompaniment while singing some South African gwijos.

**
14. @goziedancia5902, 2022
"The fact that I don't understand a thing but enjoyed to end ❤️the voices 🥰"

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15. @youractorsupclose2099, 2022
"The voice l love this song💯🔥💓"

**
16. @nosipholubanzi5236, 2022
"It the soprano Girl for me🙌❤"

**
17. @cliffordkithuri687, 2023
"please when uploading them,don't forget the lyrics. We are in need of the song.Want to memorise these touching melodies and get the message.so sweet."

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This concludes Part I of this two part pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Excerpt About Ingoma From A 1929-1930 Research Paper Written by Veit Erlmann

Edited by Azizi Powell

This is Part III in a four part series on the South African dance forms Indoma and Indlamu. Part III provides an excerpt of a research article by Veit Erlmann on Zulu dancing.

Click http://pancocojams.blogspot.com/2015/12/real-information-about-south-african_19.html for Part I of this series. Part I provides excerpts about the traditional and the contemporary meanings of Ingoma in South Africa from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu".

Click http://pancocojams.blogspot.com/2015/12/real-information-about-south-african.html for Part II of this series. Part II provides excerpts about the traditional and the contemporary meanings of Ingoma in South Africa from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu". Particular attention in these excerpts is given to description of indlamu dances and, in particular to the dance style called "Isizingili".

Click http://pancocojams.blogspot.com/2015/12/five-videos-of-south-african-indlamu.html for Part IV of this series. Part IV provides videos of Indlamu dancing.

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

All copyrights remain with their owners.

Thanks to Veit Erlmann for the information about Zulu culture that is shared online in this research article.

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EXCERPT OF VEIT ERLMANN'S RESEARCH ARTICLE ON INGOMA
From http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=2631268">http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=2631268 http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=2631268 ‘Horses in the race course’: the domestication of ingoma dancing in South Africa, 1929–39
"On a Saturday night of January 1930 several thousand African men clad in loin cloths and the calico uniforms of domestic servants thronged a concert in the Workers' Hall of the Durban branch of the Industrial and Commercial Workers' Union (ICU) in Prince Edward Street. To the pounding sounds of hundreds of sticks, successive teams of dancers, some of them trained by Union officials from the rural hinterland, rushed to the stage performing the virile, stamping ingoma dance. The Zulu term ingoma (lit. ‘song’) covers a broad range of male group dances like isikhuze, isicathulo, ukukomika, isiZulu, isiBhaca, umzansi and isishameni.

The kinesic patterns of ingoma are inseparably linked to choral songs in call-and-response structure and, as such, constitute a complex statement of the unity of dance and song in Zulu performance culture. The peak of Zulu-speaking migrants' dance culture, ingoma evolved out of the profound transformation of traditional rural Zulu culture through impoverishment, dispossession and labour migration around the first World War. But on that night of January 1930, at the climax of the spectacle, the ingoma dancers struck a particularly defiant note:

Who has taken our country from us?
Who has taken it?
Come out! Let us fight!
The land was ours. Now it is taken.
We have no more freedom left in it.
Come out and fight!
The land is ours, now it is taken.
Fight! Fight!
Shame on the man who is burnt in his hut!
Come out and fight! (Perham 1974, p. 196)"
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I reformatted this brief excerpt to enhance its readability.
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This concludes Part III of this series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

REAL Information About South African Ingoma & Indlamu, Part II

Edited by Azizi Powell

Latest revision - July 8, 2023

This is Part II in a four part series on the South African dance forms Ingoma and Indlamu.

Part II provides excerpts about Indlamu from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu". Particular attention in these excerpts is given to description of indlamu dances and, in particular to the dance style called "Isizingili".

Click http://pancocojams.blogspot.com/2015/12/real-information-about-south-african_19.html for Part I of this series. Part I provides excerpts about the traditional and the contemporary meanings of Ingoma in South Africa from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu".

Click http://pancocojams.blogspot.com/2015/12/escerpt-about-ingoma-from-1929-1930.html for Part III of this series. Part III provides an excerpt of a research article by Veit Erlmann on Zulu dancing.

Click http://pancocojams.blogspot.com/2015/12/five-videos-of-south-african-indlamu.html for Part IV of this series. Part IV provides videos of Indlamu dancing.

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

All copyrights remain with their owners.

Thanks to Vusabantu Ngema for the information about Zulu culture that is he [?] shared online in that dissertation.

In 2012 that dissertation was published in book form. Click http://www.amazon.com/Symbolism-implications-Zulu-dance-forms/dp/384732988X for information about purchasing it. Here's a summary of Vusabantu Ngema's book from that site:
"This book discusses the developments of the Zulu dance tradition from ancient times into the present. The book explores the notions of composition, performance and appreciation of dance among the Zulus. Furthermore, the book also highlights the issues of form and content through various categories under which dancing within the Zulu culture and Africa as whole are performed. The dances discussed range from ritual-ceremonial dances; recreational dances; communal dances; (modern) theatrical dances; as well as children game dances. Whilst the emphasis is on the notions of composition, performance, and appreciation; issues of how the dances are taught, rehearsed and mastered are touch upon. As such, traces of history, culture, customs and traditions are discussed as means to contextualized the dance forms discussed."

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EDITOR'S COMMENT
Disclaimer:
This series on Ingoma and Indlamu isn't meant to present comprehensive information about these South African dance forms.

I'm merely quoting excerpts from that above mentioned online source. I'm very interested in learning about these dances from anyone else directly familiar with them. Your comments and links will be greatly appreciated.

****
EXCERPTS ABOUT INDLAMU WRITTEN BY VUSABANTU NGEMA
Note: These excerpts are quoted as they are given in that pdf file along with page numbers.
From http://uzspace.uzulu.ac.za/bitstream/handle/10530/71/Symbolism+&+Implications+in+the+Zulu+Dance+Forms+-+V+Ngema.pdf;jsessionid=28025874320FA7591F6FE1EF49FEBFED?sequence=1 [This link is no longer active in July 2023]

 "1. 7.10 Indlamu/ugugadlela
Indlamu is a lively dance, indulged mostly by the young, almost indicative of the surging sea or boiling water. [p. 20]...

...The third type of solo dancing among the Zulus is based on Ukusina* and is divided into two styles. The first one... is improvisational and is accompanied by singing and clapping. Here there are no particular dance patterns to followed by a dancer. But the second type (of the form of solo dancing) is used in team dancing such as Indlamu and Ingoma. In the performance of Isishamina in particular, there is always an introductory solo before the main dance routine. In most Indlamu performances these solo performances are found sometimes in the middle of performances or towards the end...[page 49]

In Isizingili, the focus is mainly on the conversation between the dancer and the drummers. The good dancer is one who can [word missing] while teasing the drummer but still manages to take the drummer along with him in a way that [page 50 begins] they both come up with well executed rhythmic patterns. There is great coordination between the dancer and drummers. The drummers should be attentive to be able to interpret the movements of the dancer precisely." [page 50]
-snip-
*Vusabantu Ngema gives the definition of Ukusina as "stamping". [page 30]

"Young girls at Ndomo also perform some form of dual dancing but they lift the knees and shake them attentively to the rhythm of the drum. This kind of performance is referred to as Indlamu or Ingadlela yezintombi and is done in an accompaniment of song and the clapping of hands by the spectators who usually stand in a circular formation. Couples (girls) take turn in the middle of the centre to perform quick movements described above. [page 51]

Chapter Four
Popular styles in Zulu Dancing
...Dance performances becomes an identity of certain communities, genders, and class. Indlamu, Isicathulo, and Cothoza have always been associated with working class. It is often performed by the migrant workers during their spare time or for inter-district competitions...

The structure of popular dances always consist of a verse and a chorus as opposed to repetitive structures found in ritualistic dances. The basic rhythm patterns and movements are canonized so as to allow everybody (dancers and audience) to follow and appreciate. The essence of [p. 61] popular dance is not the meaning of the movements but the ability to move to the beat with accuracy and style.

4.2 Types of Indlamu
4. 2.1
Indlamu is a team dance performed with the accompaniment of drums and whistles. New developments have sought the introduction of other percussion instruments such as bells, shakers, and Imbomu (wind instrument made out of plastic pipe.) The rhythmic structures associated with Indlamu are always intricate and the movements are somewhat acrobatic.

Some forms of Indlamu make use of sticks and shields hence they are referred to as war dance. The focus and direction of Indlamu dancing suggest advancing and retreating. [p. 62]

[Pancocojams' editor's note: Vusabantu Ngema provides descriptions of various types of Indlamu, including the dance style called "Isizingili".]

Isizingili is perceived less militant compared to other forms of Indlamu. The shields and sticks are also used in the performance of isizingili but the sticks are often covered with fur and the shields are very small. The way in which the sticks are carried suggest less aggression, that is, the sticks are sometimes put under the armpit or held by a left hand.

Compared to other forms of Indlamu, Isizingili is less stamping, instead its movements are more of stepping and kicking. The influence of [p.66] Isikhonde dance (pounding the earth with the knees) and the Ndau and Twa tumbling motions are evident.

Isizingili is the only form of Indlamu by the Zulu people that uses full turns and dives. The influence of the natural world of Umhlabuyalingana (flat land) also have a major influence on the nature of the movements since the major part of that area is sandy.

The performance of Isizingili is divided into two forms, that is, the team and the solo. The team dance is a series of set movements while the solo is improvisational. Team dance is formal while the solo is informal in a sense that even the members of the audience are allowed to partake. Solo dancing always occurs towards the end of the overall performance of Izizingili.

Like most forms of Indlamu, the rhythmical structure of Isizingili is in two fold, that is canonized and non-canonized rhythms. Staggered beats are also a common feature in the performance of Izisingili. Canonized patterns could be regarded as the root and identity of Isizingili dancing. Canonized rhythms are those fundamental rhythmical-patterns which help to distinguish Isizingili from other forms of Indlamu. The non-canonized are those that distinguish an individual/ team amongst other dancing teams of [p. 67] Isizingili. These rhythmical-patterns are based on fundamental aesthetics principles of form, such as variety, contrast, and sequence.

The dancers could either lead the drummers or the dancers could follow the patterns from the drummers. There is always a two-way conversation between the dancers and the drummers...

A rare dimension common only to Isizingili dancing is the movement of the pelvis. The thrusting forward and backwards of the pelvis by dancers of Isizingili suggests the sensuality of the dance. The inclusion of Ingulule (friction drum) sister drum to Ingungu which is used in rituals of sexuality, is also an addiction of sexual dimension to the performance of Isizingili. [p.68] 

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This is the end of that section about Isizingili.

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This is the end of Part II of this series. 

Thanks for visiting pancocojams.

REAL Information About South African Ingoma & Indlamu Dances, Part I

Edited by Azizi Powell

Latest revision- July 8, 2023

This is Part I in a four part series on the South African dance forms Indlamu and Ingoma.

Part I provides excerpts about Indlamu from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu".

Click http://pancocojams.blogspot.com/2015/12/real-information-about-south-african.html for Part II of this series. Part II provides excerpts about the traditional and the contemporary meanings of Ingoma in South Africa from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu". Particular attention in these excerpts is given to description of indlamu dances and, in particular to the dance style called "Isizingili".

Click http://pancocojams.blogspot.com/2015/12/escerpt-about-ingoma-from-1929-1930.html for Part III of this series. Part III provides an excerpt of a research article by Veit Erlmann on Zulu dancing.

Click http://pancocojams.blogspot.com/2015/12/five-videos-of-south-african-indlamu.html for Part IV of this series. Part IV provides videos of Indlamu dancing.

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

All copyrights remain with their owners.

Thanks to Vusabantu Ngema for the information about Zulu culture that is shared online in this dissertation/book.

****
AN ONLINE SUMMARY OF THIS BOOK
In 2012 that dissertation was published in book form. Click http://www.amazon.com/Symbolism-implications-Zulu-dance-forms/dp/384732988X for information about purchasing it. Here's a summary of Vusabantu Ngema's book from that site:

"This book discusses the developments of the Zulu dance tradition from ancient times into the present. The book explores the notions of composition, performance and appreciation of dance among the Zulus. Furthermore, the book also highlights the issues of form and content through various categories under which dancing within the Zulu culture and Africa as whole are performed. The dances discussed range from ritual-ceremonial dances; recreational dances; communal dances; (modern) theatrical dances; as well as children game dances. Whilst the emphasis is on the notions of composition, performance, and appreciation; issues of how the dances are taught, rehearsed and mastered are touch upon. As such, traces of history, culture, customs and traditions are discussed as means to contextualized the dance forms discussed."

****
PANCOCOJAMS EDITOR'S DISCLAIMER
This series on Indlamu and Ingoma are not meant to present comprehensive information about these South African dance forms.

I'm merely quoting excerpts from these online sources.

I'm very interested in learning about these dances from anyone else directly familiar with them. Your comments and links will be greatly appreciated.

****
EXCERPTS ABOUT INGOMA FROM VUSABANTU NGEMA'S DISSERTATION/BOOK
Note: These excerpts are quoted as they are given in that pdf that is cited below along with page numbers.
From http://uzspace.uzulu.ac.za/bitstream/handle/10530/71/Symbolism+&+Implications+in+the+Zulu+Dance+Forms+-+V+Ngema.pdf;jsessionid=28025874320FA7591F6FE1EF49FEBFED?sequence=1 [This link is no longer active.in July 2023]
"It [dance] is a body of history that embodies an explanation and a justification of the existence of the Zulu people and a process through which Zulu people have preserved, evolved, and transformed themselves. [page 2]

...[page 16]
The third focal point shall be on those dances that are popular and recreational. These are the dances that are mainly for recreation and show of[f] of artistry and strength. They are dynamic and spectacular with an aim to out-shine (other competitors). They are often a reflection of some individual flare. These are the dances that are sometimes used at sporting events by young Zulu men and women. They are [p. 17] characterized by strong display of physical strength and character of an individual. They are an important avenue for release of energy.

Definition of Terms
1.7.2 Dance (Ukusina) [pages 18 - 19]
...“In Africa or among Africans dance is not just about steps and their execution instead, it is the expression that goes beyond steps, music, and song. It is the way of life, worship, and training. But AmaZulu refer to Ukusina as that kind of dancing that involves lifting the feet.

1.7.3. Ukudiga
It refers to the kind of dancing that involves the feet in pounding the ground. Ukudiga is commonly used by Izangoma.

1.7.4 Ingoma
The original term for the Zulu anthem was ingoma which referred to the royal dance song that was preferred at that first fruit festival (Umkhosi) every fruit.

...the term ingoma is now used to classify the broad category of Zulu recreational dance.
(Levine; 2005:49)

...1.7.9 Ukugiya
Ukugiya is a wild solo dance of improvisational nature. It is an improvised combination of quick stamps, strides, leaps, and jumps. [page 20]

...The movement which is almost common to all Zulu dances is Ukusina (stamping). Ukusina is central to most forms of Zulu dances that fall under the terms Indlamu and Ingoma. Another common feature of Zulu dancing is Ukugida (pounding).[page 30]

Team dances

Team dances that do not require drum accompaniment are recently being referred to as Ingoma. Although the term Ingoma has always been regarded as a general term for dancing among the Zulu people, it has emerged as term now used (particular) in competitions in order to categorize dancing activities in a much more manageable manner.

Team dances that now fall into the category of Ingoma are dances such as Isishameni, Ukhwaxa/Ubhaca of (Nomgoma and Hlabisa), Ukhwaxa/Isibhaca of (Umzimkhulu) and Isikhomazi from Umkhomazi region. The same principle of naming a dance according to a place, a people, and sometimes a basic movement is also applied on the Ingoma category. Isishameni is named after the river stream called Ushameni at KwaMiya district at Umsinga reserve (J Clegg). Isikhomazi is also named after the area around the river Umkhomazi. Ukhwaxa is named after the sound which comes as a result of the movement whereby a dancer hit the armpit with the knee before stamping the ground. [page 37]

There are other team dances that don't fall under the Indlamu and Indoma categories, for instance Isicathulo/Gumboot dance, Isikapulane/Makwaya, and Isicathamiya... [page 38]

Most of the Isicathamiya and Ingoma groups often call themselves after the name of the firm they work for (Dunlap morning birds) or the hostel they stayed in (Dalton evening stars) and the place they come from (Biyela home tigers). P. 44

The second kind (of the form of solo dancing) is found in team dancing such as Indlamu and Ingoma....”[page 49]

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*I added italics to this sentence to highlight it.

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This concludes Part I of this series.

Thanks for visiting pancocojams.

Visitor comments are welcome.