African Languages

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A survey of non-Isizulu students’ attitudes towards learning Isizulu as a communicative language at a University in the Gauteng Province, Pretoria.
(2023) Mbatha, Nokuthula Gertrude.
Several students come from different provinces and enrol at a University of Technology (UoT) in Gauteng for the Language Practice programme, because it offers a range of five indigenous African languages as subjects: isiZulu, Sepedi, Setswana, Tshivenda, and Xitsonga. Students who are not native speakers of these languages are expected to choose and learn one of them for communicative purposes. Nevertheless, when non-isiZulu students are offered isiZulu as an option to study, they seemed to be hesitant. Hence, this study aimed to discover the reasons for that perceived reluctance, and to determine if the sampled non-isiZulu students have negative attitudes toward learning isiZulu language, the language itself, and its speakers. The survey has sampled a total of 46 participants, only the Language Practice students within the university. A interpretivism paradigm was adopted in order to explore and understand the participants’ views, background and experiences on the current study, since it aimed to understand the human experience in the world and their impact on social reality. Furthermore, the study implemented a mixed research approach (qualitative and quantitative) which used questionnaires and semi structured interviews for data collection. The Attribution and Self Determination theories underpinned this study. The researcher used descriptive statistics to discuss the quantitative data and thematic analysis for qualitative data. It was found that non isiZulu language students have positive attitudes and used various approaches when learning isiZulu as an additional language at university level. Respondents and participants indicated that they realised the significance of learning isiZulu as an additional language and that they were of the view that learning isiZulu has many benefits and facilitates the promotion of the isiZulu language in South Africa.
African and European narrative conventions in the novels of C.T. Msimang
(2009) Ntombela, Thamsanqa Eugene; Khumalo, Z.L.M.
Like many other nations, around the globe, Zulus are well known for their story telling techniques that is evident in their folktales, praises, riddles, songs and many other art forms of yesteryears. Emanating from such artistry of narrating, the Zulus have also joined forces with the other artists of the modem world in producing narratives of high quality and standard in the light of contemporary prose narratives. Ngcongwane, (1987:36) alludes to this art form as follows: Narrating is an old human activity. All of us do it - just as much as all ofus who are not crippled can walk. Such a statement by Ngcongwane confirms that even Africans are able to narrate stories, be it from a traditional or modem perspective. Sibiya, (2002:1) seems to be concurring with what is said by Ngcongwane when he states that: ... Zulus are renowned for their storytelling abilities that date back to time immemorial. 'Time immemorial' here seems to be confirming exactly what Ngcongwane refers to as 'an old human activity'. This art ofnarration is not only a thing ofthe past, but has been in existence since the ancient era to the present day. The significance of its existence is evidenced in the development and the involvement of the short stories and drama In this chapter we will illustrate the extent of development that has taken place with African writers, specifically the Zulu, being represented by Msimang in his three novels, 'Akuyiwe Emhlahlweni' (1973), 'Buzani KuMkabayi' (1982), and 'Walivuma Icala' (1996).
African culture and its influence on the hymn
(University of Zululand, 1988) Khwela, Princess Phiwakahle.; Nqconqwanc, S.D.
The aim of study is to motivate cultural heritage amongst Africans, to despise the past in their musical ability and be self-!'reliant and original instead of imitating the Western musical systems entirely.
African male voices: representation of women images in selected isiZulu literary texts; reality or idealism?
(University of Zululand, 2016) Mzoneli-Makhwaza, Irene Nini; Zondi, N.B
In this thesis, the research focused on representation of women images in the selected isiZulu literary texts. From the late 1940’s up to 1994 South Africans struggled under the apartheid regime. During this period of time Black women were doubly oppressed by their patriarchal and traditional cultures as well as by the apartheid system of government. With the change of government in 1994, a new era in the history of South Africa was ushered in. The underlying foundations of the new constitution were democratic values of gender equality, non- racial, non sexist society. It is against this backdrop that the thesis focused on exploring the effects and or impact of perceptions about women within a changing and transforming society in Africa in general and South Africa specifically. The isiZulu texts selected that were analysed are works of transitional period partly because they were published during the time of political and social transformation. Whilst other texts that were analysed were published during the post-independence period. The rational behind this was to give a broader spectrum that reflects the reality; as well as to establish whether the socio- political transformation has had an impact on how male authors represent women in isiZulu literary texts. Literary feminist philosophy was employed to highlight whether their depiction is real or idealized. The study concluded that gender inequality was still prevalent in the depiction of women images in selected isiZulu literary texts authored by males. There was no transformation that had been made by male authors in their portrayal of women characters to reflect the current political and social order
Amava abafundisi bolimi lwesizulu ezikoleni eziqokiwe
(UNIVERSITY OF ZULULAND, 2021) Diligence, Samukelisiwe Mbokazi
Amava abafundisi bolimi lwesiZulu ezikoleni eziqokiwe: Ucwaningoqhathaniso ngabathwasiswe ngokwe-PGCE ne-B.Ed emayunivesithi aKwaZulu-Natali: An investigation into the expertise of isiZulu teachers in selected schools: A comparative analysis of PGCE and B.Ed graduates in KwaZulu-Natal universities) The purpose of this study was to explore and make a comparative analysis of Postgraduate Certificate in Education (PGCE) and Bachelor of Education (B.Ed) teachers who are teaching isiZulu as Home Language in selected schools in Northern KwaZulu-Natal. Universities in South Africa produce the bulk of teachers through two different teacher training programmes known as PGCE and B.Ed. As the PGCE has a duration of only one year after a three-year degree whilst B.Ed is a four-year degree, the researcher sought to find out what this means and if there is equilibrium or disparities in practice. The researcher aimed to understand, through empirical research, expertise these teachers have in teaching isiZulu as a Home Language. This qualitative study adopted an interpretive paradigm. Semi-structured interviews, observations and documentary analysis were used as methods for data collection. Vygotsky’s (1978) social-constructivist theory was used as a theoretical framework and a lens for data analysis. Findings of the study revealed that B.Ed teachers are much stronger in using a variety of methods of teaching isiZulu but do not have a strong subject knowledge base. PGCE teachers are trained for a few months and are weak in methods of teaching isiZulu but have a solid theoretical/subject knowledge capacity. The study concludes that something needs to change in the way these teachers are trained in higher education institutions. Some of the recommendations include revisiting the way these programmes are structured, the issue of duration and the need for in-service training for purposes of further upskilling.
An analysis of IsiZulu language in the television drama “Isibaya”: an educators’ functional linguistic and socio-cultural perspectives
(University of Zululand, 2022-12-01) Msweli, Zanele Priscilla
This study investigated the use of the isiZulu language in the television drama Isibaya using a functional linguistic and socio-cultural perspective. The target population of this study was all IsiZulu home language educators in all 11 districts of the KZN province. The accessible population included 15 schools in the King Cetshwayo district close to the researcher. A purposive sampling technique was used to sample participants from the accessible population. The sample was made up of 40 further Education and Training (FET) IsiZulu language educators. A qualitative research methodology and a case study research design were adopted by the study. The data collection instruments used were open-ended questionnaires and 10 extracts from video clips of Isibaya Season 7. The findings from the study revealed that the language used in both polygamous and mononuclear families reveal dominance, power, and gender inequality. Gender inequality and patriarchy are still a characteristic of the Zulu society. The language usage in Isibaya portrays women as individuals who are required to obey the orders of men and give birth to children. Furthermore, the language used by the in-laws suggests that society still views, women as objects in the form of childbearing machines that do not have value in society. On the other hand, polygamy imposes hlonipha (respect) language upon the wives and children. Language of respect (ukuhlonipha) encompasses the entire value system of the social life of the Zulu people. The use of the language of respect in Isibaya has been a source of enrichment to the isiZulu language. The language of respect, however, is more than merely a tradition; it is a spiritual conviction and an essential ingredient in the life philosophy of the Zulu people. Over the past decade, there have been numerous studies regarding patriarchy in television dramas, future studies need to focus on language use in matriarchy in South African television dramas and how it can impact culture.
An analytic study of sonnets in Zulu
(1987) Mlondo, Anthony; Ngcongwane, S.D.
This study has been made possible by our desire to look into the feasibility and effectiveness of the Western poetic devices in the writing of sonnets in Zulu. In chapter one the aim of this study is clearly spelt out. We hope that at the end of the investigation, we shall come out with some suggestions and possibilities of a Zulu type of a sonnet, for, we feel that there was a reason for the English to choose a different style from the Italian. The second chapter deals specifically with the definition of terms. These include, inter alia, the concept "sonnet" as espoused by various linguists; iambic pentameter and the rhyme scheme. In chapter three we firstly defined the major characteristics of sonnets. These major structural features of a sonnet are clearly depicted in Kreuzer's (1955:224) definition of a sonnet, that a sonnet is: a fourteen-line lyric poem, in iambic pentameter, following one or more rhyme schemes. It is clear, therefore, that a sonnet should consist of fourteen iambic pentameter lines and should follow a required rhyme scheme. Furthermore, in this chapter, the two types of sonnets were briefly outlined, namely the Petrarchan or Italian and the English or Shakespearean. The fourth chapter dealt with the formal elements of the three selected poets* sonnets in this investigation, namely, Ntuli, Masuku and Nxumalo. We looked closely into the division into fourteen lines, the iambic pentameter as well as the rhyme scheme that is being followed. As we scrutinised all the sonnets, these poets have contributed, with regard to these three external structural features, we also paid particular attention to their significance, that is, whether they contributed anything towards the delivery and portrayal of ideas contained in each sonnet. Content in Ntuli's,. Masuku's and Nxumalo's sonnets is analysed in the fifth chapter. In our analytic study of content, we looked closely into what each poet was writing about - the proposition each was advancing or the story each poet was telling in each sonnet. We came across a variety of subjects ranging from those discussing death to those that were purely social and political, and those with a religious background. We also looked closely into the approaches and artistic devices which the sonneteers employed in the portrayal of the ideas in their works of art. We noticed that these ranged frcm the less effective straight-forward prosaic narration to the more concentrated use of vivid imagery coupled with the rich and well-chosen words and ideophones. In this chapter we also examined the effectiveness of rhyme in the portrayal of content. In chapter six we analysed Ntuli's, Masuku's and Nxumalo's sonnets with particular attention on the meaning that is conveyed in each of the sonnets they have contributed. We also looked very closely into the techniques the poets employed to relay the four aspects of meaning to the readers, namely, Sense, Intention, Feeling and Tone. We also examined the effectiveness of Masuku's rhyme in the conveyance of the meaning in the sonnets whether it was contributory or not. The possibility of a Zulu type of a sonnet is dealt with in the seventh chapter. The last chapter is the general conclusion where all our observations and suggestions are summarised.
Beadwork: its cultural and linguistic significance among the South African Ndebele people
(2006) Mashiyane, Zwelabo Jacob; Khumalo, L.Z.M.
This study is an attempt at making a classiflcatory scrutiny of the art performed by the Ndebele people of South Africa. It sets out to identify and define Ndebele beadwork by looking very closely to its origin, how it survived the dark days of waging wars and made its way into the modern times. In its classification a clear distinction is drawn between the various periods of development and the characteristics of each period are described well. Several attempts have already been made by a number of scholars on the classification and analyses of Ndebele beadwork. In most analyses we find that very brought and general descriptions have been given. One hardly finds any definite patterns and methods used by a Ndebele bead worker. This study has attempted to describe Ndebele beadwork from the moment of planning to the next step when the first grain of bead is worked through the needle and cotton up to where a real shape is formed. It attempts to explain how the intricate Ndebele shapes are formed and coordinated. The use of the various colours is explained in detail. The wrong impression conceived by a big bulk of people that the Ndebele people use colours indiscriminately is corrected. An explanation is given on how some of the popular colours are linked to speech and how these colours are generally interpreted when used on a piece of beadwork article. It further rounds up the typical shapes popular with the Ndebele bead worker. It describes how each shape is formed and used. It also discusses the cultural beliefs and stereotypes attached to the usage of beads and the restrictions accompanying them. The future of Ndebele beadwork is looked into. Recommendations on how the beadwork trade can be turned into a giant industry are made. Postulatxons are made on what route can be followed that can lead small beadwork handlers into some of the world's greatest.
Challenges for artists in performing and visual arts : a critical appraisal of their impact to South African tourism industry
(2005) Thusi, Nhlanhla Brian; Mathenjwa, L.F.
This study will be focusing on visual and performance artists. It is the plight of artists that they work hard in their artistic disciplines, but do not benefit to the equivalence of their efforts. There are many reasons for this. Crafters are dependent on a sound tourists industry. The study will be looking at some of the reasons and concems then try to provide what could be some answers and solutions. Art is generally thought of as the development of performance skills and or craft manufacturing within a small minority of youth or community performers, usually selected on the basis of talent and motivation. The research leading to this study has been to a large extent, motivated by the need for a more comprehensive and holistic concept This will lend itselfto a fuller exploitation and will have potential for assisting larger numbers of artists to achieve a wide range of educational outcomes in art administration, instrument manufacturing, actual artistic performance and craft production. A large number of arts practitioners internationally feel that understanding a country occurs through its arts and culture. The arts of any country is actually the mirror of the country. This study will look at the arts of South Africa and the impact it has on the proudly SouthAfricans and the tourism industry at large.This study will have two primary purposes: a. to make justification for artists (visual and performance) and, b: to suggest ways in which artists can more prominently and profitably feature in the tourism industry and their sustainability as artists and proud members of South African communities. It is important to note that South African artists exist in highly diverse communities which are influenced by many factors such as: • heritage • cultural fabric • ethnic identity • experiences • different beliefs and convictions
Circular orientation in performance: a study of the cycle of living and its application in the cultural expression like dance
(2009) Ngema, Vusabantu; Khumalo, L.Z.M.
This study focuses on the circular orientation in performances by Abathwa and Abantu speaking people of central and southern Africa. This notion is explored through close examination of space, movements, time and objects used during ritual and recreational performances. The study is informed by the meaning contained in symbolism rooted in Africans’ perception of culture, religion, language, cosmos, science and artistic aesthetics. The first chapter is the general introduction to the study covering aspects such as statement of the problem and hypothesis, rationale, methodology and literature review. It also attempts to give an in depth explanation of the African conception of the circle, the centre and the cycle. It explains how these three concepts are applied in social structure, architecture and ritual performances. The chapter also explains the African cyclical perception of time and life. The second chapter looks at the historical perspective of dance performances by indigenous peoples of southern Africa. The histories and the cultural backgrounds of the Khoisan and the Bantu speaking people, form the bases for the interpretation and understanding of dance performances during rituals, recreation and children games. The third chapter investigates the thematic approach towards the interpretation of dance performances by the Bantu and the Khoisan speaking people of Africa. The emphasis is on the theme of gender and sexuality since it is the theme that plays a central role in most of the ritualistic performances among the Africans. While the emphasis on relationship between genders in the performances, the attention is also paid towards the metaphoric, symbolic and paradoxical representations of African world view through the juxtaposition of gender and sexuality during performances. The fourth chapter examines the use of elements of dance performances in relation to themes of fertility (human and soil) and curing. These themes are discussed because they are the themes that apply to all the people being studied where as themes such as animal (hunting) and acrobatic (masks) can only apply to certain peoples not to the other for one reason or the other. The fifth chapter deals with the aesthetic principles as they apply to African dance forms and performances. It focuses on the application of the elements of space and symbolism contained in other elements of performance such as timing, costume, crafts and objects. The sixth chapter is an investigation of the circular orientation in modern performances and children games. It also examines the continuation of the circular orientation in religious worship-performances. The seventh/the last chapter is about the findings, recommendations and the general conclusion of the study.
Code-switching among students at the University of Zululand
(University of Zululand, 1990) Mqadi, Praxedis Fikile; Mosisidi, B.P.
The purpose of this research is to investigate why students at the" University of Zululand code-switch. The research focuses particularly on environmental and social factors which lead students to code-switch. It also looks into the functions of code switching. On the whole it is intended to contribute to the findings already made on code-switching. Many researchers have found out that people tend to code switch because it has become a habit to do so. Such a reason does not sound linguistically convincing to me. Others claim that people code-switch because they want to display their 'education' or that they come from urban areas or townships. This again is not convincing enough since code-switching is a reality and would seem to come naturally. It is not something one does when one feels like it is usually done unconsciously.
Colour coding and its meaning in Zulu women's beadwork in fashion design and decoration
(2002) Xulu, Clerah Buyisiwe Simangele; Mathenjwa, L.F.
The topic of this thesis is informed by the writer's observation of the trend wherein modemist and traditionalist Zulu women tend to wear. as style, colourfully beaded outfits to decorate their fashion and wear. The colourful regalia is found in ceremonial dress, like isidwaba (cow-hide skirt) and other forms of dress made of cloth and textile. and decorated in beads. The decoration. as observed, is often designed to fit in a particular mode of interpretation, thus promoting the notion of fashion as form of communication interaction and definition of status. It is the hypothesis of the present writer that beads. designed and patterned in a specific way tend not only to communicate certain literal and figurative or poetic meanings, but also to declare fashion as a medium of communication, very much like ordinary speech does. In the context of this thesis Zulu womens' beadwork is a form of colour coding, literary and poetic speech communication and a declaration of fashion as a medium of social interaction, status, and social display. Thus, wearing their colourfully designed beadwork and fashion, Zulu women are always highly visible and recognisable. The thesis is thus confined to introducing the angle of fashion as statement and medium of literary and poetic communication in the creation of the modem and traditional status of a Zulu woman through beadwork. Colourcoding is key because the power of beadwork to communicateThe focus on Zulu Women is for the sake of creating a focus group of study and more so due to the observation by the present writer that in the context of modemist and traditionalist Zulu society, real or imaginary, it is women who wear more beads compared, to any other social group. meaningfully very much depends on the design and patteming of colours.
A comparative study of the influence of the nasal prefix `N' ( from UR- BANTU "NI-") on succeeding consonants at the beginning of some lexical items in Zulu, Xhosa and Southern Sotho
(1990) Lephallo, Amos Thabo
In any language, words are uttered systematically according to certain rules. Each language has therefore its own system. Language may be defined as "a system of utterances governed by a set of.rules". In a language there are partial systems such as Phonetics, Morphology, Syntax, etc. Wnen these partial systems are put together they form a unique system of a particular language. Phonetics is the study of a single speech sound. A word is made up of a number of phonetic units.
The conception and evolution of characterization in the Zulu novel
(1998) Ntuli, Joshua Hlalanempi; Mkhulisi, N.O.
In this research work an attempt is made to clear certain misconceptions and generalizations which prevail amongst certain literary critics, viz that characterization in the Zulu novel is static and should be modelled on the Eurocentric canon. Investigation into this problem shows the opposite. Particular attention is devoted to demonstrating that characterization in the Zulu novel is evolutionary. And it is indeed so. Characterization in the Zulu novel has changed over the changing times under changing circumstances. The study shows that factors such as folktale residual material, traditional beliefs, christianization, urbanization, industrialization, etc. all have in one way or another impacted on the art of characterization in the Zulu novel. For this purpose we have divided the Zulu novel into three different developmental periods. These literary periods are: the period of Zulu narrative which is mostly dominated by folktale material and traditional beliefs. The second period is characterized by traditional beliefs and historical material. This manifests itself mostly in the historical novel. The third period is dominated by the social or psychological novel. Characterization during this period is characterized by such factors as christianisation, acculturation, urbanization, apartheid laws, industrialization which forced people to move to big cities like Johannesburg. During this period social adjustment problems manifest themselves in antisocial, criminal behaviour and maladjustment on the part of the characters who find themselves in this strange environment. It is, however, important to note that these periods are not watertight entities. But research has shown that a progression - retrogression tendency is found amongst the Zulu novel writers. A case in point is the impact of ancentral beliefs which transcends the three periods of the novel investigated. This means one cannot divorce entirely a literature from its past, which is why we accept lyesere's theory that the modern writer is to his indigenous oral tradition trapped as a snail is to its shell. Even in foreign habitat, a snail never leaves its shell behind, (The Journal of Modern African Studies 1975: 107-119). The study shows that characterization in the Zulu novel follows a definite pattern of development. Therefore the Zulu novel is a literature in its own right. The research shows that the present Eurocentric tools of criticism have grown alongside western literacy tradition, but definitely outside the African milieu. It is noted that characterization in the Zulu novel has been, to a very large extent, influenced by the cultural and traditional background of the Zulu people. The study shows that while using general laws of literary criticism scholars must be mindful of the fact that the Zulu novel is a novel in its own right and has peculiar characteristics of its own.
A critical analysis of M E Ngcobo’s sociological radio plays
(2010) Zulu, Timothy Badwini Mhlasilwa; Khumalo, L.Z.M.
This study gives the critical analysis of Ngcobo’s sociological radio plays. The written plays are examined. The work is arranged as follows: Chapter one is the general introduction of the study. It paves the way the study will be conducted which includes among other things; hypothesis, aim of study, scope of study, definition of concepts, research methodology, theoretical approaches to the study, the characteristic nature of radio drama, an influence of traditional drama and the synopsis of all serial radio plays. Chapter two explores the various theoretical approaches that are applicable in such the study of radio plays; inter alia; sociological, structuralism, reader, moral – philosophical, reception, intention, historical – biographical, semiotics and New Criticism approaches. Chapter three looks at the understanding structure of the radio plays where amongst other things explores the aspects of society that radio play addresses. It gives comparisons of social aspects, social disorder / revolt and looks at how Ngcobo addresses such social revolts in order to bring about social restoration. Chapter four focuses on the comparisons of the radio plays with regard to style, temporal which includes time and space. It further focuses characters / actors and narration. Chapter five looks at the linguistic appropriateness of the radio plays. It seeks to ascertain Ngcobo’s language how it suits his characters, situation, addresses the questions and answers’ relationships as they crop up in the plays. Monologue as an integral part of psychological process describes a mode of mental processes which include sadness, elation and desolation as felt by characters. It assesses Ngcobo’s usage of dialogue and also looks at other factors such as mood, place, sound effects, music and sound effectiveness as important components that heighten the development of the play to the horizons for its effectiveness. Chapter six deals with meaning and interpretation of the radio plays whereby it deals with the intention, significance, emerging factors that arise further enhance the development of the plays. Apparent and challenges that the playwright poses on his plays are also highlighted. Chapter seven is the concluding chapter. This looks at the thesis in its final analysis which gives the summary, findings and observations. It examines the challenges and contributions of the study with a critical overview and conclusions. Lastly it suggests some future research on the study of serial radio drama by showing the important elements as discovered in this study.
A critical study of contemporary practice of Ulululation (ukukikiza) and its current values among the Zulus
(2002) Sikhosana, Eugenia Lindiwe Zamandelu; Mathenjwa, L.F.
Ululation is a folklore practise that is performed all over the world. In Europe for instance it signifies cries of pain. Among Arabic peoples it indicates an expression of joy. In Africa the practice of ululation is common in most cultures. It is common in most cultures of the South African people too. Ululation is gender specific in the sense that solely women perform it. During ululation spontaneous and shriek sounds are produced by women who act like they are possessed by evil spirits. People who do not come from ululating cultures do not understand ululation. They see nothing but disruption when people ululate. Hence white priests in churches discouraged it. The reason was that they thought it to be chaotic.
Cultural and historical tourism as core for local economic development at eNdondakusuka Municipality
(2002) Nzimande, Sipho Justice; Mathenjwa, L.F.
This study comes from the direction of investigating and arriving at an option that can be looked as an alternative for the economic development of the area of e’Ndondakusuka. Different researches have been conducted in the area since the introduction of RDP policy. The then Mandeni, was seen as having social and economic depression, and investigations were conducted in order to look at the v part of it. The area's council started to initiate discussions that resulted to workshops, workshops that led to implementation strategies being recommended for the area. Cultural and Historical tourism was seen as one of the ways to explore in order to provide solutions to the declining social and economic facets of the area. This study, therefore has established its route and baseline measure along the lines of the above but highlighting the Anglo-Zulu War as means to an end. The route starts by outlining e'Ndondakusuka sub-cluster of historical sites the Kraal / umuzi, the Cultural centre and a Conference centre as core facilities on the same site and ends at Ulundi. The reason for it to end there is that the significance of these wars was based on the British soldiers following Cetshwayo to Ulundi. The road R66, which starts from R102 around Gingindlovu, passing through Eshowe, Melmoth and joined by Ulundi road, is the baseline of the Anglo-Zulu War route. Options in terms of how the route could be made to attract crafters in order for them to find markets, have been emphasized. Options in terms of how inland tourism could be made to interchange with the coastal tourism, have been made mention of. Because the route is mainly grounded around and on Anglo-Zulu War significance, it is therefore seen as of both national and international attraction
Developing learner’s language competence through IsiZulu literary and non-literary text analysis
(University of Zululand, 2012) Msweli, Zanele Priscilla; Khumalo, L.Z.M.
This study explores developing learner‟s language competence through literary and non-literary texts. The topic of the study: “Developing learner‟s language competence through literary and non-literary analysis is introduced. It is maintained that language educators‟ focus is on analyzing literary texts: poetry, novel, drama, folklore/folktale, short story and essay but not on designing their own texts. The learners should be encouraged to produce their own authentic texts. It is also assumed that non-literary texts are not analysed or developed. There is lack of emphasis on language: sentence construction, for when learners produce their own texts they should know how to construct a sentence. It is also maintained that language usage should also be emphasized because texts are assumed to have figures of speech, idiomatic expressions and proverbs. Learners should be encouraged to create their own texts and present them. Therefore the language competence through isiZulu literary and non-literary texts analysis should be developed. This discussion includes ways learners can develop their language competence through literary and non-literary texts analysis and the ways the language educators can teach learners language competence through literary and non-literary texts analysis. The research analyses different types of isiZulu literary texts to show how language competence can be developed through literary texts analysis. The novel, “Insila KaShaka,” poetry, short story, “Intando Kamufi,” essay, “Izifungo,” folktales and the drama, “Kudela Owaziyo” are analysed.
The educative value of folk tales among the Zulu
(University of Zululand, 1981) Msimango, Peggy Busisiwe
The aim of this paper is to bring forth the educational value of folk tales as well as the relationship that existed between grandmothers and grandchildren. Education is an old phenomenon amongst Zulus. It existed long before the white man came with a formal type of school.
An evaluation of some storytelling techniques in Zulu music and poetry
(2003) Sibiya, Nakanjani Goodenough; Mathenjwa, L.F.
Storytelling plays a very significant role in the daily activities of human beings. With regard to the significance of storytelling, Compton's Encyclopedia (1994:636) explains: Storytelling is as old as man. People were telling stories to one another, around campfires and waterholes long before written language developed. Like many nations around the world, Zulus are renowned for their storytelling abilities that date back to time immemorial. A look at their folktales, riddles, praises, songs, etc, reveals a rich heritage of unsurpassed storytelling techniques. In this chapter we are going to illustrate why we feel that there is need for an evaluation of how Zulu artists use music and poetry as a platform for communicating messages through stories. We are going to define some concepts that will be used in this study and indicate their relevance in elucidating the storytelling aspect of Zulu music and poetry. We are also going to look at some studies that have been undertaken in Zulu music and poetry and clarify how we intend to tackle this study.

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