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05 April 2024 | Story ANTHONY MTHEMBU | Photo SUPPLIED
Vibrant performance at the Mthonyama Arts Festival
Vibrant performance at the Mthonyama Arts Festival.

In a concerted effort to revive and celebrate indigenous knowledge and traditions, both Zabesutu Mpiti a Lecturer and Sikhuthali Bonga an Academic Facilitator, in the Drama and Theatre Arts Department at the University of the Free State (UFS), presented two groundbreaking theatre productions: Macgam and Ijoloba. These productions, which premiered at PACOFS on 15-17 February 2024 and the Mthonyama Arts Festival on 15-17 March 2024 in the Eastern Cape, mark a significant milestone in the institution’s embrace of cultural heritage.

Established in 2022 by Mpiti and Bonga, the Mthonyama Arts Festival is an annual celebration aimed at showcasing and revitalizing indigenous creative practices, including plays originating from the rural areas of the Eastern Cape. Attendees at the festival were treated not only to theatrical performances but also to cultural experiences such as stick-fighting tournaments.

Both Macgam and Ijoloba received enthusiastic responses from the audience at the festival, signifying a hunger for narratives that resonate with African heritage and spirituality.

Exploring the productions

Ijoloba, conceived by Mpiti, is a three-part production inspired by Credo Mutwa’s seminal work, “Indaba, My Children.” The narrative revolves around Ijoloba, a deity sent to restore harmony among humans. Gifted with elements crucial to survival and prosperity, such as water and fertility, humanity’s misuse of these gifts, leads to conflict and the departure of Ijoloba along with her gifts. The subsequent narrative explores humanity’s quest to regain her favour.

Bonga’s Macgam delves into the migration of the Nguni people from central Africa to South Africa, drawing inspiration from Mutwa’s works as well. It also examines the tradition of female initiation schools, through the lens of divine intervention. Conflict arises as characters question traditional practices, reflecting tensions between old and new ways of life. Both productions intertwine themes of ritualism and the role of deities in African culture.

Significance of the productions

Bonga and Mpiti view these productions as pioneering efforts within the institution, breaking away from conventional Western narratives. They incorporated indigenous techniques, such as Dr Obakeng Kgwasi’s Bosophytrics, into their creative processes, emphasising the importance of diverse storytelling methods.

By bringing indigenous stories to the forefront, Bonga and Mpiti aim to foster a culture where such narratives are embraced and celebrated. The benefit in this regard is that students who are starting within the department can see that it is possible to create such work. “Bringing these stories to the forefront is a form of representation and a departure from Eurocentric ideologies allowing space for African spiritual practices to be integrated into the study and practice of drama and theatre.’’

Continuing the journey

Following its successful debut, Macgam has been showcased on various stages, including PACOFS, where it garnered positive feedback. Both productions are set to embark on a tour, with their next stop being Makhanda in the Eastern Cape, as part of the ongoing Mthonyama Arts Festival. 

News Archive

Weideman focuses on misconceptions with regard to survival of Afrikaans
2006-05-19

From the left are Prof Magda Fourie (Vice-Rector: Academic Planning), Prof Gerhardt de Klerk (Dean: Faculty of the Humanities), George Weideman and Prof Bernard  Odendaal (acting head of the UFS  Department of Afrikaans and Dutch, German and French). 
Photo (Stephen Collett):

Weideman focuses on misconceptions with regard to survival of Afrikaans

On the survival of a language a persistent and widespread misconception exists that a “language will survive as long as people speak the language”. This argument ignores the higher functions of a language and leaves no room for the personal and historic meaning of a language, said the writer George Weideman.

He delivered the D.F. Malherbe Memorial Lecture organised by the Department Afrikaans at the University of the Free State (UFS). Dr. Weideman is a retired lecturer and now full-time writer. In his lecture on the writer’s role and responsibility with regard to language, he also focused on the language debate at the University of Stellenbosch (US).

He said the “as-long-as-it-is spoken” misconception ignores the characteristics and growth of literature and other cultural phenomena. Constitutional protection is also not a guarantee. It will not stop a language of being reduced to a colloquial language in which the non-standard form will be elevated to the norm. A language only grows when it standard form is enriched by non-standard forms; not when its standard form withers. The growth or deterioration of a language is seen in the growth or decline in its use in higher functions. The less functions a language has, the smaller its chance to survive.

He said Afrikaans speaking people are credulous and have misplaced trust. It shows in their uncritical attitude with regard to the shifts in university policies, university management and teaching practices. Afrikaners have this credulity perhaps because they were spoilt by white supremacy, or because the political liberation process did not free them from a naïve and slavish trust in government.

If we accept that a university is a kind of barometer for the position of a language, then the institutionalised second placing of Afrikaans at most tertiary institutions is not a good sign for the language, he said.

An additional problem is the multiplying effect with, for instance, education students. If there is no need for Afrikaans in schools, there will also be no  need for Afrikaans at universities, and visa versa.

The tolerance factor of Afrikaans speaking people is for some reasons remarkably high with regard to other languages – and more specifically English. With many Afrikaans speaking people in the post-apartheid era it can be ascribed to their guilt about Afrikaans. With some coloured and mostly black Afrikaans speaking people it can be ascribed to the continued rejection of Afrikaans because of its negative connotation with apartheid – even when Afrikaans is the home language of a large segment of the previously oppressed population.

He said no one disputes the fact that universities play a changing role in a transformed society. The principle of “friendliness” towards other languages does not apply the other way round. It is general knowledge that Afrikaans is, besides isiZulu and isiXhosa, the language most spoken by South Africans.

It is typical of an imperialistic approach that the campaigners for a language will be accused of emotional involvement, of sentimentality, of longing for bygone days, of an unwillingness to focus on the future, he said.

He said whoever ignores the emotional aspect of a language, knows nothing about a language. To ignore the emotional connection with a language, leads to another misconception: That the world will be a better place without conflict if the so-called “small languages” disappear because “nationalism” and “language nationalism” often move closely together. This is one of the main reasons why Afrikaans speaking people are still very passive with regard to the Anglicising process: They are not “immune” to the broad influence that promotes English.

It is left to those who use Afrikaans to fight for the language. This must not take place in isolation. Writers and publishers must find more ways to promote Afrikaans.

Some universities took the road to Anglicision: the US and University of Pretoria need to be referred to, while there is still a future for Afrikaans at the Northwest University and the UFS with its parallel-medium policies. Continued debate is necessary.

It is unpreventable that the protest over what is happening to Afrikaans and the broad Afrikaans speaking community must take on a stronger form, he said.

 

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