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Enwinding Social Theory

Wind and Weather in Zulu Zionist Sensorial Experiences

Rune Flikke

In this article, I place wind and weather at the center of a long healing process. The case study revolves around Thandi, who was one of my main informants and a good friend during three years of fieldwork in a Zulu Zionist congregation. 1 I first

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The Vindication of Chaka Zulu

Retreat into the Enchantment of the Past

C. Bawa Yamba

The article deals with two competing explanations advanced by local people in a Zambian village to make sense of the presence of man-eating crocodiles in the area. One faction explains the events in rational terms, while the other sees them as the work of witches, as a result of which they demand the return of a witchfinder, whose activities a decade ago had left 16 people dead. The article shows how the competing explanations are reflections of political rivalry between the local chieftainess and her detractors, who perceive her attempts to modernize the area as a way to line her own pocket. The rationalized versus enchanted definitions of events form the point of departure for examining some of the underlying premises of the extended-case method, namely, those of perceiving social phenomena as constituting an interrelated whole, and for determining when to close the flow of events for analysis.

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Red Coats and Black Shields

Race and Masculinity in British Representations of the Anglo-Zulu War

Catherine E. Anderson

In its review of the Grosvenor Gallery’s June 1880 exhibition, the Victorian society magazine The Queen juxtaposed reproductions of Carl Haag’s A Zulu (1880) – a striking profile of a black male warrior – and S.M. Fisher’s portrait of Ethel, Daughter of W. H. Peake, Esq. (c.1880) – a young white girl seated and demurely facing the viewer. The magazine’s readers would have been struck at once by the contrasts between the two images: one body, male, adult, black and in a ‘savage’ state of undress; the other, female, child, white and properly attired in so many respectable layers of clothing that only her face remains uncovered. According to The Queen, the figures in these two works ‘represent respectively Barbarism and Civilisation, each in the highest types’

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Laurence Piper

‘The history of the Zulu people is the history of myself’.1 In Africa, as elsewhere, the notion of tradition is bound up with the discourses of ethnicity and nationalism. Typically invoking pre-colonial identities as the basis of peoplehood, such narratives of common descent are imbued with a strong sense of ‘pastness’, orientating the modern self in traditional terms. Anderson explains this invocation of tradition as a feature of the inverted nature of ethnic narratives of common descent.2 More common are accounts which focus on the ‘loss of meaning’ brought about by modernisation and the psychic security offered by an idealised past. Recent theories look to supplant this sense of tradition as reaction with a sense of tradition as creation. One example is Lonsdale’s argument that the affirmation of ethnicity in post-colonial Africa, with its associated invention of tradition, must be seen in the context of internal debates over civic virtue as pre-colonial moral economies are re-structured by the state and capitalism.

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Mark S. Micale

Australia, Afghanistan, China, the Falklands, India, Jamaica, Kenya, New Zealand, and South Africa, in what Byron Farwell has termed “Queen Victoria’s little wars.” 3 The six-month Anglo-Zulu War of 1879, which led to Britain’s destruction of the Zulu

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Hierarchy, Value, and the Value of Hierarchy

Naomi Haynes and Jason Hickel

Zulus proceeds in part from the Native Administration policies of late colonialism, which governed rural areas by imposing a set of so-called customary laws that ossified hierarchies as a way of extending control into the minutiae of domestic life. Today

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Dis-orienting Western Knowledge

Coloniality, Curriculum and Crisis

Zeus Leonardo

opposite of elitism. But worldly in his approach, Said is able to keep his ear to the ground as well. Apposite to the fury over Saul Bellow’s incendiary comment (paraphrased here as ‘Show me the African Proust … or Zulu Tolstoy!’), Said shows his contempt

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Situating Screen Bodies

Brian Bergen-Aurand

2017).” Mfazwe lives in Benoni, Gauteng, South Africa, and is a photographer at the South African platform Inkanyiso (Zulu for “the one who brings light”). In “Love Has No Gender,” we find a summary of Mfazwe’s response to South Africa’s drastically

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The Keys to the Economic Kingdom

State Intervention and the Overcoming of Dependency in Africa before the Crisis of the 1970s

Bill Freund

: Oxford University Press . Lincoln , D. 1988 . ‘ An Ascendant Sugarocracy: Natal’s Miller-cum-Planters ’, Journal of Natal and Zulu History 11 : 1 – 40 . MacGaffey , J. with V. Mukohya , R. wa Nkera , B. Schoepf , M. Mavambu ye Beda

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Contested Memory

Retrieving the Africanist (Liberatory) Conception of Non-racialism

Ndumiso Dladla

sentiments of the Natal delegates become even more understandable ( Sobukwe 1970: 11 ). Significantly, even after the 1994 dispensation, the Zulu playwright and composer Mbongeni Ngema produced a song named Ama’ndia (the Indians). Objections were raised on