ZULU SONG ORAL ART PERFORMING THE PSALMS

I ZULU SONG, ORAL ART PERFORMING THE PSALMS TO STIR THE HEART Applying indigenous form to the translation and performance of some praise psalms June Frances Dickie Submitted in fulfilment of the academic requirements for the degree of Doctor of Philosophy in the School of Religion, Philosophy, and Classics, University of Kwa-Zulu-Natal, Pietermaritzburg, South Africa Pietermaritzburg, 2017 Supervisors: Professor Jonathan Draper and Dr Ernst Wendland II DECLARATION Submitted in fulfilment / partial fulfilment of the requirements for the degree of Doctor of Philosophy in the Graduate Programme in Biblical Studies, University of KwaZulu-Natal, Pietermaritzburg, South Africa I, June Frances Dickie, declare that The research reported in this thesis, except where otherwise indicated, is my original research This thesis has not been submitted for any degree or examination at any other university This thesis does not contain other persons’ data, pictures, graphs or other information, unless specifically acknowledged as being sourced from other persons This thesis does not contain other persons' writing, unless specifically acknowledged as being sourced from other researchers Where other written sources have been quoted, then: Their words have been re-written but the general information attributed to them has been referenced Where their exact words have been used, then their writing has been placed inside quotation marks, and referenced a b This thesis does not contain text, graphics or tables copied and pasted from the Internet, unless specifically acknowledged, and the source being detailed in the thesis and in the References sections 20 January 2017 June Frances Dickie _ Prof J Draper Date 26th January 2017 _ Date III ABSTRACT Bible translation needs to communicate the original message in a form that is accessible and acceptable to the local community This requires utilizing the communication media and forms the people use in everyday life In the case of translating psalms into isiZulu, this involves using oral media and forms of Zulu poetry and music, to produce a translation that communicates effectively Oral communication is still the preferred form of transmitting a message in Zulu society A Bible translation that is to be heard must be prepared with particular attention to aural features, and this has not yet been done in isiZulu Moreover, when translating biblical psalms, attention must be given to poetic features to ensure that the functions achieved by them in the Hebrew text are achieved in the isiZulu text Within oral communication, performance, is a key element; performing the isiZulu translation allows the verbal text to be complemented by paralinguistic and extra-linguistic features, thereby more fully communicating the richness of the original Moreover it allows the audience to be a vital element in the creation of the text and its acceptance as biblical orature Another problem which this study seeks to address is the difficulty many young isiZulu speakers have with understanding, or relating to, the current Bible translation As it is based on formal-equivalence, it is not easy to read Also, many young people have little ownership of the text, and view the current translation as a “black box”, unknown and irrelevant Thus this research includes an empirical study facilitating experimental translations of some praise psalms by Zulu poets and musicians, using current thinking in orality and performance studies applied to Bible translation The result is translations which draw on the izibongo cultural form in striking and beautiful isiZulu, with all the aesthetic and rhetorical force of the original Also, by giving attention to the rhythm, the poems could be easily transformed into songs, adding to their aesthetic value and making them more memorable Moreover, it is clear that young isiZulu speakers revel in the opportunity to explore the process of Bible translation and to own the translated text The results of this research suggest that the process could be replicated in the translation of texts in other poetic sub-genres and in other languages, and could greatly enrich future Bible translations and complement more fully the ministry of the church IV With thanksgiving for my parents, Betty and Sandy Dickie, who taught me so much by their example, and with much praise to the LORD of the Psalms ‫ּומהֻ לָּ ל ְמאֹ ד‬ ְ ‫גָּדֹול יְהוָּה‬ ACKNOWLEDGEMENTS A very sincere thank-you to my supervisors, Prof Jonathan Draper and Dr Ernst Wendland, for their kind and very helpful guidance Grateful thanks, too, to Tankiso Mokoena and S’fiso Hlongwa for their valued assistance V ABBREVIATIONS ABCFM ABM ABS BFBS BSSA ESV ISTS LXX MT NASB NEB NET NIV NJB NJV NLT REB RSV SIL TEV TOB V American Board of Commissioners for Foreign Missions American Board of Missions American Bible Society British and Foreign Bible Society Bible Society of South Africa English Standard Version International School of Translation Studies Septuagint (Hebrew Scriptures translated into Greek) Masoretic Text (of the Hebrew Scriptures) New American Standard Bible New English Bible New English Translation New International Version New Jerusalem Bible New Jerusalem Version New Living Translation Revised English Version Revised Standard Version Summer Institute of Linguistics Today’s English Version Traduction cumộnique de la Bible (Alliance Biblique Franỗaise) verb VI TABLE OF CONTENTS Page Introduction 1.1 Purpose of the research 1.2 Background to study 1.3 Preview of the following chapters 1.4 Benefits gained from this study Translation 2.1 History of translation theories Current issues 2.2 History of Bible translation into isiZulu 2.3 Importance of the context of a text 2.4 Importance of genre 2.4.1 Poetry – general characteristics Focus on sound Focus on emotive language 2.4.2 Translator of poetry – characteristics 2.5 Literary-rhetorical translation 2.5.1 Paraphrase? Literal? 2.5.2 Features of a Literary-rhetorical translation 2.5.3 Appropriateness of a Literary-rhetorical translation 2.5.4 Steps in doing a Literary-rhetorical translation 2.5.5 Assessing a Literary-rhetorical translation Traditional criteria for evaluating Bible translation Evaluating fidelity in non-print translation Additional criteria to evaluate a literary-rhetorical translation Artistry Aurality Acceptability 14 17 18 19 18 21 22 22 23 24 24 24 25 26 28 28 29 31 31 32 32 Orality and Performance Criticisms 3.1 Insights from Orality Studies 3.1.1 Use of formulas 3.1.2 Oral texts compared to written texts 3.1.3 Impact of literacy on oral communicators 3.2 Memorization 3.2.1 Techniques of memorizing Memorisation in oral societies Memorisation in literate societies 3.2.2 The role of cultural memory in oral performance 3.3 Zulu oral art 3.3.1 Communal nature of oral art 3.3.2 Written literature utilizing oral forms 3.4 Performance Criticism 3.4.1 Importance of paralinguistic and extra-linguistic cues 3.4.2 Particular meaning assigned to words in performance 34 34 34 35 37 37 37 38 39 39 40 41 42 43 43 44 VII 3.4.3 Importance of audience interaction Reception Theory African audience interaction 3.4.4 Uniqueness of each performance “Original text”? 3.5 Application of orality studies to biblical studies 3.5.1 Orality in biblical times Orality in the general community in biblical times Oral transmission of Scripture Oral features in the biblical text Hebrew Bible New Testament 3.5.2 Impact of orality studies on Bible translation into isiZulu 3.6 Application of performance studies to biblical studies 3.6.1 Performance in biblical times Imagining how the text was originally performed Considering the role of the audience in biblical times 3.6.2 Impact of performance studies on Bible translation Poetics 4.1 Distinguishing features of poetry Aesthetic character of poetry Rhetorical power of poetry 4.1.1 Hebrew poetry Genres within psalms Hymns of praise Cultic or personal? Distinguishing features of Hebrew poetry 4.1.2 Zulu poetry 4.1.2.1 Izibongo Example: Izibongo of Shaka Use of izibongo through the years 4.1.2.2 Shembe hymns Orality in the Shembe church Inclusion of Zulu cultural features 4.2 Poetic devices at word level 4.2.1 Metaphors and similes Metaphor in Hebrew poetry Metaphor in Zulu poetry 4.2.2 Formulas and metonymy Formulas in biblical poetry Metonymy in biblical poetry Formulas in Zulu poetry Metonymy in Zulu poetry 4.2.3 Alliteration and assonance Alliteration and assonance in Hebrew poetry Alliteration and assonance in Zulu poetry 45 46 47 48 49 50 50 50 52 54 54 55 56 57 58 58 59 59 63 63 63 63 64 65 65 66 67 67 68 69 74 76 76 76 78 78 78 79 80 80 80 81 82 82 82 83 VIII 4.2.4 Rhyme Rhyme in Hebrew poetry Rhyme in Zulu poetry 4.2.5 Other phonic patterning 4.2.6 Repetition Repetition in Hebrew poetry Repetition in Zulu poetry 4.3 Poetic devices at discourse level 4.3.1 Parallelism Parallelism in Hebrew poetry Parallelism in Zulu poetry 4.3.2 Chiasm Chiasm in Hebrew poetry Chiasm (and circular patterns) in Zulu poetry 4.3.3 Inclusio Inclusio in Hebrew poetry Inclusio in Zulu poetry 4.3.4 Acrostic Acrostic in Hebrew poetry 4.3.5 Poetic line and meter Poetic line and meter in Hebrew poetry Poetic line and meter in Zulu poetry 4.3.6 Terseness of style Terseness of style in Hebrew poetry Terseness of style in Zulu poetry 4.4 Literary rhythm Ethnomusicology 5.1 Hebrew music 5.1.1 Choral singing 5.1.2 Use of instruments and dance in Hebrew music 5.2 Zulu music 5.2.1 Features of Zulu music 5.2.2 Insights from the past Methods to be avoided Exemplary elements 5.2.3 Zulu Vocal Music Voice parts Timbre Harmony Melody and Speech Relationship of words to notes Lyrics and melody 5.2.4 Rhythm in Zulu music Meter in Zulu music Dance in Zulu music 5.3 Examples of sung Scripture using traditional forms 83 83 83 84 84 85 85 86 86 86 88 90 90 90 92 92 92 92 92 92 93 94 95 95 95 96 98 98 99 100 100 101 103 103 104 104 105 105 106 106 106 107 107 108 108 109 IX 5.4 Influences on traditional Zulu culture 110 Summary statement at conclusion of theoretical study 112 Research methodology 6.1 Key insights from the literature study (chapters to 5) 6.2 Overall research design 6.3 Planning phase 6.3.1 Composition of the data 6.3.2 Choice of the psalms 6.3.3 Logistical planning for workshops Connecting with the leaders Selecting a team of research assistants Preparing the content of the workshops Planning with respect to data issues 6.4 Execution phase 6.4.1 Workshop 6.4.2 Workshop 6.4.3 Workshop 6.4.4 Workshop 113 113 115 115 115 116 117 117 118 119 119 119 121 122 123 123 Analysis of Psalm 134 7.1 Literary-rhetorical analysis 7.2 Evaluation of workshop psalms 7.2.1 Exegetical acceptability 7.2.2 Poetic analysis 7.2.3 Performance features 7.2.4 Evaluation of functions achieved by poetic features 7.2.5 General evaluation of the workshop translations 125 125 134 134 136 140 141 144 Analysis of Psalm 93 8.1 Literary-rhetorical analysis 8.2 Evaluation of workshop psalms 8.2.1 Exegetical acceptability 8.2.2 Poetic analysis 8.2.3 Performance features 8.2.4 Evaluation of functions achieved by poetic features 8.2.5 General evaluation of workshop translations 147 147 158 158 162 165 167 173 Analysis of Psalm 145:1-7 9.1 Literary-rhetorical analysis 9.2 Evaluation of workshop psalms 9.2.1 Exegetical acceptability 9.2.2 Poetic analysis 9.2.3 Performance features 9.2.4 Evaluation of functions achieved by poetic features 9.2.5 General evaluation of workshop translations 174 174 183 183 187 188 189 197 X 9.3 General summary of poetic devices used / functionality achieved in the workshop translations 197 Conclusion to the psalm analysis 198 10 Analysis of questionnaires and interviews 10.1 Questionnaire data Interpretation of the questionnaires in the light of theory 10.2 Interview data 10.3 Possible improvements for future research 199 199 199 200 202 11 Conclusions 11.1 Contribution of the theory to the empirical work 11.2 Research findings with reference to initial research questions 11.3 Advantages obtained by the workshops 11.4 Evaluation of the success of using the literary-rhetorical approach 11.5 General conclusions from the empirical research 11.6 Limitations to the study 11.7 Problems to be overcome 11.8 Considerations for further research 11.8.1 An online platform for community poets? 11.9 Final conclusion 203 203 203 205 207 207 209 209 209 211 212 12 Bibliography 214 13 Appendices Translations Appendix 1a: Psalm 134 translations Appendix 1b: Psalm 93 translations Appendix 1c: Psalm 145 translations Other Appendix 3: Composers and Song Numbers Appendix 4: A methodology for converting text to song Appendix 5: Participant Questionnaire Appendix 6: Interview Schedule Appendix 7: Consent Form Appendix 8: Information Sheet Appendix 9: Dictionary items (isiZulu – English) On DVD (accompanying this volume): Appendix 2a: Audio recordings from workshops Appendix 2b: Video recordings from workshops Appendix 2c: Interview recordings from workshops 245 274 311 343 345 346 349 351 353 356 346 Appendix 5: Questionnaire (also available in isiZulu – see next page) Name: Gender: Church Age (under 30 / over 30) Home language: Date: Are you a regular member of a Christian church? Please put “X” next to those responses which are true for you (There is no wrong answer.) I enjoy listening to poetry but not write poetry myself I am not all that interested in poetry I am a poet I like to read the psalms in the Bible I like to hear the psalms being read in church by someone else I would rather sing a psalm than read it or listen to it being read I not really know the psalms I have discovered new things about the psalms and about the Bible from this study If true, please say what you have learned: For participants: I would like to get to know the Bible better through more study like this one 10 Which psalm did you like best? Why? 11 I would be interested to make my own translations of some psalms and put them online as part of a competition, and to get feedback from others who are interested 12 I would like to make small videos of performances of my (Psalms) translations and put them on youtube for others to see and comment on 13 I would like to spend free-time making my own psalms translations (and maybe performances of those) and seeing what others do, through an online site After the performance: 14 I did not think the songs/poems today sounded like Scripture 15 The message of the songs/poems was the same as that from the Scripture reading 347 16 I liked the songs/poems I heard / sang today 17 I think the psalms should be read rather than sung 18 At least one of the songs/poems sounded like a true Zulu song 19 Some people might say the rhythm (in some of the songs) was not right 20 I am not sure if all Zulu people would enjoy these songs 21 I could understand the songs easily 22 Some Zulu people will not find the songs easy to understand 23 Which song/poem did you like best? Why? 24 Do you remember the words of any of the songs? If so, please give the words you remember best Thank you very much! 348 Isengezelelo (Appendix 5): Uhlu Lwemibuzo (Participant Questionnaire) Igama Usuku: Ibandla Ubulili: Ubudala/Iminyaka: Uyaya izikhathi eziningi enkonzweni? Indawo okhulele kuyo: Sicela ufake u ”X” eduze kwempendulo ovumelana nayo (Ayikho impendulo eyiphutha) Ngiyakuthokozela ukulalela ukuhaywa kwezinkondlo kodwa hhayi ukuziqamba Anginawo impela umdlandla wezinkondlo Ngiyimbongi Ngikukhonzile ukufunda Amahubo ebhayibhelini Ngingakuthokozela ukuzwa Amahubo efundwa ngomunye umuntu enkonzweni Ngingakuthokozela ukulicula Ihubo kunokulifunda noma ukulilalela lifundwa Angiwazi impela Amahubo Amaculo aculiwe namuhla awazwakalanga efana nacashunwe eMbhalweni oNgcwele Ngiwathandile amaculo engiwezwe eculwa namuhla 10 Ngicabanga ukuthi Amahubo kumele afundwe kunokuba aculwe 11 Libekhona nokho iculo elilodwa elizwakale njengeculo langempela lesiZulu 12 Abanye bangathi isigqi kwamanye amaculo besingashayi khona 13 Angikholwa ukuthi bonke abantu abangamaZulu bangawathokozela la maculo 14 Bengiwezwa ngiwaqonde kalula amaculo 15 Abanye abakhuluma IsiZulu ngeke bawaqondisise kulula la maculo 16 Yiliphi iculo olithande kakhulu? Beka isizathu? 17 Akhona kodwa amagama owakhumbulayo kula maculo aculiwe? Uma kunjalo, sicela usho lawo magama owakhumbula kangcono Sibonga kakhulu ngokuba yingxenye yalolu cwaningo 349 Appendix 6: Interview Schedule (Also available in isiZulu – see next page) Name: Home language: Home town / village: Gender: Age: Which song or poem did you like best today, and why? Which words you remember best from a song / poem today? Do you think the songs and poems today sounded like Scripture, or just like “gospel songs” or Christian writing? What did you like best about the songs / poems? Do you think the Zulu people you know would like to create or hear more songs or poems like these? If so, please explain why Thank you very much for participating in this study 350 Isengezelelo (Appendix 6): Ingxenye Yokuxoxisana (Interview Schedule) Igama: Ubulili: Ubudala/Iminyaka: Ulimi lwebele/lwasekhaya: Idolobha/indawo ozalelwe kuyo/kulo: Yiliphi iculo nenkondlo olithande kakhulu namuhla, kungani ulithandile? Yimaphi amagama owakhumbula kangcono kumaculo noma kwinkondlo? Ngabe amaculo nezinkondlo ezenziwe namuhla awakala enomehluko kumaculo esiwezwa zintsuku zonke? Yini oyithande kakhulu ngamaculo nezinkondlo? Ucabanga AmaNguni angakuthanda ukuqamba nokulalela amaculo nezinkondlo ngalendlela ozwengayo kwenziwa? Uma kunjalo sicela uchaze kungani usho njalo Sibonga kakhulu ngokuba yingxenye yalolucwaningo 351 Appendix 7: Consent Form (also available in isiZulu – see next page) Please put “X” next to your response I agree to participate fully in this Psalms Workshop Yes No I give permission for the song I compose to be recorded on a digital recorder Yes No I give permission for the song I compose to be recorded on a video Yes No I give permission for the study data to be included in the thesis Yes No I acknowledge that copyright for the songs composed will belong to the group leadership and not to me personally Yes No I understand that I will receive no payment for participation in this workshop Yes No Signed: Name: Church: Date: Place: 352 Isengezelelo (Appendix 3) Ifomu Lemvume (Consent Form) Sicela ubeke u “X”eduze kwempendulo yakho Ngiyavuma ukuzibandakanya nombhidlango wokucobelelana Yebo Qha ngezinkondlo namaculo kuqalwa kuze kuyophela Ngiyanikezela ngemvume yokuba iculo engizoliqamba Yebo Qha lingaqoshwa kwisiqophamsindo Ngiyanikezela ngemvume yokuba iculo engizoliqamba liqoshwe Yebo Qha ngomshini wezithombe ezihambayo Ngiyanikezela ngemvume yokuba ulwazi engilufakile Yebo Qha lungashicilelwa emqulwini walolu cwaningo Ngiyakuqonda ukuthi amalungelo obunikazi bamaculo Yebo Qha esizowaqamba azoba ngawobuholi bebandla angabi ngawami Ngiyabanika abaphathi bami imvume yokusebenzisa amaculo ami Yebo Qha njengokubona kwalo Ngiyaqonda ukuthi ngeke ngikhokhelwe ngokuba yingxenye yalo mcimbi wokucobelelana ngolwazi Isignesha/ushicilelo: Igama: Ibandla: Usuku: Indawo: Yebo Qha 353 Appendix 8: Information Sheet (also available in isiZulu – see next page) In this study, we will learn together how to translate the Bible, about poetry in the Bible (especially the psalms) and about the characteristics of Zulu poetry, especially the izibongo We will explore together about Zulu rhythm, and then we will try to translate a psalm from the Bible, using the style of Zulu poetry and rhythm It is an experiment to see if we can come up with a translation that people like and can sing easily You can work in a group, or alone, when you translate the psalm You will be given help with understanding the meaning, and you will then play with poetic ideas and come up with your own composition The idea will be for it to follow Zulu rhythm so that it can be sung or performed as a spoken poem There are no right or wrong translations This is an experiment, to give you the chance to come up with a song or poem from the Bible that you like, and others may enjoy too The study will consist of workshop sessions The training and practice will take place on Saturdays from 8.30am to 4.30pm, and the performance of the songs on Sunday in the church service The songs will be recorded (if you give permission) and you will be given a CD copy to keep At the workshop, you will be given something to eat and drink at the morning break, and again at lunch; also, transport money will be reimbursed, if it is too much for you Otherwise, there will be no payment for participation in the workshop, and the copyright of the songs composed will belong to the church, not to you It is hoped that you will enjoy the experience very much, and be happy to share your gifts with your church community At the end of the workshop, you will be asked to complete a questionnaire, asking you about what you liked or didn’t like There are no wrong answers on the questionnaire Some of you will also be interviewed, and asked short questions about what you enjoyed in the workshop These interviews will be recorded The data collected by the researcher will be confidential, and not told to anyone, including the pastor The pastor will be given a report of how the workshop proceeded; names will be included of the participants from his church, but your answers to the questionnaire and interview will be confidential and not shared with anyone in the church The only people who will see that information are the researcher, her assistants, and the professor (all of whom will keep the information confidential) The questionnaire responses and information from the interviews will be kept for five years in a safe place, and then destroyed If you would like to contact anyone about the research, please use the following details: June Dickie 071 514 2642 junedickie@gmail.com Professor Draper 082 076 8898 draper@ukzn.ac.za Research Office 033 260 8350 snyman@ukzn.ac.za Thank you very much! 354 Isengezelelo 8: Yiphepha Lolwazi (Information Sheet) Kulesi sifundo sizofundisana ngokususela imibhalo ebhayibhelini niyise emaculweni nasezinkondleni (ikhakhulukazi Emahubeni) kanye nangemicikilisho nobunjalo bezinkondlo zesiZulu, ikakhulukazi izibongo Sizocwaninga ndawonye mayelana nesigqi esizulwini, bese sizama ukuhumusha ihubo esilithathe ebhayibhelini, sisebenzisa isitayela / indlela yezinkondlo zesiZulu kanye nesigqi Lolu phenyo noma ukuhlola ukuthi singaqhamuka yini nesihumusho esingathandwa ngabantu futhi basicule kalula Ningasebenza niseqenjini noma ungawedwa lapho uhumusha ihubo Uzonikezwa usizo ekubeni uqondisise ukuthi kuthiwani, uyobe sewudlaladlala ngemiqondo enobunkondlo bese nawe sewubuquka nobakho ubumbongi uqhamuke / uqambe eyakho inkondlo noma ihubo Inhloso kuzoba kungukuba lilandele isigqi sesizulu ukuze liculeke Akukho okuzothiwa kulungile noma okuzothiwa akulungile kulokho ozobe ukulobile Loku kungudlola / ukuhlola ngenhloso yokukunika ithuba lokuba usungule iculo olithandayo elisuselwe ebhayibhelini abanye njalo bangathanda nokulicula nje bo Lokhu kufunda kuzoba nezingxenye ezine Ukuqeqeshwa lokhu kunokuvivinywa kuzokwenzeka ngeMigqibelo kusukela ngo8.30AM – 4.30PM Bese amaculo ethulwa ngeSonto enkonzweni yangesonto Amaculo azoqoshwa (uma unikeza leyomvume) wena ke uyonikezwa ikhophi yeCD ozozigcinela yona Kule workshop nizophiwa okuphuzwayo namakhekhe ekhefini lasekuseni, besekuthi ngedina niphiwe amaboerewors rolls nezithelo, imali yokuhamba nizobuyiselwa yona ngokuhambisana nenani elibizwa ematekisini Ngaphandle kwalokho ngeke kube khona inkokhelo ngobukhona bakho kule workshop Ubunini (copyright) bamaculo azoqanjwa kuyoba ngowesonto ayo owakho Siyethemba ukuthi niyokuthokozela okuzokwenziwa niphinde nithokozele ukwendlala iziphiwo emabandleni enu Ekugcineni kwale workshop abanye benu bazocelwa ukuba kubuzwe ngomsebenzi esiwenzile kusuka ekuqaleni kuze kube isesiphethelweni Azikho ke izimpendulo okuyothiwa azilungile Nizophinde imibuzo emithathu emifishane ephathelene nokuthi yini ekuthokozisile kule workshop Imibuzo nezimpendulo kuyobe kuqoshwa bese unikezwa ikhophi yalokho okuqoshiwe ukuze kuqinisekiswe ukuthi uyavumelana nalokho okubhaliwe Ulwazi oluzobe luqoqwe ngumuphenyi luzoba imfihlo, lungatshelwa muntu ngisho nomfundisi imbala Umfundisi uyonikezwa umbiko wokuthi iworkshop ihambe kanjani kanye nohlu lwamagama lwalabo abazobe bemele isonto, kodwa izimpendulo zemibuzo ozobuzwa yona iyoba yimfihlo kungazi muntu ngayo ebandleni Kuphela abantu abanokubona lolu lwazi yilaba abenza loluphenyo; nalaba ababasizayo; kanye noPhrofesa (bonke bayolugcina lolulwazi luyimfihlo) Imibuzo nezimpendulo nalo lonke ulwazi olutholakele luyogcinwa endaweni iminyaka emihlanu bese luyashabalaliswa Uma ufisa ukuthintana nanoma ubani ngaloluphenyo, sebenza izindlela zokuxhumana ezilandelayo: June Dickie Phrofesa Draper 071 514 2642 082 076 8898 junedickie@gmail.com draper@ukzn.ac.za 355 Research Office 033 260 8350 Siyabonga kakhulu snyman@ukzn.ac.za 356 Appendix 9: Dictionary items (isiZulu – English) Dictionaries used (see Bibliography): B = Bryant C1 = Colenso, 1878 C2=Colenso, 1884 D = Doke et al K=Kropf DN = Dent and Nyembezi R=Roberts S=Samuelson -ahlukanisa: -anda: -awo: -babaza: -bamba: -bambelela: -bandla: bayede!: beka: -bhinca: -bhodla: bonga: -bungaza: -busa: busisa: -chaza: -dala: dlinza: -dloba: -dlondlobala: -dlula: dumisa: ehlisa: -embesa: -enza: -esabekayo: -ezinye: -faka: -fakaza: -fanela: -fanisa: separate (DN) increase in extent (D: 235); increase, multiply (DN) possessive pronoun, their (D) praise, acclaim (DN) hold back (D: 221) hold fast onto (DN) assembly, religious denomination (DN) Hail! your Majesty! A word of salutation only used to the Zulu king (B:25) put, place (D); put down in a certain place (K) put on, wear (DN) roar (DN) give thanks; praise (DN) show affection to, caress (D); entertain (DN) govern, reign (DN) help or make to rule or be prosperous (C1); bless, make prosperous (DN); invoke blessing (D), bless, make prosperous, as God (B) explain (D; DN) create (DN) ponder (DN); consider, meditate (D) be overpowering, rage unstrained (D) tower with rage, get furiously excited (D); about to strike (D); make ready to strike (DN) in spite of (DN) extol, honour, revere, reverence, venerate, worship (C1); praise, worship (DN) bring down (D: 52) clothe (D); cover, as with a blanket (DN) do, make (DN) fearful (D; DN) others (D) put on, wear (D) bear witness (DN), testify (D) deserve (D; DN), be worthy of (D) compare with (DN) 357 -gagasi: -gcotshwa: -gcwelisa: -gqoka: -gcwala: -gcwele: -gxilile: -gubha: -gudluka: -gudlula: -guquka: -halalisa: -hanguhangu: -hlaba: -hlabelela: -hlala: -hlalo: hlasela: -hle: -hlokoma: -hlula: -imini: impela: -indlebe: -ingane: inkosi: -intaba: intabamlilo: isikukula: isilingo: isitha: -isivungu-vungu: -izwi: -jabula: -jika: -jiki: jula: kanjalo: -khathi: -khazimula: k(h)onza: -khothama: -khothamela: -khula: -khuleka: -khulula: wave of the sea (DN) anointed one (DN) purify, make holy, hallow (D) wear, be clothed as an European (DN) become full (DN) full (DN) firm (DN) celebrate (DN) move aside (DN), shift the position (D) move aside (DN), remove (D) undergo change (D: 70; DN); get changed/change, get turned/turn (B) cry with joy over a person or the good thing received (B) scorching heat (DN) the earth, the world, land, country (D) sing (DN; D) remain (DN) seat, chair (DN) go out to war, invade (C1); attack (DN) beauty, pleasantness, good, beautiful (DN) come down in spate (river), make rumbling noise, roar (DN) (not) overcome, defeat (DN) time of daylight (D) truly (DN) ear (DN) child (D; DN) lord (D: 273), king mountain (DN) volcano (DN) flood of a river (R) temptation (D: 496); strange happening (DN) enemy (D: 150; DN) storm (DN) voice (DN); word (D) be happy (DN) turn around (DN) a turning, corner, curve (D) be deep (D); go/be deep (DN; C) in that manner (DN) time, season (DN) shine (DN) serve, minister, wait upon (C1); Common usage (even before the time of Christianity) was to “show respect” (according to T Mokoena) bow, stoop (DN) bow to, look upon with reverence, worship (D) grow, increase (DN) give greeting of respect, salute a superior, adore, revere (D) release (D) 358 -khuluma: speak, talk (D) -khumbula: remember (DN) -kulisa: magnify, make great (B) lalela: listen, obey (D; DN) -lando: history (D); account of events (DN) -langa: day (DN) -linganisa: make equal to another (B) -layeza: command (D) -linda: be on the watch for, as for a person coming, guard, watch (B) -lunga: righteousness, goodness (DN; C); right (DN) -lwandle: sea, ocean (DN) -ma: cease, halt, stand (D) -mangaliso: wonderful thing (DN); strange affair, astonishing, extravagant, miracle, extraordinary (C1) mela: stand for (D) -memezela: announce (DN) -mhlekazi: honourable person (D) mihla ngemihla: day by day (D) -misa: cause to stop (DN); establish, institute (R) -miso: law, statute, ordinance (D); rule (DN) -mnene: gentle, kind (DN) -naba: to spread out (D) naka: take notice of (D; DN); have concern about (D) nakuba: even though (DN) -nceku: steward; (royal) servant (DN) ncoma: give a favourable report on, praise, admire, speak well of (D) -(izi)ndaba: news (D) -ndawo: place (D); place, room, situation (DN) -ndawu: place, room, situation (DN) -ndophi: rope, sg (DN) -ndlu: house (D; DN) -ndulo: ancient times (DN) -nga: may …, of permission or wish; towards (D) -ngamandla: with force, strength (DN) -ngcwele: holy (D; DN); pure, holy (C1); rarely used as a noun (D) -ngcwelisa: purify, make holy, hallow (D) -ngeke: never (DN) ngenxa: on account of (DN) ngokuhlwa: at nightfall (DN) -ngonyama: lion (DN) -ngqongqoshe: chief, leader (D) -ngunaphakade: an everlasting thing, forever and ever (D) -nika …: give (DN) -nkazimulo: splendour, glory (D); brightness (DN) Nkulunkulu: God, the supreme deity (D) noma: even if (D:156; DN) -nqoba: overcome, defeat (DN); conquer, subdue (C1) 359 -ngu: (izi)nsuku: -nyakazisa: -nye: -nzima: -nzulu: -onakalo: -onke: -phakama: -phakamisa: -phakeme: -phela: -phenya: -phepho: -phezu: -phimbo: -phinda: -phuphuma: -qala: -qata: -qhwaga: -qina: -qinisa: -qinisela: qiniseka: -qinisa: -qinisile: -qiniso: -qonda: -qondakile: -sabeka: -sebenzi: -sho: -shumayela: Simakade: -simama: Somandla: -suka: suku: thakazela: thela: -thelela: -thembeka: -thembekile: -thembiso: -thempeli: -thetho: copulative formative (D) day(s) (D) shake (DN) one; other (DN) heaviness, difficulty (DN) depth, especially of thought (D) a mess, upsetting of plans (D); mishap, damage (DN) all (D) rise upwards (DN) raise up (DN); raise, lift up (D) high (D) come to an end (D); end, finish (DN) search (D) gale (DN) on top of (DN) voice (DN) again (DN) overflow (D: 328; DN) the beginning (DN) strong (C2) fearsome person, person of great strength (D) be firm (DN) make firm, steadfast (B) persevere (DN) get made strong, fast, confirmed (C1) make firm (DN) true (D) firm word, truth (B) understand (DN) understandable (D) be wonderful (DN) servant (DN); workman, labourer (D) say (DN) preach (DN) the Eternal, the Ancient of Days, a term for God (D) stand firm (DN) the Almighty, all-powerful one (D) commence, originate (DN) night (DN) praise, congratulate (DN) pour (DN) pour out, applied (D) be trustworthy (DN) faithful (D: 164) promises, assurances (DN) temple (D) law, custom, rule, edict (D); rule, system (DN) 360 -thikazisa: -tho: -thobile: -thula: -thwalo: -tusa: -ubucwazicwazi: -ubukhosi: ubumnyama: ubungcwele: -ubusuku: -udumo: -ukukhanya: uMdali: umfula: umlilo: umsindo: -umusa: umuzi: -umzali: -umzukulwana: -vatha: -vuma: -vunguza: -vunula: vuta: -weza: -xoxa: -yalo: (ili)za: zamazama: -ziqhayisa: zona: -zukulwan-: -zulu: -zwa: -zwakala: disturb (DN); earth’s surface (DN) thing (DN) humble (DN) be silent / peaceful (DN) load, burden (D; DN) extol, praise (DN) glory (D) majesty (D) darkness (D) holiness (D) night (D) fame, renown (D; DN) light (D) Creator (D) river (D) fire (DN) noise (D: 456); sound (DN) mercy (DN) household (D) parent (D; DN) grandchild (D) wear clothes, dress (D) agree (DN) blow strongly (D) adorn or deck oneself, put on ornaments (C1:566); put on finery, as for special occasion (DN); put on festive clothing (D) blaze, as fire (C1); burn (DN); be on fire (D: 56) to bring over a river, excluding the exertion of the individual (Dohne) narrate (D), give an account of (DN) instruction, command, order (D) wave of the sea (R) shake, vibrate, quake, rock to and fro (D) be proud, conceited, used idioimatically (D) them (DN) generation (D); offspring (DN) sky, heaven (D) hear (D; DN) be audible (DN) ... into the way an audience interpret oral texts Zulu oral art is then discussed with a focus on the communal nature of oral art, and highlighting the influence of oral features even in written Zulu. .. speaks not only to the Zulu mind, but also to the Zulu heart”, translators “(must pay) close attention to the oral features of the Hebrew text and to the oral features of Zulu? ?? Thus the following... in the light of Zulu oral art The empirical translations are based on features of Zulu oral art, and thus this study is critical for the work to come 3.3 Zulu oral art The oral poet, H.J.Masiza,