Zulu Prestige Staff   Circa 1930

This is the heavyweight of all Zulu staffs - inspired by European and Zulu interactions - at the first portion of the 20th century. It sports two horns, four carved Zulu shields 'isihlangu' and four others carved in abstraction. Standing at 1.75 metres, it is surmounted by an 'isicoco' head-ring. 

 

 

 

Zulus warriors with isicoco head-rings - 1879

 

Isicoco head rings were warn by married 'izinduna', who were tribal leaders, or spokespersons, advisors, mediators, headmen and in the case of the photograph above, warriors. The group of Zulu's above are said to be those who ambushed, killed and disemboweled Prince Imperial Napoleon, son of Emperor Napoleon III of France, on  June 1 1879.

 

 

 

                           Jabulani Ntuli - Zulu War Dance - Circa 1900                                    Dance Competition Trophy

 

The staff was a trophy awarded to the winning dance team leader at competitions held at Kingsmead - Durban Natal. Historically the dances were called 'ingoma' and took place after battle (above left). Men dressed in their full Zulu regalia, and then re-enacted personal feats of velour exhibited during recent fights.

 

 

 

Archives - Killie Campbell Library - Kingsmead Durban - Circa 1930's

 

This trophy staff intermingles European and Zulu culture in a number of ways. The concept of first, second and thrid prize 'trophies' as 'awards', for a traditional Zulu dance competition - is European in origin. At Kingsmead, ingoma dances were not staged because of war, but for the purpose of entertainment. Opposing troupes' danced 'war dances', attempting to outperform (terrorize) one another. The Kingsmead Zulu dances first appeared around 1920, as a result of ethnic diversity entering the former European outpost - originally named 'D'Urban'.

 

 

 

 

Cattle played an important part in Zulu culture. By 1900, Zulu ricksha pullers were advertising their strength by adding horns to their ever-evolving attire (above). The concept was a continuation of a traditional Zulu coiffure reported during the 19th century, which transposed into the South African phenomenon of elaborately decorated Ricksha costumes. Europeans grew very familiar with to them.

 

 

 

 

A series of silver plaques or bands appear further down the staff. The first (above left) is inscribed: Umncintiselana We Ngoma Wabo Bonke Abantu Ba Se Natal. Ingqwele Ungqongqoshe. According to Zulu linguist and historian S. B. Bourquin (1915-2004), this means: Dance Competition for all the peoples of Natal Champion - Minister or Leading Personality. Three other small bands appear below a section of spirals (above right). They are inscribed Sigwili Ganyaza 1939 - Sigwili Ganyaza 1940 and Sigwili Ganyaza 1941. According to SB Bourquin, the name 'Sigwili Ganyaza' means 'rich' or 'reward', so it may very well have been the name of the winning lead dancer during each of those years. The bands do not appear on the archived Killie Campbell Library image shown earlier, so in all probability the staff and the photograph itself predate 1939.

 

 

 

 

The body of the object appears to have been turned on a lathe, a technique not traditional to the Zulu. The two horns have fitted plugs located at a point where they are likely to conceal a screw. Never the less - it is certain that a Zulu carver-craftsman played the major role in the creation of this staff and the other shown.

 

 

 

Zulu Treasures - Amagugu kaZulu - Page 184 - The Dunlop Ngoma Dancing Team - Circa 1950

 

The staff was photographed and later published on page 184 of 'Zulu Treasures - Amagugu kaZulu'.

 

 

 

Zulu Treasures - Amagugu kaZulu - Page 184 - The Dunlop Ngoma Dancing Team - Circa 1950

 

The Kingsmead 'ingoma' dance competition was a 'performance art' that brought Europeans and working class Zulus together. The image above depicts some members of the winning 'Dunlop Ngoma Dance Team' - circa 1950.

 

 

 

 

Like Zulu Ricksha pullers, 'ingoma' competitive dance competitions brought about an infusion of Zulu and European culture, all people living side by side. Like the country, native beadwork and tribal dress emerged from a century of transformation, blended into and disappeared into modern day cosmopolitan life. Three cheers to the old dancers and faces of outrageous Zulu fun!