Visual display of the Ibali lokufa kukaTofana nobululu bakhe bosixhenxe, part 1

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Ibali lokufa kukaTofana nobululu bakhe bosixhenxe, part 1

  • January 16, 1976
  • Performer: Nongenile Masithathu Zenani, a Gcaleka woman
  • Place: Ebuhlanti, edongeni, egadini, 11 am (to about 6 pm)
  • Audience: Varies
  • Notes: Five hours. Very fine, dramatic performance. Brief break at dgt 951; on tape 40, side 2, brief breaks at 93 (edongeni: wind), 122 (outside), 151 (headman Hitlani comes with two amaphakathi to exact tribute to his petty tyranny: a bottle of brandy), 237 (a woman pours a pint of gin out for Masithathu Zenani; cost, two rand), 352. Dgt 918, sits hunched up, as if dead, local history during this period. On tape 40, side 2: now in egadini, later edongeni, then outside again, very hot. Dgt 41, ties blade of grass around neck; dgt 43, kule ndawo, refers to the middle of her iqhiya; dgt 44, ngaka, hand palm three inches from ground; dgt 45, apho, nose; dgt 46, wathi, hand to mouth; dgt 54, ngulo, points to various parts of her space; dgt 58, njenje, lying down; dgt 62, claws at her face; dgt 104, kwaVulikwapha (Vulikwapa: O.W. Wood, who owns a small shop in this remote area; Geti is Mrs. O.E. Wood, his wife; Qwaninga, their son Leon; Nongenile, his wife Joy; Qora, the son of O.E. Wood; Nonkanga, the daughter of O.E. Wood); dgt 111, both forefingers held up in front of her; dgt 115, yenjenje, looks to right; dgt 119, rrrr, saws hand lengthwise; dgt 120, lathi, right hand rises gracefully; dgt 121, chaaaa, right hand moves high, gracefully; left hand lower, moves gracefully; much gesture and body movement and facial and vocal drama throughout; dgt 221, le ndawo, refers to her stomach; dgt 222, refers to her knees; dgt 228, refers to Hitlani; dgt 254, woooo, hits right palm on left fist, laughter from audience; dgt 266, beshu beshu, rubs hands together as if washing them; dgt 269, as if playing isitolotolo, right hand slid by blowing lips; dgt 292, intonga engaka, measure of full arm; dgts 292-293, ngaka, up through buttocks to mouth (shows this); dgt 294, yathi nje, shows, by wrapping left hand around right arm and sliding left hand, how intonga goes up buttocks; dgt 315, arms clasped together in front of her, showing them bound (just before and during "bloody hell"); dgt 318, dumba, shows how wrists and ankles swelled up; 319, itsho, left forefinger to left temple; dgt 323, illustrates imela with finger; dgt 324, cuts bonds around arms; dgt 325, cuts bonds on ankles; dgt 327, kwasu! arms thrown above head; dgt 329, njenje, right arm up, elbow on thigh, then left hand clasps right arm; dgt 341, again shows cutting of bonds on wrists and ankles; dgt 344, as if writing with right forefinger on left palm; dgt 350, yayijonga, as if reading the two palms; dgt 367, lo, refers to her breasts; dgt 376, enjenje, hands on breasts, leans forward; dgt 391, points to her navel; dgt 392, yini! uses her tobacco pouch for Bani; dgt 394, apha, navel; dgt 398, le ndawo, navel; dgt 400, bathi, pulls ingubo below navel


Scheub, Harold
January 16, 1976
Description of Original
Reel to reel audiotape
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For Staff