Submitted in fulfillment of the requirements for the degree Of DOCTOR OF PHILOSOPHY In the Department of IsiZulu Namagugu At the University of Zululand, 2009. / This study focuses on the circular orientation in performances by Abathwa and Abantu speaking people of central and southern Africa. This notion is explored through close examination of space, movements, time and objects used during ritual and recreational performances. The study is informed by the meaning contained in symbolism rooted in Africans’ perception of culture, religion, language, cosmos, science and artistic aesthetics. The first chapter is the general introduction to the study covering aspects such as statement of the problem and hypothesis, rationale, methodology and literature review. It also attempts to give an in depth explanation of the African conception of the circle, the centre and the cycle. It explains how these three concepts are applied in social structure, architecture and ritual performances. The chapter also explains the African cyclical perception of time and life. The second chapter looks at the historical perspective of dance performances by indigenous peoples of southern Africa. The histories and the cultural backgrounds of the Khoisan and the Bantu speaking people, form the bases for the interpretation and understanding of dance performances during rituals, recreation and children games. The third chapter investigates the thematic approach towards the interpretation of dance performances by the Bantu and the Khoisan speaking people of Africa. The emphasis is on the theme of gender and sexuality since it is the theme that plays a central role in most of the ritualistic performances among the Africans. While the emphasis on relationship between genders in the performances, the attention is also paid towards the metaphoric, symbolic and paradoxical representations of African world view through the juxtaposition of gender and sexuality during performances. The fourth chapter examines the use of elements of dance performances in relation to themes of fertility (human and soil) and curing. These themes are discussed because they are the themes that apply to all the people being studied where as themes such as animal (hunting) and acrobatic (masks) can only apply to certain peoples not to the other for one reason or the other. The fifth chapter deals with the aesthetic principles as they apply to African dance forms and performances. It focuses on the application of the elements of space and symbolism contained in other elements of performance such as timing, costume, crafts and objects. The sixth chapter is an investigation of the circular orientation in modern performances and children games. It also examines the continuation of the circular orientation in religious worship-performances. The seventh/the last chapter is about the findings, recommendations and the general conclusion of the study.

Abstracts in English, Zulu and Xhosa / Rock art affords unique opportunities for engendered research because it provides emic views of how specific people re-presented themselves. My feminist study investigates under-researched ‘San/Bushman’ gendered identities to understand more about area-specific constructions of personhood through analysing 2852 rock paintings from two adjacent areas of the northern Eastern Cape, South Africa. Using quantitative and qualitative methods and evidence from excavation archaeology, ethnography, ethology, and neurocognitive research, I identify three categories of ritual specialists: experienced and preeminent; ordinary; and novice. These paintings show that wo/men ritual specialists could transcend the identity norms of ordinary people, but men ritual specialists may have had more status and power. I suggest the paintings acted as a controlling mechanism for the potency of women, indoctrination of novices, and present an ideal for the practice of ritual specialists and ordinary people. This research has important implications for identifying different types of identity marking by different groups of southern African San. / Bonono ba majwe bo fana ka menyetla e ikgethang bakeng sa dipatlisiso tse fokolang hobane e fana ka ditjhebo tsa bonnete tsa hore na batho ba itseng ba ne ba itlhahisa jwang. Boithuto ba ka ba tsa bosadi bo fuputsa boitsebiso ba batho ba maSan/Busumane bo so kang bo batlisiswa haholo ele ho utlwisisa haholwanyane ka dikaho tsa dibaka tse ikgethileng tsa botho ka ho manolla metako ya pente e 2852 e tswang dibakeng tse pedi tse bapileng tsa borwa ho Kapa Botjhabela, Afrika Borwa. Ka tshebediso ya mekgwa ya bongata le boleng le bopaki ho tswa ho dipatlisiso tsa excavation archaeology, ethnography, ethology, le tsa neurocognitive, ke hlwaya mekgahlelo e meraro ya ditsebi tsa mekete ya meetlo: ba nang boiphihlello le ba hlahelletseng ka mahetla; ba tlwaelehileng; le bomaithutwana. Metako ena ya pente e bontsha hore ditsebi tsa basadi tsa mekete ya meetlo di ne di kgona ho tlola ditlwaelo tsa boitsebiso tsa batho ba tlwaelehileng, empa ditsebi tsa banna tsa mekete ya meetlo di ka di ne le di na le maemo le matla a fetang. Ke sisinya hore metako e ne e sebetsa jwalo ka mokgwa wa ho laola bakeng sa matla a basadi, thuto ya bomaithutwane, le ho hlahisa se lokelang ho ba sona bakeng sa tshebetso ya ditsebi tsa meetlo le batho ba tlwaelehileng. Patlisiso ena e na le bohlokwa bakeng sa ho hlwaya mefuta e fapaneng ya matshwao ba boitsebiso a dihlopha tse fapaneng tsa maSan a Afrika e borwa. / Imizobo esematyeni inika amathuba akhethekileyo ophando lweemeko ezingqonge isini ngoba le mizobo ibonisa indlela abaziveza ngayo abantu abathile ngokwenkcubeko yabo. Isifundo sam ngobufazi siphanda ngohlanga lwama ‘San/Bushman’ okanye Amaqhakancu/abaThwa nekuphandwe kancinci ngabo, injongo ikukuqonda ubume bobuntu babo kwiindawo ngeendawo. Olu phando lwenziwe ngokuhlalutya imizobo esematyeni engama-2852 ekwiingingqi ezimbini eziseMntla-Mpuma Koloni, eMzantsi Afrika. Ngokusebenzisa uphando olusekelwe kubungqina bamanani nobusekelwe kwiingxoxo nokuzathuza kwanobungqina obuvezwe zizinto ezigronjwe/ezigrunjwe kwiziza zakudaladala, obuvezwe kwiinkcazelo zenkcubeko yabantu abahlukeneyo, obuvezwe kwiinkcazelo zoluntu xa lujongwe ngokwenkalo yendalo (i-itholoji) nobuvezwe kwizifundo zokuqiqa nokusebenza kwengqondo, ndiphawule iindidi ezintathu zeengcali zezithethe: abanamava nolwazi olubalaseleyo; abanolwazi oluqhelekileyo; abangenalwazi kangako. Le mizobo ibonisa ukuba iingcali zezithethe zamadoda nezabafazi zinakho ukubona ngaphaya kwendlela ababona ngayo abantu jikelele, kodwa kusengenzeka ukuba iingcali zezithethe zamadoda zazinewonga negunya elithe chatha. Ndibona ukuba imizobo yayisebenza njengesixhobo sokulawula amandla neziphiwo zabafazi, ukuqweqwedisa iingcinga zabangenalwazi luthe vetshe, nokuvelisa okulindelekileyo kwindlela yokusebenza kweengcali zezithethe nabantu jikelele. Olu phando lubalulekile ekunakaneni iindidi ezahlukeneyo zokuphawula ubuyena bamaqela ahlukeneyo ohlanga lwamaSan/ Amaqhakancu aseAfrika. / M.A. (Archaeology)