This article analyzes the oral poetry, izibongo, produced by Xhosa oral poet Bongani Sitole (both in book and technological form). It will trace this poetry from the moment it was orally produced, through to the technologizing and publication of this poetry in book form and on a website. The initial part of this article looks at the life and work of the poet. A contextual analysis of selected poetry is provided. The latter part of the article concentrates on issues related to technology and its relationship to the oral and written word. The term ‘technauriture’ has been coined in order to refer to this process. The contribution of eLearning4Africa (www.elearning4africa.com) to the digitization process of Sitole’s poetry is acknowledged.

Bibliography: pages 259-274. / In this thesis I examine the way in which Xhosa speakers create humour, what forms (e.g. satire, irony, punning, parody) they favour in both oral and textual literature, and the genres in which these forms are delivered and executed. The functions of Xhosa humour, both during and after apartheid, are examined, as is its role in challenging, contesting and reaffirming traditional notions of society and culture. The particular techniques Xhosa comedians and comic writers use in order to elicit humour are explored with specific reference to the way in which the phonological complexity of this language is exploited for humorous effect. Oral literature sources include collections of praise poems, folktales and proverbs, while anecdotal humour is drawn from recent interviews conducted with domestic workers. My analysis of humour in literary texts initially focuses on the classic works of G.B. Sinxo and S.M. Burns-Ncamashe, and then goes on to refer to contemporary works such as those of P.T. Mtuze. The study on the techniques of Xhosa humour uses as its theoretical base Walter Nash's The language of humour (1985), while that on the functions of Xhosa humour owes much to the work of sociologists such as Michael Mulkay and Chris Powell and George E.C. Paton. The study reveals the fact that Xhosa oral humour is personal and playful - at times obscene - but can also be critical. In texts it explores the comedy of characters as well as the irony of socio-political realities. In both oral and textual discourses the phonology, morphology, syntax and semantics of Xhosa are exploited to create a humour which is richly patterned and finely crafted. In South Africa humour often served to liberate people from the oppressive atmosphere of apartheid. At the same time humour has always had a stabilizing role in Xhosa cultural life, providing a means of controlling deviants and misfits.

This thesis outlines the changing role of the Xhosa imbongi in contemporary South African society. The changing socio-economic and political scenario in South Africa, and the way in which the imbongi is adapting in order to accommodate new pressures created by these changes, form an integral part of this thesis. The effects of education and increasing literacy on the tradition are outlined. The interaction between oral and written forms is explored in chapter 2. The role of the imbongi within the religious sphere is included in chapter 3. Xhosa preachers within the independent churches often make use of the styles and techniques associated with oral poetry. Iimbongi who are not necessarily preachers also operate within this context. The relationship between the Congress of South African Trade Unions, the African National Congress and iimbongi has also been researched and forms part of chapters 4, 5, and the epilogue. The modern imbongi is drawn towards powerful organisations offering alternative leadership to many of the traditional chiefs. In the epilogue collected poetry is analysed in the context of Mandela's visit to Transkei in April 1990. Interviews have been conducted with chiefs, iimbongi attached to chiefs as well as those attached to different organisations. Poetry has been collected and analysed. In chapter 5, three case studies of modern iimbongi are included. The problems facing these iimbongi in their different contexts, as well as the power bases from which they draw, are outlined. Finally, an alternative definition of the imbongi is offered in the conclusion

The focus of this thesis is on Xhosa oral and written poetry. The discussion in the thesis is based on the information from existing literature, the responses from the questionnaires and the interviews with some Xhosa iimbongi (person who sings praises) who have reflected on their personal experiences. In addition to this, S.E.K. Mqhayi is at the centre of discussion because as a prominent Xhosa imbongi he features in both the oral and the written world.

The focus of this thesis is on Xhosa oral and written poetry. The discussion in the thesis is based on the information from existing literature, the responses from the questionnaires and the interviews with some Xhosa iimbongi (person who sings praises) who have reflected on their personal experiences. In addition to this, S.E.K. Mqhayi is at the centre of discussion because as a prominent Xhosa imbongi he features in both the oral and the written world.