The performance of Xhosa mbongis (no correct English equivalent is available for the Xhosa bard / praise singer) is an interesting art form presentation by some individuals found in the Xhosa community. What is of interest is the fact that such artists are known to be the voices of their communities, heralding socio-cultural and historical norms and achievements. In the olden days, such figures were commonly found in the royal circles of headmen, chiefs and kings. Nowadays, urbanization has brought them into the township where they are gradually assuming different roles of not only focusing on the royal houses, but also in all community leaders as well as non-leaders of the community. Initially they used to earn their reputation through the kings or councils stages / platforms, but these days they also acquire such reputation through media and in any socio-political gatherings. They used to win awards and presents while nowadays they charge appearance fees. It is being changed into a profession albeit without any sort of academic accreditation. In the Nelson Mandela Metropolitan township, a number of such mbongis have mushroomed much against the likings of some purists cultural practitioners. The purists accuse them of being drunk with greed. Perhaps the accusation is justified and perhaps not. What is most notable is the fact that mbongis recite whenever they are asked to do so, something which is not acceptable to purists who believe that an imbongi is called forth to perform when the spirits instruct him or her to stand up and bonga. Whatever the case may be, many of such mbongis appear mostly in funerals, of known and unknown figures and so to many people, they make mockery of such a solemn talent. It is against this background that the researcher felt the need to look into this literary art-form as being presently performed by a township imbongi. The first chapter will deal with introduction, aim of study and method of research. The second chapter will provide a review of oral poetry and a poet in Xhosa writings, the nature of traditional imbongi his or her role in traditional and modern society. The third chapter will give the analysis of content, form and style of two recited poems by two different imbongis. The fourth chapter will provide a brief conclusion on how we view modern traditional imbongis and oral poetry

This study investigates the use of modern and izibongo (praise poetry) techniques in representing women in selected isiXhosa poems. The main interest of the study is to determine whether the same techniques to depict men are used when writing about women. It is also the interest of the study to ascertain how gender issues are dealt with in the selected poems. Seminal studies on izibongo by eminent scholars in this field show a serious lack of critique and little recognition of women in African languages’ poetry in general and in isiXhosa in particular. Pioneering studies in Nguni poetry about women have thus recommended that serious studies on poetry about women be undertaken. The analyses of selected poems by established isiXhosa poets show that modern poetry conventions are significantly used together with izibongo techniques. These techniques are used without any gender differentiation, which is another point of interest of this study. There are however instances where images specific to women are used. Such use has however not been found to be demeaning of women in any way. Poems where modern poetry forms and conventions are used tend to deal with subjects who have international or an urban area background. Even though the modern poetry conventions are used with izibongo techniques the presence of the modern literary conventions is prominent. This is the case particularly with poems about women in politics. That some female poet seems to accept some cultural practices that are viewed to be undermining the status of women does not take away the voice of protest against this oppression by some of the selected poets. These two voices, one of acceptance and the other one of protest are used as a basis for a debate around a need for a literary theory that addresses the question of African culture with special reference to isiXhosa poetry about women. The success of the selected poets with both modern and izibongo techniques is a good sign for the development of isiXhosa poetry in general and isiXhosa poetry about women. It is strongly recommended that continued research of a serious nature concerning poetry about, and produced by women, be undertaken.