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IJELLH ISSN-2321-7065

CAMILLA DIANA B. H
ASSISTANT PROFESSOR
ST. XAVIER’S COLLEGE FOR WOMEN
ALUVA,
KERALA
INDIA
DIMENSIONS OF ZULU CULTURE IN WELCOME MSOMI’S
UMABATHA

Abstract
uMabatha can be considered as the magnum opus in Welcome Msomi’s career as a
playwright. Welcome Msomi is an African playwright, producer, director and an entrepreneur.
Welcome Msomi has chosen Shakespeare’s Macbeth in uMabatha as its basic plot and has
assimilated Zulu elements into the play. Traditional Zulu dance, Zulu costume, Zulu music etc.
are woven into the original plot. In short uMabatha is a celebration of Zulu practices, Zulu
believes and Zulu Culture. This research paper endeavors to analyze how far uMabatha has been
innovative in rendering the various elements of Zulu culture.
Key words: Culture, Sangoma, clothing, war dance

Introduction
Welcome Msomi, an African playwright, producer, director and an entrepreneur, is the
CEO and co-founder of the Sasani Ltd, which emphases on marketing the South African Culture.
When Nelson Mandela was elected as the president, Msomi was chosen to organize the inaugural
ceremony of the grand function. Known as the director of ‘Izulu Dance Theatre and Music’
established in South Africa, Msomi has also got international acclaim for writing and directing
radio plays.
uMabatha can be considered as the magnum opus in Welcome Msomi’s career as a
playwright. Welcome Msomi has chosen Shakespeares Macbeth in uMabatha as its basic plot
and has incorporated Zulu elements into the play. Traditional Zulu dance, Zulu costume, Zulu

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music etc. are woven into the original plot. In short uMabatha is a celebration of Zulu practices,
Zulu believes and Zulu Culture.
In uMabatha numerous novel ideas are incorporated to defamiliarize Shakespeare’s
Macbeth. The opening scene of Macbeth is set in a desert place with an atmosphere of thunder
and lightning. The very first scene of the play prepares a platform for the rest of the events in the
play. In uMabatha, integration of Zulu culture is manifest from the very first scene of the play.
An open ‘Veld’ becomes the backdrop of the introduction scene of uMabatha. A veld is an open
rural South African plain. When the entire atmosphere is depicted on the stage Welcome Msomis
magical touch plays a significant role to illustrate the whole idea without any stage settings or
stage props. The heavy beating of Sangoma’s drums that is heard in the backdrop of the stage is
the only ornamentation in the first scene.
The Elizabethan audience used to lure to the play houses to watch the supernatural
elements illustrated on stage. Thus Shakespeare’s Macbeth was one of the all-time favorite to the
Elizabethan theater goers. The three witches in the opening scene were taken very seriously by
the Elizabethan audience. The Elizabethan time period witnessed a strong influence of witches
and the witchcraft and it was measured with great caution by the Elizabethan rulers. The three
witches in Macbeth have been culturally transposed to three Sangomas in uMabatha. Sangomas
have much significance in Zulu culture. They are treasured on the belief that the spirit of the
dead are still perpetuating their knowledge and guiding the tribe. They have much spiritual,
political and emotional significance amid the Zulu culture. Sangomas does not have the
supernatural image provided by Macbeth. But they are revered in Zulu culture as witch doctors
who have power to remove even the spells cast on people. In uMabatha Act IV scene 1,
Sangoma 1 says “Do not forget, the voices that speak through us are the spirit of the dead” (181).
Marriages, births and deaths are a few occassions where Zulu people communicate with their
ancestors. Zulu people consider the spirit of the dead in high reverence. In Act 3 Scene 1,
Mabatha says to Bhangane,
“Bhangane, Tonight there will be a feast of thanks
To the spirits of our ancestors
For their protection and our good fortune” (178)
Thus in uMabatha we witness the power of Sangomas, presence of ancestral spirits and
even the appearance of Bhangane’s ghost all adds to the authenticity Zulu believes in the play.

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The warriors and their war dance becomes an integral part of Zulu essence in the play. In
Act 1 scene 2 in uMabatha, there is mentioning of war dance and battle between two ‘impis'
(168). ‘Impis’ are South African Bantu warriors. The war dance can be traced back to King
Shakas’ time and is performed with shields and spears. These forms of dance are also performed
to highlight the military unity. While dancing, dancers are clad in traditional costumes and the
dance is accompanied by several drums beat. The entire play deals with the plot of Mabatha and
his heroic combats, thus the play has ample opportunities to refer to battles. In uMabatha there is
continuous mentioning of African shield and spear. The reference to the shield and spear is seen
from the very first Act scene1 where the conversation is happening among Sangomas, Sangoma
II says, “We will meet at the feast. There where the clash of the shield And the spear have
ended.”(168)
One’s clothing, jewelry, and other accessories forms an important basis of culture. In
Zulu culture clothing is very intricate. In Act 1 scene 3, the costume called ‘Beshu’ (171) is
mentioned by Banghane to show the authenticity of the Zulu culture rendered in uMabatha.
Beshu is a Zulu dressing style opted by African men to cover their buttocks. Often it is made
from calf skin. Men usually wear it at a knee length which helps in the easy movement of the
body during battles.
Preparing and drinking beer is an important social aspect of Zulu culture. In uMabatha,
Act 2 Scene 1 portrays Kamandonsela and women are busy in stamping corn and preparing
‘tshwala’(172). ‘Tshwala’ is a traditional African beer. It is brewed by women and performed as
a special ritual. It is done with in a hut where there is proper ventilation for oxygen flow. Thus it
helps in easy fermentation of the beer. The brewing of beer is an integral part of African tribal
culture. Thus reference to Tshwala escalates the presence of Zulu culture in the play.
uMabatha is filled with dance, songs, actions and movements. Zulu culture is incomplete
without Zulu music. Dance and music has great importance in the life of Zulu People. In Act 5
Kamandonsela is shown as singing and playing the ‘Makhweyana/ which in turn add flavor of
Zulu culture to the play. It is a string musical instrument part of South African culture. The
Shakespearean plays especially Macbeth is remarkable for dialogues, whereas uMabatha is
spectacular. uMabatha is noted for its music and dance. It speaks more with actions. Thus the
drum beatings, movement of spears and shields across stage and rhythmic movement of the
actors all add to the beauty of Zulu culture. In Act 5 scene 4 there is direct reference to war

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dance “The warriors at Bhanganoma near Mvanencane perform a war dance” (186), which is in
turn performed on the stage.
The very plot of uMabatha also voices about the Zulu culture and birth of Zulu nation
under Shaka Zulu. Though uMabatha is structurally similar to Macbeth, Welcome Msomi
preferred the story of Shaka Zulu when he was writing the play. Shaka Zulu was a brave king
and a real conqueror. He was conceived during the act of ukuhlobonga. It is an act of sexual
foreplay permitted to unmarried couple in certain Zulu tribes. Thus he was considered as an
illegitimate child by the tribe and had a very difficult childhood. His tactics to handle the
enemies during the battle helped him to rise to power. He has to his credit uniting the Zulu tribe
but later he came to be known as a ruthless ruler. In the end he was assassinated by Dingane and
Mhlangana.
Conclusion
Thus the theater becomes a platform to reflect the cultural differences. It gives a new
arena to the audience to watch and appreciate the ethnic identity of Zulu Culture. When
Shakeapreare’s Macbeth gets culturally transformed to Welcome Msomi's uMabatha, it becomes
a visual treat to the audience to acknowledge the foregrounded aspects of Zulu culture and
appreciate it. All the elements of Zulu culture viz clothing, believes, music and dance are very
beautifully configured and articulated in uMabatha. Welcome Msomi has been successful to
voice the authenticity of Zulu elements by remolding the colonizers text through uMabatha.
Acknowledgement
The author is grateful to St. Xavier’s College Library, Aluva for providing books to carryout this
research work.

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References
Fischlin, Daniel, and Mark Fortier. Adaptations of Shakespeare: a critical anthology of plays
from the seventeenth century to the present. London: Routledge, 2009. Print
Welcome Msomi's "uMabatha - The Zulu Macbeth"." Google Sites. N.p., n.d. Web. 30 May
2017.
"Zulu Dance." Eshowe. N.p., n.d. Web. 22 May 2017.(MLA)
"Zulu Beer." Eshowe. N.p., n.d. Web. 22 May 2017.(MLA)
"Shaka Zulu”. N.p., 17 Feb. 2011. Web. 30 May 2017.
(http://www.sahistory.org.za/people/shaka-zulu)

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