CHAPTER FOUR
4.2 DIFFERENT THEMES RAISED BY THE ECHO POEMS
4.2.1 LAMENTATION POEMS Wafa we Ashdown Bo!
Gwala, in that they used theizimbongi 's poetic licence to criticize and challenge authority; hence, I argue that they are rooted in the poetic tradition ofizibongo or oral praise poetry. Many of the poems that appeared inEcho are rooted in this genre in many ways. I agree with Mzamane when he says that most poets used the same stylistic virtues ofizibongo, and that "they invoke the poetic licence of izibongo to criticize the establishment" (Gwala 2). I think, therefore, that these poets cannot be analysed in isolation from this heritage.
Yayingayiphathi imikhonto namawisa Wafa we Scorn 6
M. Mvelase, 18 September 1986
The poem gives a clear picture of what was happening in the townships during that time of violence.
It does this through capturing the most horrific and terrifying events that were happening in Ashdown. The poem laments the death of a township under the rule ofthe warlords.Itis most direct and talks about guns and spears, asking why certain people carry them. It talks about the daily beatings of the people and the fear that this creates amongst the people. Itsays that Ashdown has been turned into a slaughterhouse.
This poem was written at a time when Ashdown was under the occupation of Inkatha supporters, who ruled the township with guns and spears. The normal lives of the people, especially the youth, had been disrupted. Students could no longer go to schools freely due to this occupation, and people were being intimidated most ofthe time. The poet laments the fact that this has turned Ashdown into a rural area, with people walking the streets armed with traditional weapons and also mugging others. He says he remembers the Ashdown Youth Organisation (AYO) and questions where it is today. He says that AYO did not do all these terrible things. This is clearly an angry poem, which calls a spade a spade. The poet does not mince his words; he laments the death of Ashdown as the new forces have taken over.
Pietermaritzburg (extract) With my glazed eyes I watched those donga beds of Maritzburg which were cracked by floods of tears
I couldn't hear a sound neither a song
I asked those donga beds where are the people? ..
The answer was loneliness and sadness As I climbed up the mountain
I expected to see houses
But I saw ashes and flames from people's houses With my bleeding eyes
I looked up to the sky to ask the heavens
about the talented and gifted people of Maritzburg...
Where is Jabu
A woman with lion strength A woman with fires in her soul A woman with flashes in her heart ...
As I was watching
I saw young women with cracked souls like soil erosion Watching the graves of their boyfriends...
Makhosi Khosa, 25 January 1990
The above poem can also clearly be broadly categorized as a lamentation poem, as it reflects the deep feelings of loss that the woman poet is feeling about losing people who were dear to her heart.
She spells out in vivid detail what was happening around Pietermaritzburg when she talks about burnt houses and the sadness of those who have lost their loved ones in the conflict. She also mentions some of the key people who were lost in this conflict, like Jabu Ndlovu, an activist and a trade unionist from Imbali who was killed in this war. The poet, Makhosi Khosa, also mentions that in this conflict she lost her boyfriend, Mduduzi, who had been an MK commander. She uses a number of images, such as "floods of tears" and "bleeding eyes", to describe the situation and show that death has taken place and that people are mourning the dead. She also repeatedly uses the images offlames and ashes to describe the aftermath of the war and its devastating effects. The loss of Jabu Ndlovu must have had a major impact on her life, since she goes on to describe her character in detail. Jabu is likened to a lion, and is seen as a person with the fine qualities of courage and bravery. She must have been loving and warm if her heart had "flashes", and she must have been very passionate about her cause if her soul had "fires". But the poet is also not talking only on her
own behalf here; when she talks about Jabu, she is speaking on behalf of the rest of the community and has adopted a communal voice.
Whilst she laments her loss and that of other people, she is also conscious of the fact that in her poem, she should not demobilize the people but she should mobilize them to continue the fight;
hence, she says: "Oh it is hard to believe that death is part of the process/ ... that blood nurtures the tree offreedom.l...Nevertheless a chained man is under obligation / of fighting to set himselffree."
The poet's use of "cracked souls like soil erosion" reminds one of Wally Serote's "It's a Dry White Season", when he says "but season's come to pass".Itis as if the poet echoes Serote here, by saying that what is happening in Pietermaritzburg will also come to an end.
While this is a lamentation poem, it is also a call to action. Some of the Echo poems have similar twists and turns like this one. So the poem can be understood at various levels; it has many layers within it and encompasses a number of different themes, as 1 indicated earlier on. It also has elements of being a historical poem as well, in that it records what was happening around that time and records the history of the area as it happened. The death ofpeople's leaders, like Jabu Ndlovu, is recorded through the poem and the poet's personal grief is expressed. The personal and the public are constantly integrated in this poem. The poet also assumes the role of being a historian of the community, one of the prominent roles of an imbongi.
4.2.2 PRIVATE AND POLITICAL POEMS (THE POLITICAL ENCROACHMENT