Discussing about Halala and how it revives the Zulu cultural

Discussing about Halala and how it revives the Zulu cultural

At the event held at Moses Mabhida Stadium, which is located in Durban on October 29, President Cyril Ramaphosa presented His Majesty King Misuzulu Sinqobile kaZwelithini with a certificate of selection, officially recognizing him as the next king of the Zulu nation, the biggest ethnic group in the country.

Many people which includes international and local dignitaries, attended the first crowning since democracy, which may have sparked a renewed interest in the entire Zulu among ordinary South Africans. King Shaka Senzangakhona who is revered for bringing together over 11 million Zulu-speaking people, primarily in KwaZulu-Natal and Gauteng, is the ancestor of Zulu kings.

During the ceremony, which marked the start of something new for the Zulu society, an extensive number of male and female units, maidens, and other ethnic communities sang and danced, showcasing Zulu culture and heritage, which includes traditions and ideals like Ubuntu, respect, love, and solidarity. The world has learned a great deal about South Africa and its culture, especially Zulu culture, thanks to Ladysmith Black Mambazo and others. Two months ago, local musician Mthandazo Gayta performed alongside American singer-songwriter John Legend. Gayta became well-known on social media after sharing a video of himself singing Legend’s song Nervous in Zulu.

Being the most widely spoken language in the nation, Zulu culture has a strong hold on townships, businesses, and hostels. These establishments were created as an inexpensive way to shelter migrant workers, but they always deprive people of their rights and destroy their family structure in the process. Hostels are often seen by township inhabitants as dangerous places where hitmen and criminals hide (izinkabi). The brutal murders that occurred during the conflict between IFP and ANC supporters before and after democracy in 1994 furthered this impression. Nevertheless, a new generation of young, gifted, and diligent people is pushing beyond the limits, and the walls intended to denigrate are gradually coming down.

The Buyafuthi hostel in Katlehong, east Johannesburg, has proved the residence of the 29-year-old from Msinga, KwaZulu-Natal, since the year 2014. Though he is away from home, he may easily get help and advice when he wants to carry out Zulu customs as a proud man. He works as a taxi driver throughout the day to support his musical career. Along with other Maskandi artists like Khuzabani, Masaladi, Mshini, Smomoza, and Olalazi, he debuted his debut album, Isimanga Sento, at the hostel on October 16. On occasion the improvised stage felt like it was about to collapse due to the intense and driven performances of the performers who were desperate to succeed.

People turned out in large numbers to express their support, and those in attendance did not let them down. They showed off their fashion. High-end worldwide brands were on exhibit, including Hugo Boss, Arbiter, Nike, Converse, Carvela, Cutty, and Brentwood.
This made me think of the Aboswenka, a group of Zulu working men who held fashion shows to flaunt their affluence and express their opposition to colonialism. Philani Makhaza founded the Ukhahamba Zulu Dancers from Madala Hostel in Alexandra, the city of Johannesburg in the year 1997. His father  who is known to be a bricklayer spent his whole career in the City of Gold, was an igosa, or collective performance leader, in KwaZulu-Natal, and he was exposed to dance from an early age. The ensemble has won multiple competitions and awards, performed at the Dubai Festival, and competed around the nation. One of the most well-known culture-crossers was the late Johnny Clegg. Being a white guy with Zimbabwean ancestry, he adopted or was that appropriated Zulu dance and music, turning his interest into a lucrative worldwide career that lasted for decades. He also helped raise Juluka’s status internationally, perhaps.