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A boy in Southern Africa learns how the little ways that he helps his family and friends can add up to big rewards and that no matter how small you are, you can accomplish big things. In doing so, Jabulani introduces his culture from the Ndebele tribe of the Republic of South Africa to other children through this story of a week in his life.
Jabulani gets stuck in the mud and no matter how hard the other elephants try, they cannot free him. Will Jabulani be saved before he dies of hunger and thirst?
Jabulani Means Rejoice is a dictionary comprised of hundreds of African names in local South African languages, meticulously assembled and expounded upon for the curious reader. Names are listed in alphabetical order with gender indications, as well as information regarding their ethnographic origins and meanings. Yet, Jabulani Means Rejoice is so much more than simply a list of names and their meanings. The author skilfully interweaves cultural context and history, including issues surrounding naming rituals, domestic disputes and the curse of the evil eye. As a reference work, the book stands as an invaluable contribution to the growing interest in African cultural history. With its names ranging from the traditional to the unconventional, it will appeal to linguists, family historians and anyone with an interest in names.
In the years between the Sharpeville Massacre of 1960 and the Soweto Uprising of 1976—a period that was both the height of the apartheid system in South Africa and, in retrospect, the beginning of its end—Harold Scheub went to Africa to collect stories. With tape-recorder and camera in hand, Scheub registered the testaments of Swati, Xhosa, Ndebele, and Zulu storytellers, farming people who lived in the remote reaches of rural South Africa. While young people fought in the streets of Soweto and South African writers made the world aware of apartheid’s evils, the rural storytellers resisted apartheid in their own way, using myth and metaphor to preserve their traditions and confront their oppressors. For more than 20 years, Scheub kept the promise he made to the storytellers to publish his translations of their stories only when freedom came to South Africa. The Tongue Is Fire presents these voices of South African oral tradition—the historians, the poets, the epic-performers, the myth-makers—documenting their enduring faith in the power of the word to sustain tradition in the face of determined efforts to distort or eliminate it. These texts are a tribute to the storytellers who have always, in periods of crisis, exercised their art to inspire their own people.