Abstract
Recent developments in isiZulu poetry have been marked by an emergence of performance poets whose poems have gained popularity with younger audiences. A constant feature in contemporary isiZulu poetry is a conscious deviation from adherence to rigid structural and formal linguistic requirements. Contemporary isiZulu poetry is also characterised by a shift from textual to performance-specific conventions that cater for radio, theatre, social-media platforms and so forth, and is more accommodative of linguistic dynamics that shape the current generation of artists and audiences. While contemporary isiZulu performance is a rather more recent innovation, it still owes its roots to oral poetry traditions and has evolved from literary art forms that were committed to memory and performed during family gatherings and communal events. This article explores code switching in contemporary isiZulu performance poetry and argues for appreciation of this phenomenon for its aesthetic appeal rather than as infringement on long-held attitudes about purity of artistic linguistic expressions. Hyme’s Ethno-poetic Theory will inform analysis of selected poems in this article. Ethno-poetic Theory focuses, amongst others, on how a performance displays literary qualities.
Highlights
Mathonsi and Mazibuko (2009) applauds the emergence of new writers who have contributed to the enrichment of isiZulu literature across genres in the past two decades
Whilst there are various aspects that could be considered in analysing the linguistic manifestations of performance poetry, the focus of this article will be confined to code switching
This article aimed at evaluating the prevalence of code switching in isiZulu performance poetry
Summary
Mathonsi and Mazibuko (2009) applauds the emergence of new writers who have contributed to the enrichment of isiZulu literature across genres in the past two decades. In line with this growth, recent trends in isiZulu poetry have been marked by a proliferation of performers who have revolutionised the local literary landscapes. This development has been enhanced by technological advancements in the form of digital media platforms as well as increased appreciation of indigenous language artists and inclusion thereof in literary festivals, radio programmes and print media columns. This article seeks to explore how isiZulu poets have embraced aspects of multilingualism in the form of code switching as evident in some performances
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