The commercialization of celebratory poetry: a critical examination of Zolani Mkiva's post-apartheid praise poetry (izibongo)

Abstract

In post-apartheid South Africa spoken word poetry has emerged as one of the most powerful channels of expression for cultural and political criticism for performing artists (especially the younger ones). The mosaic that composes spoken word poetry is the result of the combination of several poetic languages and sub-genres, such as ‘resistance poetry’, slam poetry, rap, dub poetry, lyrical poetry. Among them izibongo (praise poetry) certainly deserves to be approached with special attention, since it represents one of the most ancient and significant forms of oral expression in the history of Southern African cultures. Presently this traditional form of celebratory poetry survives, thanks to the offerings of performing artists such as imbongi (praise poet) Zolani Mkiva, the most acclaimed contemporary performer of the art of izibongo, and the poet whose artistic activity and public profile are analysed here. This article reconsiders the ongoing process of transformation of praise poetry, it examines how this peculiar kind of poetry is performed and disseminated and the meanings which are produced by its deployment and reception in the cultural and socio-political context of post-apartheid South Africa. The praise poet in this post-colonial, urban, globalized setting is being called upon to function in a number of contested terrains that have yet to be sufficiently considered.