South African Show Shaka Zulu Film Studies Essay

South African Show Shaka Zulu Film Studies Essay In late 1986, the South African Broadcasting Corporation (SABC) created a television mini-series by the name of Shaka Zulu. It would prove an instant and huge success, and by 1992 it had been seen by over 350 million viewers in South Africa and abroad (Tomaselli 1992). Best described as an historical drama, the series centred on the first recorded encounter between blacks and whites in southeast Africa, with particular focus on the interactions between an exploratory British party, led by Lieutenant Francis Farewell (Edward Fox), and the ruler of a powerful and dangerous kingdom, the legendary Shaka Zulu (Henry Cele) (Hamilton 1998, p.171). In brief, the narrative follows Farewells band of men (including the storys narrator, Henry Francis Fynn) as they head to Zululand to dissuade Shaka from an attack on the Cape Colony. They are shipwrecked, captured by the Zulus, and come to learn about how Shakas kingdom was built. Within this structure, Fynns diary is used as a mechanism for a se ries of flashbacks which tell Shakas life story: his conception and birth (he is illegitimate), his life as an outcast, and his rise to power (Hamilton 1998). It is a violent portrayal Shaka is shown to be destined to rule through brutality (Fynn records that Shakas mother gave birth to a nation of blood-stained spears) (Faure 1986) and spends most of his time angrily taking revenge on those who have wronged him (Tomaselli 1992). Eventually, with the death of his mother, Nandi (Dudu Mkhize), Shaka is struck by a violent grief and the series ends with the Zulu kingdom in flames (Hamilton 1998, p.172). Farewell and company prove unable to save Shaka from himself, and the Zulu nation falls into chaos. Before conducting an analysis of the television series itself, it is worth examining how Shaka was remembered in Zulu culture long before the show was even commissioned. Like all history, there is no single voice in Zulu oral accounts of Shakas rule. Throughout the 19th and 20th centuries, different Zulu interests drew on different Shakas to support their actions in a changing world (Hamilton 1992, p.62). Thus, accounts differ significantly about key episodes in his life and fundamentally in their evaluation of the Zulu king and the Zulu memory of Shaka has not always been unanimously favourable towards him (Hamilton 1998, p.53). Having said this, Hallencreutz (1989, p.73) argues that we can roughly view the appreciative, complimentary izibongo (praise singers) as the core of the established Zulu tradition, and the more critical oral accounts as belonging to other related ethnic groups. And the fact that the legacy of the Shaka izibongo has tended to persist in situations of politica l crisis seems to support this claim. Thus the myth of Shaka, as he is remembered by Zulu oral historians, is probably best captured by those who pursue the izibongo tradition to some extent. I would suggest that the memory of Shaka is, for the most part, exemplified by poets such as Mazisi Kunene (1979 cited Hallencreutz 1989, p.75) who ends his commemoration of Shaka (based on Zulu oral accounts) as follows: He is an Ancestral Spirit; he cannot be stabbed. Even now they sing his song. They call his name. They dance in the arena listening to the echoes of his epics Till the end of time-they shall sing of him. Till the end of time his shield shall shelter the hero from the winds And his children shall rise like locusts. They shall scatter the dust of our enemies, They shall make our earth free for the Palm Race. Thus, while it is important to note that Zulu accounts of Shaka can and do differ greatly from hailing him as a benevolent leader to decrying him as a violent killer it is evident that they tend to fundamentally acknowledge that Shaka was an extraordinary man (Cele 2001, p.119). Various factors, including a perpetual need to describe the achievements of a leader who stood up to white expansion (especially considering South Africas particular history), have resulted in Shakas uniqueness and extraordinariness being prominent features in almost all Zulu oral histories (Cele 2001, p.121). While not unanimously favourable towards him, Zulu oral histories about Shaka would never portray him as being dependent on or subservient to the white man. As I am arguing that Shaka Zulu demonstrates how myth can be stripped down and re-imagined, it is also necessary for the purposes of this essay, to illustrate how and why Shakas story in Zulu oral history falls under the broad banner of myth (as used in the scholarly sense). Obviously, the definition of myth is a contested one. Nevertheless, I would argue that the Shaka legend, as remembered in Zulu culture, is mythic in almost every sense of the word. For instance, Mircea Eliade (cited Segal 2004, p.60) suggests that the mere ritualistic recitation of the highpoints in a characters biography (as demonstrated by the Zulu izibongo) posits that characters life as myth. The simple act of creating an oral biography for a famous historical figure like Shaka can transform them into near-gods and their sagas into myths (Eliade cited Segal 2004, p.53). Certainly, the Shaka story seems to comply with Levi-Strauss assertion that it is almost a prerequisite of myth that it starts out as an oral tradition (Leach 1974, p.56). In recording Shakas life in oral form, historical truths are transfigured, resulting in a new reality with a highly mythic character as chief protagonist (Mersham 1993). Hence, by the time the Shaka Zulu television show was commissioned in 1986, Zulu culture had already transfigured Shakas history into something quite mythic. Various elements of the Shaka story also closely resemble many of the telltale characteristics of myth as defined by theorists. For instance, Segal (2004, p.5) states that it is a prerequisite of myths that the main figures be personalities divine, human, or even animal. Shaka certainly fits this bill, as his presence tends to dominate Zulu folklore, where he is positioned somewhere in between divine and human (and he was even hailed as the great elephant by his praise singers) (Kunene 1979, p.13). Both Mersham (1993) and Cele (2001) go so far as to suggest that the man was (and is) for some Zulus a black Jesus Christ a symbol of deliverance from outside oppressors. Shakas story also evidences such highly mythic themes such as fratricide (Shaka was assassinated by his half brothers, Dingane and Mhlangana). This underrating of blood relations is a key feature of myth in Levi-Strauss terms (Leach 1974, p.76). Otto Rank (cited Segal 2004, p.96), in The Myth of the Birth of the Hero, s uggests that dislike of two brothers for each other is often traceable to the competition for the tender devotion and love of the mother. While this isnt necessarily the case with Shakas story, his love for his mother, Nandi, is well-documented (and is a key element in the Shaka myth). Shakas life, as it is remembered in Zulu culture, essentially is, by Northrop Fryes definition (cited Segal 2004, 81), a quest-myth it is the myth of the life of the hero. His life story conforms closely to Fryes four stages of birth, triumph, isolation, and the heros defeat. As Rank (cited Segal 2004, p.96) states, the mythological hero is heroic and triumphant because he rises from [relative] obscurity to, typically, the throne. And usually, like Shaka, he is a victim of Fate. Further, the Shaka narrative is mythic in the way it operates within the community which invests in it. Wylie (1997) argues that Shakas life story has achieved the status of myth, simply by virtue of the fact that it has garnered an authority of its own which is unthinkingly followed and repeated despite historical changes or the surfacing of contrary evidence. In being simplified and made innocent to its receivers, history has become myth, and myth is given a natural and eternal justification (Barthes 1993, p.143). Mythic history is above questioning and bereft of factual detail. It is not so much an explanation of events as it is a statement of fact (Barthes 1993, p.143). This is a key hallmark of myth, allowing it to function as it does in modern society. Myth, says Levi-Strauss (cited Leach 1974, p.59) is powerful in that novices of the society who hear the myths for the first time are being indoctrinated by the bearers of the tradition a tradition, which in theory at any rate, has been handed down from long dead ancestors. Through the recitation of this tradition and the passing of time, says Barthes (1993, p.142), things lose the memory that they were once made. In the case of the Shaka myth, this untouchability of a mythic characters life story has had very real social and political ramifications (as will be discussed later). Finally, I would suggest that myths that are successful in modern-day societies almost always go some way to explaining and commemorating the founding of that society. The Shaka myth both in its original form and as it is recreated for the television show is a classic embodiment of the myth of a founding community an origin (Tomaselli Shepperson 2002, p.132). It is typically mythic in that it explains how one state of affairs became another: how a plurality of tribes became a nation (and the rendition of the myth in the television series ultimately served to legitimate KwaZulus leaders rights to rule in 1986)(Mersham 1993). The man who played the central part in the establishment of the nation is the main figure. The cult of Shaka is mythological in that it honours his role in the establishment of the Zulu nation (Segal 2004, p.59). But where the myth described by Zulu oral historians focuses on the creation of the nation under Shaka, the television show emphasises an equally myt hic but quite different side to the kings rule: his downfall. The myth as depicted in Shaka Zulu closely matches the native American myths that so intrigued Levi-Strauss myths where: The entire story aims at explaining why after their first beginning, a given clan or lineage or group of lineages have overcome a great many ordeals, known periods of success and periods of failures, and have been progressively led towards a disastrous ending. It is an extremely pessimistic story, really the history of a downfall. (Levi-Strauss 1989, p.38) I will argue that the filmmakers (and their SABC backers) adopted this approach to the myth as a means of warning against violence in the pursuit of power (Tomaselli Shepperson 2002, p.132). Thus, a highly mythic story element was used to serve a very real function. A new myth, with a very different message, was manufactured to replace the old. How filmmakers able make myth It should now be evident how the Shaka myth developed and endured in Zulu oral histories. However, I will argue further that the creators of the Shaka Zulu television show essentially took this and recreated their own, new mythology to suit their own purposes. According to Barthes (1982 cited Wylie 1997), myth is an empty parasitical form, enabling it to be reformulated and reconstituted in various incarnations. While initially based in history, it is necessarily incomplete, accepted as truth but effectively divorced from the contingency of events (Wylie 1997). Thus, the line between history and mythology and I would argue, an original mythology and reinvented mythology as in the series is effectively blurred. Thus, there is room for new mythologies to effectively be invented which claim to be based on the same historical truths which inspired the original narratives. As Levi-Strauss (1989, p.38) asks, where does mythology end and where does history start?. The simple opposition be tween mythology and history which has traditionally been treated as a given is not at all a clear-cut one (Levi-Strauss 1989, p.40), and space is made for new mythologies to be created on essentially the same histories. In short, the creators of Shaka Zulu created a new mythology based on an old mythology originally linked to an almost two-hundred year old history. Hence, I argue that the Shaka Zulu television series adapted the Shaka Zulu myth for western eyes. For instance, grotesque witchdoctors were included in the show to serve the narrative function of magical creatures who aid or threaten the heros quest (Parks 1982 cited in Tomaselli 1992). While historically inaccurate and politically dubious, magical elements are included for television as they are integral to the western mythical formula (Tomaselli 1992). Tomaselli (1992) goes so far as to suggest that the very fact that television is a Western form of expression doomed Shaka Zulu to being a white, Western interpretation of the myth from the start. I would not necessarily go that far, but I would maintain that series was, either consciously or unconsciously, fashioned to conform to western notions of myth. Like the witchdoctors, the white crews sea voyage into a mysterious and dangerous land in Part One of the series hearkens back to some of the oldest myths in western culture. Likew ise, the television show is laden with western notions of prophecy. Shakas rise to power is explained almost entirely in terms of the witchdoctor, Sitayis prophecy. Before the party leave for Zululand, Fynn talks of a prophetic child who it is said will bring with him an era in which the name amaZulu will signify terror and death. (Faure 1986). Similarly, with his birth, the narration talks of how the prophecy was about to begin its determined path (Faure 1986). The links with other canonical western myths such as that of Oedipus are self-evident. Thus, Shaka Zulu, in its efforts to subscribe to the conventions of the mythic form familiar to western audiences, deviates notably from the mythology evidenced in Zulu oral accounts. Where Zulu mythologies about Shaka tended to cut through the bizarre to the essence of depictions, Shaka Zulu was obsessed with the surreal (Tomaselli 1992). The inevitable result was an othering of the Zulu people in a show almost unrecognisable alongside th e history it professed to present. Actual analysis show Content There can be little doubt that much of the shows actual content is, at best, dubious in its portrayal of the Zulu people and the history of Shakas rule. The Zulus portrayed are a bizarre and violent people (Tomaselli 1992). The first scenes in which Zululand are shown are typified by bloody warfare and crying infants. In fact, when we first encounter Shakas kingdom in Part One of the series, we do so through the eyes of the bewildered white party surrounded by sweating masses speaking a strange language, mysterious drum beats and an almost constant procession of war parties running around for no apparent reason (Faure 1986). Certainly, little effort has been made by the filmmakers to portray the everyday, mundane life of the Zulu people the emphasis is almost wholly on public, frequently violent rituals (Tomaselli 1992). The act of making the Other a spectacle is principal characteristic of western, bourgeois myth, says Barthes (1993, p.152), and this is process is patent in Shaka Zulu. Like his subjects, Shaka is also othered as a barbarian megalomaniac with an obsessive desire for revenge (Mersham 1993). Failure to please him carries the penalty of him killing every member of the party (Faure 1986). And, like all the Zulus, he is dictated to by superstition and ritual Have the armies assembled by the next full moon is one of the first commands we hear (Faure 1986). And perhaps the most startling subversion of history and myth comes in the form of the shows witchdoctors. What in truth were perfectly ordinary natural healers are depicted as superhuman, grotesque individuals (Tomaselli Shepperson 2002, p.135). Scary and monsterish, their arrival in a scene is almost always accompanied by thunder and lightning and rain (Tomaselli Shepperson 2002, p.135). In truth, these izangoma were welcomed as an integral part of the community a far cry from the creatures with glowing eyes that command packs of hyenas and maintain dens of dwarfs (Hamilton 1998, p.179). Th us, Zulu ritual is presented as being disgusting and frightening. (Hamilton 1998, p.179). Tomaselli and Shepperson (2002, p.135) argue that such a typical white misinterpretation of Zulu cultural practice is legitimised by the show positing itself as a mythology not, I would argue, a mythology familiar to Zulu history, but one that has been manufactured by white producers for audiences in 1986. It is a typically white version of a native myth (as evidenced by an almost Pocahontas-like scene of Nandi as a young Zulu maiden being watched as she washes at a misty waterfall) (Faure 1986). It is a myth reconfigured to make a modern-day impact. Style The series is also notable for the clear stylistic decisions on how it was shot. There is a very obvious distinction made between those shots that depict the Zulu nation and those featuring the whites in the Cape Colony. The tribal Zulu scenes are largely shot through a sepia filter, with an over-emphasis on yellows, browns and bloody reds. The only deviation from this formula comes during the night-time scenes chilling blue, rife with thunder and lightning, and loaded with imagery of sorcery, magic and the supernatural (Tomaselli Shepperson 2002, p.134). Tomaselli and Shepperson (2002, p.134) argue that ethnographic detail is deliberately obscured by the hazy sepia lighting, the clouds of smoke made by fog machines and the mass of shiny, sweaty (oiled) black skins. The end product is a smudge of objects and people, depicted as an incomprehensible writhing, pulsating and faceless dark mass as they dart about the landscape in a storm of dust. (Tomaselli Shepperson 2002, p.134). Aga in, I would argue there is something quite mythic about this hazy, blurry portrayal of a people. This is in stark contrast to the shots of white people in the Cape Colony, which are whiter, truer and do not contain the clashes between hot and chilling colours (Tom Shepperson, p.134). Thus, the binary oppositions that Levi-Strauss argues are so integral to myth are blatant: white vs black; light vs darkness; civilisation vs barbarity; rationality vs magic; normal behaviour vs ritual; peace vs war and order vs chaos (Tomaselli Shepperson 2002, p.134). Again, conscious decisions from the filmmakers have resulted in a new, subverted mythology. And I would argue that this essentially racist version of Shakas story professes to audiences to be the canonical version of the myth. Intentions etc Like all stories, re-imagined mythologies such as that on show in Shaka Zulu are clouded by the conventions of narrative in terms of prevailing worldviews (Tomaselli 1992). In other words, the creators of Shaka Zulu were dictated to in their mythmaking by the established ideologies of the time. The show is, thus, inextricably linked to the socio-political situation in South Africa at the time of its creation (Tomaselli 1992). Further, any author cannot help but impart something of his or her worldview on audiences when broadcasting a creation to the public domain. As van Jaarsveld (cited Mersham 1993) argues, as soon as an author (in this case, director William C Faure) presents an interpretation of the past, they are putting forward an arsenal of arguments for formulating decisions about the future. Thus, it was not by accident that the Shaka myth (and message) presented on screen differed so greatly from that recounted by Zulu oral historians. Director William C Faures stated intentions for the series were explicit: to bring the story of Shaka Zulu home to the Zulu people (Faure 1986). He is quoted (cited Tomaselli 1992) as saying: Shakas life was originally recorded by white historians who imposed upon their accounts bigoted and sensationalist values often labelling the Zulus as savage and barbaric. It is our intention with this series to change that view. However, as Barthes posits, all myths are founded on a concealment of some meanings and the interested promotion of others (Rylance 1994, p.47) and there was more motivating Faure than just the desire to right historical wrongs. He also hoped that show would shed light on South Africa, correct misconceptions and change the system (Hamilton 1992, p.181). It appears to have been his deepest wish that the show would balance international perceptions about the conflict in 1980s South Africa, and thus whatever intentions he had to redress the injustices of history became distorted by his commitment to this objective (Tomaselli Shepperson 2002, p.131). Thus, Tomaselli and Shepperson (2002, p.133) argue that Faures project was couched, perhaps unintentionally, within apartheid discourse, and does no justice to either Shaka or history. This is just further evidence that mythology as a story form is manufactured to suit prevailing worldviews. From the off, Faures creation was fraught with apparent political interference. The series writer, Joshua Sinclair, removed himself from the production when he was made aware of the directors links with South African Military Intelligence (Blignaut cited Tomaselli 1992). Faure was also convinced out of using Zulu poet, Mazisi Kunenes epic Emperor Shaka the Great as source material, as it was deemed to be overly critical of white people and because Kunene was an exiled member of the African National Congress (ANC) (Tomaselli Shepperson 2002, p.130). However, the relationship between the filmmaker and the SABC (and the state) was by no means a straightforward one. Faure liaised equally closely with not only the Zulu royal family (inviting the Zulu prince Gideon onto set as a cultural advisor) but also the Zulu government (Tomaselli 1992). Yet even with these efforts to seek Zulu approval, we shall see that the level of state involvement was tangible. The key to Shaka Zulus unique succ ess was in that it was able to establish a myth that was acceptable to both those who already had their own version of Shakas story and those largely unfamiliar with it. The apartheid government saw Shaka Zulu as an opportunity to reformulate the myth in a way that would more closely suit their plans. Initially a powerful tale of a hero resisting white oppression, the myth was transformed into something quite different. At the time of Shaka Zulus release, South Africa was in a state of violent political turmoil. The apartheid regime was fast coming around to the idea that solutions to the violence in South African society had to be found. Thus, Faures proposed television series offered the state and the SABC a key opportunity to present all South Africans with a drama advocating interracial collaboration and portraying the dangers of its failure (Hamilton 1998, p.181). As Barthes (1993, p.156) states, mythology harmonises with the world, not as it is, but as it wants to create itself. The mythology of Shaka Zulu was, in effect, a reflection of how the government thought South Africa should be. Shaka Zulu represented an opportunity for the government to promote a resolution based on order (apparently best reflected by the capitalist Inkatha Freedom Party) over disorder (basically, the socialist ANC freedom fighters) (Tomaselli 1992). To the apartheid government, order implied keeping nations separate according to tribal homeland, and Tomaselli (1992) argues that the series insistence on manufacturing a dichotomy between savagery and civilisation only served to endorse apartheid discourse that black people should be allowed to develop in their own way in their own areas. The government also needed cooperative, authoritarian black leaders to implement their visions of peaceful segregation. Someone, says Hamilton (1998, p.184) like Shaka Zulu. The closest match was the Inkatha Freedom Party (IFP) leader, Mangosuthu Buthelezi, whose links with Zulu royalty made him and his fellow party leaders the shows perfect target audience. Shaka Zulu effectively acted as a means for the government to communicate its reformist visions to Buthelezi and his leadership. For instance, the chaos of the Zulu kingdom portrayed in the final episode after Shakas rejection of white interaction came as a stern warning to black politicians such as Buthelezi of the consequences of trying to go it alone (Hamilton 1998, p.184) (as an interesting aside, it is worth noting how this all fits into Levi-Strauss insistence that the chief moral implication of myth is that self-interest is the source of all evil) (cited Leach 1974, p.81). Refusal to cooperate with the apartheid state (just like Shakas refusal to establish a truce with the Cape Colony in the show) would only result in flames and chaos will prevail (Hamilton cited Tomaselli Shepperson 2002, p.32). Again the myth of the downfall on screen was used to warn against risking the Zulu nations downfall in the real, physical world. The message behind the new myth was clear. The project was not without its critics. The production was universally rejected by anti-apartheid who were fighting for non-racial democracy. Most white anti-apartheid historians were appalled by the series historical inaccuracies (Tomaselli 1992). Wright (cited Mersham 1993) slated the show for pandering to a whole range of colonial and racist stereotypes about the Zulus a people reduced to singing, dancing, fighting. Hamilton states that the multitude of Unzulu untraditional features had many critics baffled as to how the series gained royal approval (Hamilton 1998, p.185). Also, while the series did show Shaka to be a leader of calibre and talent, Hamilton (1998) argues that it was guilty of repeating older stereotypes of his psychological imbalances and bloodthirstiness. Mazisi Kunene (cited Tomaselli 1992) lambasted the series as a rotten a propaganda tool aimed at aimed at projecting the Zulu people and their king as bloodthirsty savages and whites as their saviours. Yet for all the shows obvious failings, the show was an immense success evidence, in my opinion, of the power of the mythic form. Uses Curiously, the Shaka Zulu myth would prove to be as acceptable to the Zulu leadership as it was to the forces that influenced its creation. This has a lot to do with the anxieties within Zulu society at the time of the shows release. Ernst Cassirer wrote in The Myth of the State (1946 cited Segal 2004, p.39) that myth resurfaces as a means of explanation when the rational forces that resist the rise of the old mythical conceptions are no longer sure of themselves. In these moments, he says, the time for myth has come again (1946 cited Segal 2004, p.39). Late apartheid South Africa was such a time. Myth is dangerous in that it is a social-psychological paradigm catering for a particular anxiety in society, yet still as in the case of Shaka Zulu presents itself as something born out of historical truths (Wylie 1997). Thus, myth tends to give a natural justification to the worldviews it supports (Barthes 1993, p.142). Historical veracity becomes far less important than the ways in whi ch the myth is appropriated and utilised. As Barthes (1993, p.144) states: Men do not have with myth a relationship based on truth but on use. For Buthelezi and the IFP, the truthfulness of the myth was far less important than the socio-political purposes it could serve. The white version of the Shaka Zulu myth arrived on South African television screens at a time of great political strife in the Zulu homeland of KwaZulu. Buthelezis Inkatha Freedom Party was involved in a bloody conflict with the African National Congress for legitimate rule. Where the ANC sought multi-party democracy, the IFP stood for Zulu independence, and thus Shaka Zulus emphasis on ethnicity and equating it with nationhood proved to be more than acceptable fillip to Buthelezi (Tomaselli Shepperson 2002, p.133). Mangosuthu Buthelezi was very conscious of the power of the Shaka myth. At political rallies, the IFP leader would be seen wearing the same kind of Zulu royal regalia that Shaka is shown to wear in the series (Tomaselli 1992). In fact, the wearing of traditional, ceremonial skin garments became a marker of Zuluness for IFP politicians (causing many anti-IFP Zulu-speakers to take offence to the notion that they should become postcard Zulus) (Klopper 1996, p.55). Thus, I argue that it is no contradiction that Shaka Zulu could simultaneously portray the Zulu people as backward, uncivilised and tribal and be a vehicle for legitimating the IFP leadership (Mersham 1993). Tribalism helped the IFPs cause. Further, Buthelezi would explicitly compare himself with the Zulu royalty of Shakas time throughout the 1980s as a means of gaining political credibility with the Zulu people. Thus, the fact that the Shaka Zulu myth was so fresh in the Zulu consciousness with the shows broadcast, became a means for the IFP to bestow its leadership with legitimate authority (Tomaselli 1992). Like Shaka once did, Buthelezi now became the man who would lead his nation against its colonial oppressors (Tomaselli 1992). Tomaselli (1992) even argues that Inkathas militia wing was mobilised as a reincarnation of Shakas impi (military), as a means of inspiring popular support for their (frequently violent) cause. Within the Zulu community, Buthelezis cause was strengthened by Ink athas close identification with the loyalty, discipline and bowing and scraping for Shaka shown in the show (Mersham 1993). Obedience to the leader in the TV series myth was shown to be an innate aspect of Zulu culture questioning Buthelezi was implied to be unZulu. Despite its flaws both in terms of historical accuracy and prejudiced portrayals the Shaka Zulu myth was lauded by the Inkatha leadership as being faithful to their king, and a positive mobilising force for Zulu nationalism (Tomaselli 1992). Thus the Shaka Zulu show became a mechanism for the IFP to portray itself as inheritor and protector of the historical pride of the Zulu nation (Tomaselli 1992). The unsavoury aspects of the shows portrayal of the Zulu people and the downfall of Shaka were superfluous. The myth of a great Zulu leader standing up to outside oppression and the implied suggestion that a new leader had it in him to do likewise were all that mattered. Buthelezi was happy to ride on the dramatic success of the series, even if a perceived concession of the series objectionable features was the price to pay. (Hamilton 1998, p.186). GET OWN WORDS What I have tried to show is that in certain viewing contexts, Shaka Zulu offered a legitimacy for both ruling government and anti-apartheid elements (eg. the Kwa Zulu legislature and Inkatha). Barthes, R., 1993. Mythologies. London: Vintage. Cele, TT., 2001. Qualities of King Shaka as Portrayed in Zulu Oral Testimony and in Izibongo. South African Journal of African Languages, 2, 118-131. Fernandez, JW., 1967. The Shaka Complex. Transition, 29, 11-14. Available from: http://www.jstor.org/stable/2934231 [Accessed 8 January 2010] Hallencreutz, CF., 1989. Tradition and Theology in Mofolos Chaka. Journal of Religion in Africa, 19 (1), 71-85. Available from: http://www.jstor.org/stable/1581183 [Accessed 8 January 2010] Hamilton, C., 1998. Terrific Majesty: The Powers of Shaka Zulu and the Limits of Historical Invention. Cape Town: David Philip Publishers. Hamilton, C., 1992. The Character and Objects of Chaka: A Reconsideration of the Making of Shaka as Mfecane Motor. The Journal of African History, 33 (1), 37-63. Available from: http://www.jstor.org/stable/182274 [Accessed 15 December 2009] Harries, P. 1993. Imagery, Symbolism and Tradition in a South African Bantustan: Mangosuthu Buthelezi, Inkatha, and Zulu History. History and Theory, 32 (4), 105-125. Available f

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Executive Summary of Anheuser-Busch Companies, Inc. Anheuser-Busch Companies, Inc. continually seeks opportunities to maximize shareholder value and increase efficiency. Through their extremely effective marketing strategies A-B has gained control of over 47% of the global market share. In the process of doing this, Anheuser-Busch has become one of the most recognizable trademarks. This is not without its faults though. Anheuser-Busch’s aggressive advertising campaign has targeted more than who they bargained for. Through A-B’s catchy advertisements, they have attracted customers other than the 21+ age group, and recreational drinkers. It is the opinion of many researchers that Anheuser-Busch is negligent in their advertising, and insists that changes need to be made. Through proper regulation of their advertising, consumers would be allowed to make choices free of media persuasion. Situation Analysis Environment: Cooperative Anheuser-Busch Companies, Inc. continually seeks opportunities to maximize shareholder value and increase efficiency. As noted in the Annual Report for 1999, Anheuser-Busch remains focused on three major objectives to enhance shareholder value: ï  ± Increasing per barrel profitability which, when combined with continued market share growth, will provide solid long-term earnings per share growth. ï  ± Profitable expansion of international beer operations by building the Budweiser brand worldwide and making selected investments in leading brewers in key international beer growth markets. The company has made significant marketing investments to build Budweiser brand recognition outside the United States and operates overseas breweries in China and the United Kingdom. The company also has a significant equity position in Grupo Modelo, Mexico’s largest brewer and producer of the Corona brand. ï  ± Continued support of profit growth in packaging and entertainment operations. Packaging operations provide significant efficiencies, cost savings and quality assurance for domestic beer operations, while entertainment operations enhance the company’s corporate image by showcasing it’s heritage, values and commitment to quality and social responsibility to 19 million visitors annually as well as adding their profit contribution. The company’s strong commitment to achieve these objectives benefits a... ...th the regulations. Works Cited 1999 Annual Report, Anheuser-Busch Companies â€Å"Anheuser-Busch Announces Record Sales and Earnings for the Fourth Quarter and Full Year 1999; Worldwide A-B Brand Shipments Exceed 100 Million Barrels.† Business Wire, 2/2/2000. Online. Electric Library. Atkin, C.K., â€Å"The Role of Alcohol Advertising in Excessive and Hazardous Drinking.† Journal of Drug Education 1993, p.313-325 Best, Kathleen. â€Å"Simon Wants Warning on Liquor Ads.† St. Louis Post-Dispatch 3/31/93, p. 15A. Online. Electric Library. Fox, RichardJ.;Krugman, Dean M.; Fletcher, James E.;Fischer, Paul M., â€Å"Adolescents’ attention to beer and cigarette print ads and associated product warnings.† Journal of Advertising, 9/22/98. vol. 27. p. 57. Online. Electric Library. Gerbner, G., â€Å"Stories That Hurt.† Journal for Substance Abuse Prevention, 1990, p. 53-57 Saffers, H., â€Å"Alcohol Advertising and Motor Vehicle Fatalities.† Review of Economics and Statisitics. 1993, p.431-442 Sellers, Patricia. â€Å"Selling: How Busch Wins in a Doggy Market.† Fortune Magazine, 6/22/87, p. 99. Electric Library. â€Å"Tax and Sin in Moderation.† St. Louis Post-Dispatch 2/26/98. Electric Library.

The Department of Psychology at State University Essay -- academic dis

The psychology department of State University is considered an academic discourse community. They have a stated purpose, requirements for membership, and exercise intercommunication techniques. Furthermore, they have shared common knowledge that they use to advance their discipline and attract new members. Eleanor Kutz, a leading expert in the field of language and literacy, argues that academic discourse communities differ from informal ones in the critical area of assumed shared knowledge. She states, â€Å"building on the assumed shared knowledge...affects how people participate in academic communities, including introductory ones† (Kutz 344). In other words, professors introduce basic concepts when students enter the community. These concepts are the foundation that will eventually give rise to greater functionality within the desired academic discipline. The purpose of the academic discourse community is to foster development of novice members and therefore, assurin g that the community has the resources to sustain itself. The purpose of my research stems from this concept of shared knowledge and how it relates to membership and survival. John Swales theorizes, â€Å"survival of the community depends on a reasonable ratio between novices and experts† (Swales 27). Building upon this notion, I aim to show how freshmen to professors are dependent upon one another and how this community achieves their purpose of shared common knowledge. I will do so by focusing on their modes of academic advancement, intercommunication techniques, and shared public goals. Additionally, my research also reveals insight on how a bachelor’s degree in psychology translates into employment. Methodology: Experiences, Observation, and Documen... ... feedback† (Swales 26). This function lends evidence to the idea that within any academic discourse community, there must be ways to pass on knowledge and feedback. This is the action that maintains life within the community. The exercise of passing on shared information allows the Department of Psychology to expand, stay relevant, attract new members, help the community, and function with unity to accomplish their stated purpose and goals. Works Cited Kutz, Eleanor. Exploring Literacy: A Guide to Reading, Writing, and Research. New York: Pearson/Longman, 2004. Print. "Many Opportunities for Psychology Students at Akron." The University of Akron : Psychology. N.p., n.d. Web. 20 Mar. 2014. . Swales, John M. Genre Analysis: English in Academic and Research Settings. Cambridge: Cambridge United Press, 1990. Print.

Music Represents the Soundtracks of Life Essay

Music is an unavoidable ingredient in everyone’s life. Whether its music we play by personal choice or music we hear in supermarkets or a retail store. Society will hear music. What comes along is what will affect the listener. Through time music has changed to meet the needs of society. In the past music was one of mans only form of entertainment, in many households the radio would play all day. Music changes as our lifestyle and environment changes, music was simple and very plain in the past but society could not live without it, the music was plain because their life was plain. As music developed, music started to split into different forms, now called genres. People created different genres to match their needs and feelings. Each genre reached out to a certain type of person’s personality and affects that person’s way of life. People listen to a specific type of genre to match their mood, for example: when a person is sad or grumpy they tend to listen to slow or depressing songs to match their mood, examples of these genres are blues and instrumental jazz. Different genres can also change your mood, at a club or party people play upbeat and fast paced music to get the people dancing and socialising. Rock or metal, a developing genre, is a very popular genre because of its distinct sound. Rock mainly consists of bands with a mixture of instruments and one or more vocalist. Music is not only heard on radios, cd’s or on the TV, music is constantly around us. One cannot imagine life without music because society is so used to hearing it. In movies music is used for effect and drama, a movie without music does not only sound dull and boring, it feels dull and boring. The music makes you shiver at the climax of a horror movie, the music makes you cry during a romantic scene. Driving on long journeys while listening to your favourite artist makes the trip feel a lot shorter and more enjoyable. Nature is one of the only places where you can hear natural music. Imagine walking through the forest without hearing the sweet sounds of birds chirping or the sounds the bushes and trees make when the wind passes by. Music makes life more relaxing and often is our source of inspiration. Music moves our body in many ways, but most of all it moves our souls and helps people to look deep inside themselves. Music will continue to grow and will never die. Music is the soundtrack of life.

Land And Water Pollution Essay

Major types of water pollutionOrganic wastes that is largely untreated military man waste, sewage, and industrial waste from processing diverse food roducts, from the pulp and paper industry, and from creature feedlots. Inorganic pollutans that is salt brines, acids, phospates, heavy metals, asbestos, PCBs, radioactive chemicals.Land PollutionToxic substances barbaric or virulent substances argon those that john hasten an increase in fatality wander rates or irreversible or incapacitating illness or those that collapse other seriously adverse n earlyness or environmental effects. Toxic substances that endure been released on land include acidulent chemicals, inorganic metals ( much(prenominal) as mercury or arsenic) flammable solvents, pesticides, herbicides, phenols, explosives, and so on. For example benzine is a common industrial chemical that is also used in plastics, as well as dyes, nylon, food additives, detergents, drugs, fungicides, and turgidnessoline. benz ine is a toxic and can cause of a anemia, bone marrow damage, and leukimia. Studies bring in shown that benzene workers are several quantify to a greater extent likely than the general state to get leukimia. Solid wastes come from residential garbage, industrial wastes, agricultural wastes, mining wastes. The roughly common one we usually bring is residential garbage.Only about a third residential wastes are aged through recycle. A low relation that is due to the lack of financial condescension for recycling operations, the small size of markets for recycled products, and toxic chemicals present in recyclable garbage. metropolis garbage dumps are pregnant sources of pollution, containing toxic substances such as compact disc (from rechargeable battery), mercury, lead (from car battery, and TV pictures tube), vanadium, copper, zinc, and PCBs. Nuclear wastes Light water nuclear reactors contain radioactive materials, includeing cognize carcinogens such as strontiums 90, cesiu m 137, barium 140, and atomic number 53 131. Extremely high levels of radiaton from these elements can eat a person, lower dosages (especially if radioactives dust particles are inhaled or ingested) can cause thyroid, lung, or bone cancer as well as genetic damage that give be transmitted to future generations.Depletion of Species and Habitats man activity has rendered dozens of plants and animal species extinct. Since 1600 at least 96 known pecies of mammals and 88 major identifiable species of birds are known to have become extinct. Several ascorbic acid more species such as whales and pink-orange today find themselves threatened by commercial fishing. Forest habitats on which the hatful of species depend are also being decimated by the timber industry.Depletion of Fossil FuelsUntil the early 1980s, fossil fuels were being scummy at an exponentially rising rate. That is, the rate at which they were being used had doubled with the conversion of a regular fixed cartridge c lip period. Some early predictions of resourcefulnesss depletion assumed that fossil fuels would contiinue to be depleted at these exponentially rising rates. If reportd, an exponentially rising rate of depletion would end with the complete and catastrophic depletion of the resource in a relatively piffling time. Estimated adult male resources of coal would be depleted in about 100years, estimated world reserves of oil would be exhausted in about 40years and estimated reserves of natural gas would last only about 25years.Depletion of MineralsIf sooner exponentially rsing rates of depletion continued therefore alumunium would have been scheduled for exhaustion in the year 2003, iron in 2025, manganese in 2018, molybdenum in 2006, nickel in 2025, tungsten in 2000, zine in 1990, and copper and lead in 1993. solid ground resources are also limited, and the depletion rates of the worlds supplies of minerals will also in the end peak and then gradually celestial latitude as rem aining supplies become harder and more expensive to mine.The precise impact the limit of worlds supplies will have on us exceedingly difficult to predict. Miningtechnologies may continue to develop , which will reduce the impediment and cost of mineral extraction and overlay the period of decline. This has in fact been the casing for most mineras up to the present. Increased recycling may reduce the need for intensive mining of remaining minerals reserves. Substitutes may be found for some(prenominal) of the minerals whose supply is limited, and technical development may make many current uses of theseminerals obsolete.

British Perspective on the Boston Tea Party Essay

In 1773 parliament passed the tea leaf leaf leaf venture in which the British assume less for revenue enhancement to ship places. This do the prices of tea bring down from Britain. Since capital of Massachusettss tea would be more dearly- win nobody would subvert it from them. The tea doing was precisely a nonher problem adding up between the settlers and britain. This do the colonists want to be independent from Britain. The colonists decided to rebel and wearisome cardinal hundred and forty deuce chests of tea into the capital of Massachusetts Harbor. The symbolise was apt(p) the name the Boston teatime Party. ab expose of the British archetype of the Boston tea Party as an work of terrorism. in truth the Boston tea leaf Party was middling a nonher step to independence for the colonists.In 1763 the British put a gunstock along the Appalachian Mountains so the the colonists could non move into the Ohio River Valley. This was called the Proclamation Line. T he British proscribed the colonists from their agriculture to protect them from the Indians. The colonists who went against the British and cut across the line were later killed by the Indians and therefore asked for the British to protect them again. When the colonists asked for help they British were subdued in a megabucks of debt from the war they fought to protect the colonists. They put British soldiers on the line to protect the colonists. This was a little bit rude of the colonists to hand over moving into the Ohio River Valley when the British were severe to help them.The f numeral that the British were dreary the colonists from passing the Appalachian Mountains made them precise mad. They looked at it as the British not allowing them to settle into more land. The colonists were not allowed to debauch and bonk on the land that they fought and won a war for. It was there land and they were cosmosness deprived their right to their give property.The Sugar bit h appened in 1764, the abutting thing to make the colonists hot. The chicken feed lick put tax on dulcify from early(a) countries making it more expensive. The profit was now more expensive than the British sugar. The British perspective on it was dianoetic beca practice session they were in major debt fromthe war they fought for the colonists. They were respectable hoping that the colonists would by their tea so they could use the silver to even up off the debt. They sentiment they were being fair by not impose their sugar so the colonists would not have to pay a tax.The substance the colonists saw the Sugar Act was an act of selfishness. The British taxed the tea the colonists utilize to misdirect because it was cheaper. The British had no right to tax the colonists. They had no say in how ofttimes the tax should be or what it was on. They used sugar e veryday it was completely unfair.In 1765 the British made the Quartering Act. It mandatory for british troops to ha ve to live in the colonists homes when they were stationed in the colonies. The British fancy it was only fair for the colonists to pass on criminal maintenance of their soldiers. Many of those soldeirs fought in the war against the cut and Indians. It would cost too much for Britain to pay to build housing for the soldiers.The colonists did not standardised the Quartering act. They did not want to recognize thrill of the soldiers. First of all because the soldiers were the ones from retentiveness them to start out to the rest of their land in the Ohio River Valley. Now they were being forced to take care of the soldiers. Nobody valued to because they did not even have adequate board in their homes. They did not have enough money to clothe and feed them either. The soldiers were very rude to the colonists and kind of scared well-nigh of them too.In 1767 a powerful British man named Charles Townshend had the idea of putting taxes on glass, lead, paints, paper, and other all(prenominal)day products of the colonists. The reason for taxing these products was so Britain could get more money for their government. They also did it for more power over everyone.The colonists did not like the Townshend acts. It was just a elan for Britain to take more money. The colonist rebelled just like they did with the quartering and sugar act. They boycotted British products. The trade betweenthem dropped by fifty percent as a result in the boycott. They claimed it was unconstitutional because the colonies did not have any say in the sevens. The debate wether or not the colonies had represntation in parliament was not settled until the revolution.The Tea Act was passed by the British Parliament in 1773. The British made it so the colonists could not but any tea from any one else besides the eastmost India Company. The East India Company was poor and the British precious to help them with their business. The tea act made the price of tea lower from the East India C ompany so everyone would buy from them. They said that it was a benefit to the colonists because they could get tea cheaper now. The tax on the tea was very minimal and they just wanted to put a tax on it to show they have the right to tax.This made the Colonists look at the Tea Act as another taxation without archetype situation. It meant they could not buy tea from anyone else and so their tea would lose its business. They were also angry because it went against the english right of only being taxed by the elected representatives not the parliament.The Sons of shore leave were a convention of patriots who were dedicated to get independence for the colonies. They Sons of Liberty Believed in being free. They were a secret group that wanted to fight for America. The group formed when the British Empire became on of the most feared powers in the world. Samuel Adams formed the Sons of Liberty.The British saw the Boston Tea Party as an act of terrorism. They saw it as a group of dru nk and crazy people fling their tea into the boston Harbor with out paying for it. They completely rebelled against the government and osteal a lot of money afterward all that the British have make for them.On December 16, 1773 the Sons of Liberty boarded terzetto British ships. They dressed up as Mohawk Indians in order to be able to access the ships. They also had to ramification themselves with hatches and axes to make their disguises more believable. They opened and dumped every single chest into the BostonHarbor. This was called the Boston Tea Party. When it was over there were three hundred and forty two woody chests floating in the water. Many other people boycotted the tea in the selfsame(prenominal) way later on. The colonists did this to show independence.I can see how the British thought the Boston Tea Party was an act of Terrorism. I believe that the Boston Tea Party was not an act of terrorism. Britain took payoff of the colonists. Even though they tried dower y the colonists a few times they still should not have used us to make more money for their government. They should be able to run and take care of their own money issues without taking the colonists money. The colonists were decidedly right in taking meet and rebelling against the British in every way they could. The Boston Tea Party was just another step closer to the independence of America.

The People

Angela Franklin Professor Ginfrida ENC1101 22 April 2013 Neat Vs. Sloppy In Suzanne Britts â€Å"Neat People Vs. Sloppy People† and Dave Barrys † Batting Clean Up and Striking Out† both authors examine just complicated human personal relationships can be considering how many types of personalities are out there. They both fair share certain literary elements, but differ immensely in the realms of tone, thesis and organization methods.Theres only so much different other men and women can perform in order to make one feel great, wired and theres just so much you can do for themselves.They both use these literary elements to create humor in their essays. Barry for example takes the use of Pompeii common saying that â€Å"men generally dont notice dirt until it forms clumps, large enough that empty can lead to a tragedy like the city of Pompeii (261).Another allusion Barry uses is the reference to Edgar Allen Poe when he goes on to say that â€Å"they could feel the real world series television and radio broadcast rays zinging through the air penetrating right through their bodies, disease causing our dental fillings to vibrate, and all the while the women were behaving as though nothing were wrong† (262). how This enhances his story with suspense.Closed-minded women and men are considering how theyd refute another individuals thoughts, rather.

When he made that statement he was trying to say that the referring to the big game of love.In the same manner Britt went on to say that â€Å"sloppy people live in what some may call â€Å"Never Never Land† (255). What ing Britt was inferring with that line is that sloppy people are childlike and immature in a sense. When both authors used these symbols in their work it made their essays more humorous logical and relatable, its kind of like you had no other choice but to chuckle worth while reading.Have the person that youre training repeat back what youve clarified.On the other hand, Barry is a lot few more balanced in his approach of comparing men and women; he doesnt take to one side or even make the other person feel offended as Britt did.He just states the different different priorities of men and women, Barry went on to say that â€Å"the opposite side of the dirt coin, of course is sports† (262). Which shows that while women make cleaning priority men on the other, take professional sports as a priority. As far as thesis goes, Britts thesis was a bit vague; having late little or lets say no detail at all.We The People Hemp is simple to purchase.

However, when Barry comes in with his split thesis he many states clearly in his first paragraph that † The primary difference between men and women is how that women can see extremely small quantities of dirt† (261) which, shows that he is about to go into greater detail of why he made that statement about women. Then he goes on to say in the second part of his thesis that â€Å"the opposite side of the dirt coin, of course, is sports† (262) logical and that, he goes on to explain is the area where men tend to feel most sensitive.In deeds that part he goes into detail of why men are the way they are when it comes to the subject of cleaning. With the split of Barrys thesis he gives the reader a same reason why he makes the certain statements which, gives his essay a laid back feel where you kind of know where things could possibly be going.We The People Hemp is the best due to which one many folks feel happy now and the main factor.Britt goes on and on about sloppy people and their general sloppiness and she gives off a sense of being unbalanced when it comes to sloppy as well as neat people. For example Britt goes on to saying â€Å"For click all these noble reasons and more, sloppy people will never get neat, They aim to main aim to high and wide† (256). Leaving it at that only to go into more male bashing of sloppy people. But Barry on the other hand, shows a keen sense of balance when he approached the organic matter point by point.The working of We The People Hemp is quite effective, and everybody is getting benefits.

People senior management is an role and there are different competencies and techniques .There are an assortment of hot food items you can buy.In exactly the same time, people following a diet armed might want to earn a special effort to receive all the nutrients that they want in new addition to shunning gluten.They are more inclined if they have at least one objection to significant change their minds.

Defence mechanisms will be subsequently utilized by the brain .Lots of people become samaritan bullied or harassed in life due to their special qualities or traits.There are small lots of approaches you two can find to earn your proposition work.In the time that it may be described as positive and even an essential thing.