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12
Contents
editorial
LUCAS LEDWABA
Festival in forgotten community seeks to amplify rural voices through art
RATO MID FREQUENCY
Social Death Beyond Blackness
HUGO KA CANHAM
Exchanging black excellence for failure
LOUIS CHUDE-SOKEI WITH IR INDIGENOUS RESISTANCE
Sharp as a Blade: Decolonizing Decolonization
Theme Timbila Library
MALAIKA WA AZANIA
The Timbila Library - 120 books to read by age 28
MING DI
“Through Multiculturalism We Become Better Humans”: A Conversation with Vonani Bila
MZWANDILE MATIWANA
The surviving poet
NOSIPHO KOTA
Seven Poems
MPHUTLANE WA BOFELO
Language is Land
MXOLISI NYEZWA
Seven Notes To A Black friend, The Dance of the Ancestors and Two Other Songs That Happened
VONANI BILA
Ancestral Wealth
PHILLIPPA YAA DE VILLIERS
Voices of the Land: Poets of Connection
MASERAME JUNE MADINGWANE
Three Poems
SANDILE NGIDI
Three Poems
VONANI BILA
Probing ‘Place’ as a Catalyst for Poetry
DAVID WA MAAHLAMELA
Four Poems
MAKHOSAZANA XABA
Poems from These Hands
TINYIKO MALULEKE
An Ode to Xilamulelamhangu: English-Xitsonga Dictionary
KGAFELA OA MAGOGODI
Five Outspoken Poems
MZI MAHOLA
Three Poems
VUYISILE MSILA
People’s English in the Poetry of Mzi Mahola and Vonani Bila
VONANI BILA
The Pig and four other poems
MPUMI CILIBE
American Toilet Graffiti: JFK Airport 1995
KELWYN SOLE
Craft Wars and ’74 – did it happen? (unpublished paper)
MAROPODI HLABIRWA MAPALAKANYE
Troublemaker’s Prison Letter
AYANDA BILLIE
Four Poems
VONANI BILA
Moses, we shall sing your Redemption Song
MM MARHANELE
Three Poems
VUYISILE MSILA
Four Poems
RAPHAEL D’ABDON
Resistance Poetry in Post-apartheid South Africa: An Analysis of the Poetic Works and Cultural Activism of Vonani Bila
THEMBA KA MATHE
Three Poems
ROBERT BEROLD
Five Poems
VONANI BILA
The Magician
galleri
KHEHLA CHEPAPE MAKGATO
TŠHIPA E TAGA MOHLABENG WA GAYO
THAIO ABRAHAM LEKHANYA
Mary Sibande: Reimagining the Figure of the Domestic Worker
TSHEPO SIZWE PHOKOJOE
The Gods Must Be Crazy
DATHINI MZAYIYA
Early Works
KEMANG WA LEHULERE & LEFIFI TLADI
In Correspondence
TENDAI RINOS MWANAKA
Mwanaka Media: all sorts of haunts, hallucinations and motivations
ROFHIWA MUDAU
Colour Bars
OBINNA OBIOMA
Anyi N’Aga (We Are Going )
THULILE GAMEDZE
No end, no fairytale: On the farce of a revolutionary ‘hey day’ in contemporary South African art
SAM MATHE
On Comic Books
VONANI BILA
Caversham Centre: A Catalyst for Creative Writing and Engagement with Writers and Artists
KEITH ADAMS
Vakalisa Arts Associates, 1982–1992: Reflections
borborygmus
LYNTHIA JULIUS
Om ’n wildeperd te tem
EUGENE SKEEF
THEN AND NOW
BONGANI MADONDO
Out of Africa: Hip Hop’s half-a-century impact on modernity - a memoir of sound and youth, from the culture’s African sources, Caribbean “techno-bush” to its disco-infernal flourish.
KOPANO RATELE
You May Have Heard of the Black Spirit: Or Why Voice Matters
KWANELE SOSIBO
Innervisions: The Politricks of Dub
NDUDUZO MAKHATHINI
uNomkhubulwane and songs
RICHARD PITHOUSE
The radical preservation of Matsuli Music
CARSTEN RASCH
Searching for the Branyo
BONGANI TAU
Ukuqophisa umlandu: Using fashion to re-locate Black Psyche in a Township
VONANI BILA
Dahl Street, Pietersburg
FORTUNATE JWARA
Thinking Eroticism and the Practice of Writing: An Interview with Stacy Hardy
NOMPUMELELO MOTLAFI
The Fucking
frictions
IGNATIA MADALANE
Not on the List
SITHEMBELE ISAAC XHEGWANA
IMAGINED: (excerpt)
SHANICE NDLOVU
When I Think Of My Death
MPHUTLANE WA BOFELO
Biko, Jazz and Liberation Psychology
FORTUNATE JWARA
Three Delusions
ALEXANDRA KALLOS
A Kite That Bears My Name
NIEVILLE DUBE
Three Joburg Stories
M. AYODELE HEATH
Three Poems
ZAMOKUHLE MADINANA
Three Poems
VERNIE FEBRUARY
Of snakes and mice — iinyoka neempuku
KNEO MOKGOPA
Woundedness
VONANI BILA
The day I killed the mamba
JESÚS SEPÚLVEDA
Love Song for Renée Nicole Good
ALLAN KOLSKI HORWITZ
Three New Poems
claque
MAKHOSAZANA XABA
“Unmapped roads in us”: A Review of Siphokazi Jonas's Weeping Becomes a River
LINDA NDLOVU
Uhuru Portia Phalafala’s Mine Mine Mine
VONANI BILA
Kwanobuhle Overcast: Ayanda Billie's poetry of social obliteration and intimacy
WAMUWI MBAO
We Who Are Not Dead Yet: A Necessary Shudder
ENOCK SHISHENGE
Sam Mathe’s When You Are Gone
SIHLE NTULI
Channels of Discovery
MAKGATLA THEPA-LEPHALE
Lefatshe ke la Badimo by Sabata-mpho Mokae
PHILANI A. NYONI
The Mad
SEAN JACOBS
Mr. Entertainment
NELSON RATAU
On Culture and Liberation Struggle in South Africa — From Colonialism to Post-Apartheid, Lebogang Lance Nawa [Editor]
DIMAKATSO SEDITE
Morafe
MENZI MASEKO
Acknowledging Spiritual Power Beyond Belief - A Review of Restoring Africa’s Spiritual Identity by African Hidden Voices (AHV)
DOMINIC DAULA
Kassandra by Duo Nystrøm / Venter: Artistry inspired by Janus
RIAAN OPPELT
Get Jits or Die Tryin’
MZOXOLO VIMBA
The weight of the sack: Hessian, history and new meaning in Tshepo Sizwe Phokojoe’s “The Gods Must be Crazy” exhibition.
RICK DE VILLIERS
Review: Ons wag vir Godot – translated by Naòmi Morgan
GOODENOUGH MASHEGO
We Who Are Not Dead Yet by Aryan Kaganof
MAKGATLA THEPA-LEPHALE
SACRED HILLS, A Novel by Lucas Ledwaba
ekaya
MALIKA NDLOVU
Beloved sister Diana
VONANI BILA
The Timbila Poetry Project
MARK WALLER
It’s time to make arts and culture serve the people
LUCAS LEDWABA
'I have nothing left' – flood victims count the costs
KOPANO RATELE & THE NHU SPACE POSSE
On The ‘NHU’ Space
LWAZI LUSHABA
A Video Call with Kopano Ratele on Politics and the Black Psyche, 22 July 2024
CHARLA SMITH & KOPANO RATELE
“Men cannot love if they are not taught the art of loving”: Blueprints for caring boys and men
LAING DE VILLIERS
A visit to the Mighty Men’s Conference and Uncle Angus: A perspective on masculinity
THOMAS HYLLAND ERIKSEN & RIAAN OPPELT
Post-apartheid diversification through Afrikaaps: language, power and superdiversity in the Western Cape
MARTIN JANSEN
Where is the Better Lyf You Promised Us?
THADDEUS METZ
Academic Publishing is a Criminal Operation
off the record
MIRIAM MAKEBA
Sonke Mdluli
ALON SKUY
Marikana 2012/2022
ZAKES MDA
Biko's Children (12 September 2001)
VONANI BILA
Ku Hluvukile eka ‘Zete’: Recovering history and heritage through the influence of Xitsonga disco maestro, Obed Ngobeni
IAN OSRIN
Recording Obed Ngobeni with Peter Moticoe
MATSULI MUSIC
The Back Covers
THEODORE LOUW
Reminiscing
GAVIN STEINGO
Historicizing Kwaito
LEHLOHONOLO PHAFOLI
The Evolution of Sotho Accordion Music in Lesotho: 1980-2005
DOUGIE OAKES
On Arthur Nortje, The Poet Who Wouldn’t Look Away
PULE LECHESA
Sophonia Machabe Mofokeng: Distinguished Essayist and Dramatist in the pantheon of Sesotho Literature
NOKUTHULA MAZIBUKO
Spring Offensive
feedback
OSCAR HEMER
16 October 2025
PALESA MOKWENA
9 October 2024
MATTHEW PATEMAN
11 August 2024
RAFIEKA WILLIAMS
12 August 2023
ARYAN KAGANOF
26 October 2021 – A letter to Masixole Mlandu
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ALICE PATRICIA MEYER
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ARYAN KAGANOF
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From Alice to Zama
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WALTER MIGNOLO
Presentación El cine en el quehacer (descolonial) del *hombre*
MENZI APEDEMAK MASEKO
The Meaning of ‘Bantu’
ACHILLE MBEMBE
Decolonizing Knowledge and the Question of the Archive
ROLANDO VÁZQUEZ
Translation as Erasure: Thoughts on Modernity’s Epistemic Violence
SABELO J NDLOVU-GATSHENI
The Dynamics of Epistemological Decolonisation in the 21st Century: Towards Epistemic Freedom
MARGARET E. WALKER
Towards a Decolonized Music History Curriculum
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    #12
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MENZI APEDEMAK MASEKO

The Meaning of ‘Bantu’

Many have searched for a definitive explanation of what the word Bantu means, yet the question never ceases to invoke new ideas and avenues of interpretation every time it is raised. To understand what the term means one has to begin with the people that have used it for millennia.

The peoples of Southern Afrika are not the only ones who have had this word used among them, the Nile Valley civilisations from Uganda through Ethiopia all the way up to Egypt also possess words with the root Ntu in them, and some even referred to divine beings or what the West calls gods. Many of as Southern Afrikans even have Ancestors whose names have this root word as a code or key.

The founding family of the land known as Eswatini, the former Swaziland are called the Ngcamane-Maseko and they trace their founding progenitor to an actual patriarch called Ndlovu Ka Ntu, (Elephant of Ntu). There are even others within the same lineage called Ntungwa, Ntuli or Ndabezitha Wa Ntuli. The ruling dynasty today can be referred to as the cousins of the same Ndlovu Ka Ntu (some say Ntungwa) who begat Ngwane, Bhele, Nkomo and so onwards. Their clans have scattered throughout the SADC regions.

While this genealogical information may not explain what the actual word Ntu means, it does trace at least a single kingdom that has kept this term alive through many generations. It also speaks of the reverence and sacredness of this root or Ancestral appellation. The Nguni or Swati-Nguni designation gives the term a time and a place.

The term Bantu or Abantu is most often loosely translated as meaning ‘people’ or ‘humans’, it is based on the plural prefix ‘Ba’ which is found throughout Africa, and the stem/suffix ‘Ntu’ which appears in various forms as Ntu, Ndu, Tu, Nu, Tho, To, etc. Variations of the term Bantu exist throughout Southern, Central and East Africa, among Basotho and Batswana it is “Batho” and:

"Anthu" in Chichewa (Malawi)
"Watu" in KiSwahili
"Batu" in Bangala
"Bato" in Kiluba
"Vanhu" in Shona
"Andu" in Kikuyu/Embu
"Banu" in Lala,
"Vhathu" in Venda
"Antu" in Meru
"Bantu" in isiZulu/isiXhosa/Kikongo/Duala /Kirundi etc.

In western anthropology ‘Bantu people’ are commonly defined as African people who inhabit the geographical area of South, Central and East Africa. This notion was created by European ethnographers when they noticed cultural and language similarities between African ethnic groups inhabiting this region, and these Peoples’ use of the term Bantu in various forms, however in the African reality this is not the case. Although the peoples of these aforementioned geographical regions have cultural, genetic, and linguistic ties and a common origin the term Bantu is not an exclusive designation for this geographic group.

Abantu/Bantu are Black/African people, be they in South, West or Central Africa or even Jamaica, Haiti, America etc.

According to our Culture Ba-ntu is a term that defines our origin and essence as Black/African people. Batwa or Abatwa are an Ancestral people of Africa and Abantu or Bantu are a modern type of Black humanity. Culture teaches that we have a divine origin and thus our essence is divine, this is our higher nature and we must always strive to live according to our higher nature which is our true nature.

In the Nguni languages the term Bantu is a plural of Muntu, a Muntu is a divine being, a person who lives according to their higher nature. The word ‘nto’ or ‘into’ (pronounced ‘een-toh’ ) in the Nguni languages means ‘a thing’, ‘a thing that merely exists’, this is in reference to animate or inanimate objects that are not human. In contradistinction ‘ntu’ is the divine essence, this is the suffix ‘ntu’ in the term Mu-ntu. The concepts of ‘nto’ and ‘ntu’ inform our understanding of classification cosmologically and in moral philosophy.

Ubuntu is a related term and means having the character of being a Muntu, values of Ubuntu being good character, righteousness, compassion, humanity towards others etc.., a Muntu has Ubuntu, and when one loses Ubuntu that individual cannot be truly classified as Muntu. They lose the ntu essence and become ‘into’, a thing, a being without a soul so to speak.

Nto is vocalised as Kintu in Ki Kongo the language of Kongo/Congo, meaning inanimate objects or things that are not Muntu, and Muntu is vocalised the same way in both Nguni languages and Ki Kongo. We find in Kamit terms that mirror these concepts. This is no suprise as the Culture and language of Kamit is Ancestral to our people.

In the language of Kamit ‘nt’ or ‘nti’ as written in Mdw Ntr (hieroglyphs) is a reference to ‘things that exist’, ‘that which is’, ‘what is’, nti is also a relative particle ‘who, which etc..’ , rules, ordinances and regulations are known as ‘nt’ and those who are righteous are called ‘Ntiu’. In African Cultures those who uphold divine laws/rules are the righteous, they live a righteous existence, these are ”Ba-Ntu” in contemporary African Culture.

Ntu (or read Nut) in Kamit means ‘those who’ and is written with a determinative symbol of a person or a deity, these determinative symbols are important to note because Ntu in contemporary culture references that which is divine, and Muntu is a person, therefore these determinative symbols of deity and person affirm the philosolosophical meaning we still have today.

Nto: 'a thing' 'that which exists' (Nguni)
Kintu: 'things' (KiKongo)
Untu: 'things' (Mdw Ntr)
Nti: 'what is', 'that which exists' (Mdw Ntr)
Ntu: 'divine essence' (Nguni/KiKongo)
Mu-Ntu: 'Person, Righteous human (Nguni/Kikongo)
Ntu: 'those' i.e. Human or Deity (Mdw Ntr)
Ntu/Nuturu/Ntoro: 'Deities' (Mdw Ntr)
Ntiu: 'the righteous' (Mdw Ntr)

We also find in the Mdw Ntr of Kamit hieroglyphs of the term ‘Bantu’, this is rendered as ‘Nutu’ in the ancient language. The term Nutu from ancient Kamit means ‘natives’, ‘citizens’, ‘townsmen’, ‘inhabitants’, and is written with a determinative symbol of people, the determinative symbol in the Mdw Ntr writing system gives the reader an idea of the meaning of the word.

Nutu is spelled with the gridded circle symbol which represents the sound ‘Nu’, followed by the half loaf symbol representing the sound ‘t’, and followed by a determinative symbol of a man or a man and woman (people), and three dashes representing the sound ‘u’ which denotes plurality, we thus have ‘Nutu’.

In the Nguni languages of South Africa we have another isiXhosa term Luntu meaning ‘population’, inhabitants, ‘natives’ or ‘citizens’ , this term is intercheangeable with the term Bantu. All these terms (Nutu, Luntu, Bantu) correspond in sound and meaning, Nutu from ancient Kamit contracts into Ntu, inserting the Ba prefix we thus have Ba-Ntu in contemporary Culture.

Nutu: 'people, natives' (Mdw Ntr)
Luntu: 'people, natives' (isiXhosa)
Ba-Ntu: 'people' (isiZulu/Kikongo/Duala/IsiXhosa/Kirundi)
References:

An Egyptian Hieroglyphic Dictionary Vol 1, Wallis Budge (1920)

African Cosmology of the Bantu Congo, Kimbwandende Kia Fu-Kiau Bunseki (2001)

Odwiraman Afahye Nhoma, Kwesi Ra Nehem Ptah Akhan (2016)

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ACHILLE MBEMBE
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