Shaka kaSenzangakhona
The only known drawing of Shaka—standing with the long throwing assegai and the heavy shield in 1824, four years before his death
Reign	1816 - 1828
Spouse	None
Issue
None known or recognized
Born	ca. 1787 KwaZulu-Natal, near Melmoth
Died	c. 1828 KwaZulu-Natal
Occupation	Monarch of the Zulu Kingdom

Shaka kaSenzangakhona (c. 1787 – c. 22 September 1828), also known as Shaka^[1] Zulu (Zulu: [ˈʃaːɠa]), was the most influential leader of the Zulu Kingdom.

He is widely credited with uniting many of the Northern Nguni people, specifically the Mtetwa Paramountcy and the Ndwandwe into the Zulu Kingdom, the beginnings of a nation that held sway over the large portion of southern Africa between the Phongolo and Mzimkhulu Rivers, and his statesmanship and vigour marked him as one of the greatest Zulu kings.^[2] He has been called a military genius for his reforms and innovations, and condemned for the brutality of his reign.^[3][4] Other historians note debate about Shaka's role as a uniter versus a usurper of traditional Zulu ruling prerogatives, and the notion of the Zulu state as a unique construction, divorced from the localised culture and the previous systems built by his predecessor Dingiswayo.^[5] Research continues into the character and methods of the Zulu warrior king, whose reign still greatly influences South African culture.

Early life[link]

Shaka was the first son of the chieftain Senzangakhona and Nandi, a daughter of Bhebhe, the past chief of the Elangeni tribe, born near present day Melmoth, KwaZulu-Natal Province. He was conceived out of wedlock somewhere between 1781 and 1787.^{[citation needed]}

Shaka spent his childhood in his mother's settlements. He is recorded as having been initiated there and inducted into an ibutho lempi (fighting unit). In his early days, Shaka served as a warrior under the sway of local chieftain Dingiswayo and the Mthethwa, to whom the Zulu were then paying tribute.^{[citation needed][6]}

Dingiswayo called up the emDlatsheni iNtanga (age-group), of which Shaka was part, and incorporated it in the Izichwe regiment. Shaka served as a Mthethwa warrior for perhaps as long as ten years, and distinguished himself with his courage, though he did not rise, as legend has it, to a great position. Dingiswayo had been exiled after a failed attempt to oust his father. There were a number of other groups in the region (including Mabhudu, Dlamini, Mkhize, Qwabe, and Ndwandwe). Along with them, Dingiswayo helped develop new ideas of military and social organisation, in particular the ibutho, sometimes translated as "regiment" or "troop". They were probably responding to slaving pressures from southern Mozambique.

The itbutho was rather an age-based labour gang (cohort) which included some better refined military activities, but by no means exclusively. Most battles before this time were to settle disputes, and while the appearance of ibutho lempi (fighting unit) dramatically changed warfare at times, it largely remained an instrument for seasonal raiding and political persuasion rather than outright slaughter.

Shaka granted permission to Europeans to enter Zulu territory on rare occasions. Henry Francis Fynn provided medical treatment to the king after an assassination attempt from a rival tribe member hidden in a crowd (see account of Nathaniel Isaacs). To show his gratitude, Shaka permitted European settlers to enter and operate in the Zulu kingdom. This would open the door for future British incursions into the Zulu kingdom that were not so peaceful. Shaka observed several demonstrations of European technology and knowledge, but held that the Zulu way was superior to that of the foreigners.^[4]

The successor of Senzangakona[link]

On the death of Senzangakona, Dingiswayo aided Shaka to defeat his brother and assume leadership ca. 1816. Shaka began to further refine the "ibutho" system used by Dingiswayo and others and, with Mthethwa's support over the next several years, forged alliances with his smaller neighbours, to counter the growing threat from Ndwandwe raiding from the north. The initial Zulu manoeuvres were primarily defensive in nature, as Shaka preferred to intervene or apply pressure diplomatically, aided by occasional judicious assassinations. His changes to local society built on existing structures. Although he preferred social and propagandistic political methods, he also engaged in a number of battles, as the Zulu sources make clear.^[7]

When Dingiswayo was murdered by Zwide, a powerful chief of the Ndwandwe (Nxumalo) clan, Shaka sought to avenge his death. At some point Zwide barely escaped Shaka, though the exact details are not known. In that encounter Zwide's mother Ntombazi, a Sangoma (Zulu seer or shaman), was killed by Shaka. Shaka chose a particularly gruesome revenge on her, locking her in a house and placing jackals or hyenas inside: they devoured her and, in the morning, Shaka burned the house to the ground. Despite carrying out this revenge, Shaka continued his pursuit of Zwide. It was not until around 1825 that the two great military men would meet, near Phongola, in what would be their final meeting. Phongola is near the present day border of KwaZulu-Natal, a province in South Africa. Shaka was victorious in battle, although his forces sustained heavy casualties, which included his head military commander, Umgobhozi Ovela Entabeni.

In the initial years, Shaka had neither the influence nor reputation to compel any but the smallest of groups to join him, and he operated under Dingiswayo's aegis until the latter's death at the hands of Zwide's Ndwandwe. At this point, Shaka moved southwards across the Thukela River, establishing his capital Bulawayo in Qwabe territory; he never did move back into the traditional Zulu heartland. In Qwabe, Shaka may have intervened in an existing succession dispute to help his own choice, Nqetho, into power; Nqetho then ruled as a proxy chieftain for Shaka.^{[citation needed]}

Expansion of power and conflict with Zwide[link]

Sketch of a Zulu warrior

As Shaka became more respected by his people, he was able to spread his ideas with greater ease. Because of his background as a soldier, Shaka taught the Zulus that the most effective way of becoming powerful quickly was by conquering and controlling other tribes. His teachings greatly influenced the social outlook of the Zulu people. The Zulu tribe soon developed a "warrior" mindset, which Shaka turned to his advantage.

Shaka's hegemony was primarily based on military might, smashing rivals and incorporating scattered remnants into his own army. He supplemented this with a mixture of diplomacy and patronage, incorporating friendly chieftains, including Zihlandlo of the Mkhize, Jobe of the Sithole, and Mathubane of the Thuli. These peoples were never defeated in battle by the Zulu; they did not have to be. Shaka won them over by subtler tactics, such as patronage and reward. As for the ruling Qwabe, they began re-inventing their genealogies to give the impression that Qwabe and Zulu were closely related in the past.^{[citation needed]} In this way a greater sense of cohesion was created, though it never became complete, as subsequent civil wars attest.

His half-brother, Sigujana, who had been destined to become Zulu Chief, was killed.^{[clarification needed]} The coup was relatively bloodless and accepted by the Zulu. Shaka still recognised Dingiswayo and his larger Mthethwa clan as overlord after he returned to the Zulu but, some years later, Dingiswayo was ambushed by Zwide's amaNdwandwe and killed. There is no evidence to suggest that Shaka betrayed Dingiswayo. Indeed, the core Zulu had to retreat before several Ndwandwe incursions; the Ndwandwe was clearly the most aggressive grouping in the sub-region.

Shaka was able to form an alliance with the leaderless Mthethwa clan and was able to establish himself amongst the Qwabe, after Phakathwayo was overthrown with relative ease. With Qwabe, Hlubi and Mkhize support, Shaka was finally able to summon a force capable of resisting the Ndwandwe (of the Nxumalo clan). Historian Donald Morris states that Shaka's first major battle against Zwide, of the Ndwandwe, was the Battle of Gqokli Hill, on the Mfolozi river. Shaka's troops maintained a strong position on the crest of the hill. A frontal assault by their opponents failed to dislodge them and Shaka sealed the victory by sending elephants in a sweep around the hill to attack the enemy's rear. Losses were high overall but the efficacy of the new Shakan innovations was proved. It is probable that, over time, the Zulu were able to hone and improve their encirclement tactics.^[8]

Another decisive fight eventually took place on the Mhlatuze river, at the confluence with the Mvuzane stream. In a two-day running battle, the Zulu inflicted a resounding defeat on their opponents. Shaka then led a fresh reserve some seventy miles to the royal kraal of Zwide, ruler of the Ndwandwe, and destroyed it. Zwide himself escaped with a handful of followers before falling foul of a chieftainess named Mjanji, ruler of the baPedi clan (he died in mysterious circumstances soon afterward). Shaka's general Soshangane (of the Shangaan) moved north towards what is now Mozambique to inflict further damage on less resistant foes and take advantage of slaving opportunities, obliging Portuguese traders to give tribute. Shaka later had to contend again with Zwide's son Sikhunyane in 1826.

Death and succession[link]

Dingane and Mhlangana, Shaka's half-brothers, appear to have made at least two attempts to assassinate Shaka before they succeeded, with perhaps support from Mpondo elements, and some disaffected iziYendane people. While the British colonialists considered his regime to be a future threat, allegations that white traders wished his death are problematic given that Shaka had granted concessions to whites prior to his death, including the right to settle at Port Natal (now Durban). Shaka had made enough enemies among his own people to hasten his demise. It came relatively quickly after the devastation caused by Shaka's erratic behavior after the death of his mother Nandi. According to Donald Morris in this mourning period Shaka ordered that no crops should be planted during the following year, no milk (the basis of the Zulu diet at the time) was to be used, and any woman who became pregnant was to be killed along with her husband. At least 7,000 people who were deemed to be insufficiently grief-stricken were executed, though it wasn't restricted to humans, cows were slaughtered so that their calves would know what losing a mother felt like.^[9]

The Zulu monarch was killed by three assassins sometime in 1828, September is the most often cited date, when almost all available Zulu manpower had been sent on yet another mass sweep to the north. This left the royal kraal critically short of security. It was all the conspirators needed—they being Shaka's half-brothers, Dingane and Mhlangana, and an iNduna called Mbopa. A diversion was created by Mbopa, and Dingane and Mhlangana struck the fatal blows. Shaka's corpse was dumped into an empty grain pit by his assassins and filled with stones and mud. The exact site is unknown. A monument was built at one alleged site. Historian Donald Morris holds that it is somewhere on Couper Street in the village of Stanger, South Africa.

Shaka's half-brother Dingane assumed power and embarked on an extensive purge of pro-Shaka elements and chieftains, running over several years, in order to secure his position. A virtual civil war broke out. Dingane ruled for some twelve years, during which time he fought, disastrously, against the Voortrekkers, and against another half-brother Mpande, who with Boer and British support, took over the Zulu leadership in 1840, and ruled for some 30 years. Later in the 19th century the Zulus would be one of the few African peoples who managed to defeat the British Army; at the Battle of Isandlwana.

Shaka's social and military revolution[link]

Shaka's military innovations such as the "iklwa," the age-grade regimental system and encirclement tactics helped make the Zulu one of the most powerful nations in southern and southeastern Africa.^[4]

Some older histories have doubted the military and social innovations customarily attributed to Shaka, denying them outright, or attributing them variously to European influences.^[10] More modern researchers argue that such explanations fall short, and that the general Zulu culture which included other tribes and clans, contained a number of practices that Shaka could have drawn on to fulfill his objectives, whether in raiding, conquest or hegemony.^[4] Some of these practices are shown below.

Weapons changes[link]

Shaka is often said to have been dissatisfied with the long throwing "assegai," and credited with introducing a new variant of the weapon: the "iklwa," a short stabbing spear with a long, sword-like spearhead.

Though Shaka probably did not invent the iklwa, according to Zulu scholar John Laband (37), the leader did insist that his warriors train with the weapon, which gave them a "terrifying advantage over opponents who clung to the traditional practice of throwing their spears and avoiding hand-to-hand conflict." ^[11] The throwing spear was not discarded but used as an initial missile weapon before close contact with the enemy, when the shorter stabbing spear was used in hand to hand combat.^[4]

Shaka is also supposed to have introduced a larger, heavier shield made of cowhide and to have taught each warrior how to use the shield's left side to hook the enemy's shield to the right, exposing his ribs for a fatal spear stab. In Shaka's time, these cowhide shields were supplied by the king and remained his property (Laband 37). Different colored shields distinguished different "amabutho" within Shaka's army. Some had black shields, others used white shields with black spots, some had white shields with brown spots, while others used pure brown or white shields (37).^[11]

Mobility of the army[link]

The story that sandals were discarded to toughen the feet of Zulu warriors has been noted in various military accounts such as "The Washing of the Spears," "Like Lions They Fought" and "Anatomy of the Zulu Army." Implementation was typically blunt. Those who objected to going without sandals were simply killed.^[12] Shaka drilled his troops frequently, forced marches sometimes covering more than 50 miles (80 km) a day in a fast trot over hot, rocky terrain.^[13] He also drilled the troops to carry out encirclement tactics.

Historian John Laband dismisses these stories as myth. "What are we to make, then, of [European trader Henry Francis] Fynn's statement that once the Zulu army reached hard and stony ground in 1826, Shaka ordered sandals of ox-hide to be made for himself?"^[11]

The idea of a 50 miles (80 km) march in a single day is also dismissed as ridiculous. Laband further claims that even though these stories have been repeated by "astonished and admiring white commentators," the Zulu army covered "no more than 19 kilometres (12 mi) a day, and usually went only about 14 kilometres (8.7 mi).".^[11] Furthermore, Zulus under Shaka sometimes advanced more slowly. They spent two whole days recuperating in one instance, and on another they rested for a day and two nights before pursuing their enemy.^[11] Several other historians of the Zulu, and the Zulu military system however, affirm the mobility rate of up to 50 miles per day.^[14]

Well-organised logistic support by youth formations[link]

Young boys aged six and over joined Shaka's force as apprentice warriors (udibi) and served as carriers of rations, supplies like cooking pots and sleeping mats, and extra weapons until they joined the main ranks. It is sometimes held that such support was used more for very light forces designed to extract tribute in cattle, women or young men from neighbouring groups. Nevertheless, the concept of "light" forces is questionable. The fast-moving Zulu raiding party or "ibutho lempi" on a mission invariably traveled light, driving cattle as provisions on the hoof, and were not weighed down with heavy weapons and supply packs. The herdboy logistic structure was deployed in support of these relatively short-term operations, and was easily adaptable to large or small expeditions.

The age-grade regimental system[link]

Age-grade groupings of various sorts were common in the Bantu culture of the day, and indeed are still important in much of Africa. Age grades were responsible for a variety of activities, from guarding the camp, to cattle herding, to certain rituals and ceremonies. Shaka organised various grades into regiments, and quartered them in special military kraals, with each regiment having its own distinctive names and insignia. The regimental system clearly built on existing tribal cultural elements that could be adapted and shaped to fit an expansionist agenda. There was no need to look for European inspiration hundreds of miles away.^[15]

The "buffalo horns" formation[link]

Most historians credit Shaka with initial development of the famous "buffalo horns" formation.^[15] It was composed of three elements:

1. The main force, the "chest," closed with the enemy Impi and pinned it in position. The warriors who comprised the "chest" were senior veterans. ^[16]
2. The "horns," while the enemy Impi was pinned by the "chest," would flank the Impi from both sides and encircle it; in conjunction with the "chest" they would then destroy the trapped force. The warriors who comprised the "horns" were young and fast juniors.^[16]
3. The "loins," a large reserve, was placed, seated, behind the "chest" with their backs to the battle. The "loins" would be committed wherever the enemy Impi threaten to break out of the encirclement.^[16]

Coordination was supplied by regimental "izinduna" (chiefs or leaders) who used hand signals and messengers. The scheme was elegant in its simplicity, and well understood by the warriors assigned to each echelon.

Organization and leadership of the Zulu forces[link]

The host were generally partitioned into three levels: regiments, corps of several regiments, and "armies" or bigger formations, although the Zulu did not use these terms in the modern sense. Any grouping of men on a mission could collectively be called an impi, whether a raiding party of 100 or horde of 10,000. Numbers were not uniform, but dependent on a variety of factors including assignments by the king or the manpower mustered by various clan chiefs or localities. A regiment might be 400 or 4000 men. These were grouped into corps that took their name from the military kraals where they were mustered, or sometimes the dominant regiment of that locality.

Shakan methods versus European technology[link]

Shaka dismissed firearms as ineffective against the quick encirclements of charging spearmen. Although ultimately failing against modern rifle and artillery fire in 1879, his theory achieved some success at Isandlwana.

The expanding Zulu power inevitably clashed with European hegemony in the decades after Shaka's death. In fact, European travellers to Shaka's kingdom demonstrated advanced technology such as firearms and writing, but the Zulu monarch was less than convinced. There was no need to record messages, he held, since his messengers stood under penalty of death should they bear inaccurate tidings. As for firearms, Shaka acknowledged their utility as missile weapons after seeing muzzle-loaders demonstrated, but argued that in the time a gunman took to reload, he would be swamped by charging spear-wielding warriors.^[4]

The first major clash after Shaka's death took place under his successor Dingane, against expanding European Voortrekkers from the Cape. Initial Zulu success rested on fast-moving surprise attacks and ambushes, but the Voortrekkers recovered and dealt the Zulu a severe defeat from their fortified wagon laager at the Battle of Blood River. The second major clash was against the British during 1879. Once again, most Zulu successes rested on their mobility, ability to screen their forces and to close when their opponents were unfavourably deployed. Their major victory at the Battle of Isandlwana is well known, but they also forced back a British column at the Battle of Hlobane mountain, deploying fast-moving regiments over a wide area in the rugged ravines and gullies while the British were quickly on the move.^[17]

Shaka as the creator of a revolutionary warfare style[link]

A number of historians argue that Shaka 'changed the nature of warfare in Southern Africa' from 'a ritualised exchange of taunts with minimal loss of life into a true method of subjugation by wholesale slaughter'.^[4] Others dispute this characterization (see Scholarship section below). A number of writers focus on Shaka's military innovations such as the iklwa - the Zulu thrusting spear, and the "buffalo horns" formation. This combination has been compared to the standardization implemented by the reorganised Roman legions under Marius.

Combined with Shaka's "buffalo horns" attack formation for surrounding and annihilating enemy forces, the Zulu combination of iklwa and shield--similar to the Roman legionaries' use of gladius and scutum--was devastating. By the time of Shaka's assassination in 1828, it had made the Zulu kingdom the greatest power in southern Africa and a force to be reckoned with, even against Britain's modern army in 1879.^[18]

Much controversy still surrounds the character, methods and activities of the Zulu king. From a military standpoint, historian John Keegan notes exaggerations and myths that surround Shaka, but nevertheless maintains:

Fanciful commentators called him Shaka, the Black Napoleon, and allowing for different societies and customs, the comparison is apt. Shaka is without doubt the greatest commander to come out of Africa.^[19]

Scholarship on Shaka[link]

Sources on Shaka's life[link]

Scholarship in recent years has revised views of the sources on Shaka's reign. The earliest are two eyewitness accounts written by white adventurer-traders who met Shaka during the last four years of his reign. Nathaniel Isaacs published his Travels and Adventures in Eastern Africa in 1836, creating a picture of Shaka as a degenerate and pathological monster which survives in modified forms to this day. Isaacs was aided in this by Henry Francis Fynn, whose diary (actually a rewritten collage of various papers) was edited by James Stuart only in 1950.

Their accounts may be balanced by the rich resource of oral histories collected around 1900 by the same James Stuart, now published in 6 volumes as The James Stuart Archive. Stuart's early 20th century work was continued by D. McK. Malcolm in 1950. These and other sources such as A. T. Bryant gives us a more Zulu-centred picture. Most popular accounts are based on E. A. Ritter's novel Shaka Zulu (1955), a potboiling romance which was re-edited into something more closely resembling a history. The work of John Wright (history professor at University of KwaZulu-Natal, Pietermaritzburg), Julian Cobbing and Dan Wylie (Rhodes University, Grahamstown) have been among a number of writers who have modified these stories.^[21]

Various modern historians writing on Shaka and the Zulu point to the uncertain nature of Fynn and Isaac's accounts of Shaka's reign. A standard general reference work in the field is Donald Morris's "The Washing of The Spears" that notes the sources, as a whole, for this historical era are not the best. Morris nevertheless references a large number of sources, including Stuart, and A. T. Bryant's extensive but uneven "Olden Times in Zululand and Natal" which is based on four decades of exhaustive interviews of tribal sources. After sifting through these sources and noting their strengths and weaknesses, Morris generally credits Shaka with a large number of military and social innovations, and this is the general consensus in the field.^[22]

A 1998 study by historian Carolyn Hamilton summarizes much of the scholarship on Shaka towards the dawn of the 21st century in areas ranging from ideology, politics and culture, to the use of his name and image in a popular South African theme park, Shakaland. It argues that in many ways, the image of Shaka has been "invented" in the modern era according to whatever agenda persons hold. This "imagining of Shaka" it is held, should be balanced by a sober view of the historical record, and allow greater scope for the contributions of indigenous African discourse.^[23]

Military historians of the Zulu War must also be considered for their description of Zulu fighting methods and tactics, including authors like Ian Knight and Robert Edgerton. General histories of Southern Africa are also valuable including Noel Mostert's "Frontiers" and a detailed account of the results from the Zulu expansion, J. D. Omer-Cooper's "The Zulu Aftermath", which advances the traditional Mfecane theory.

Shaka and the Mfecane[link]

History and legacy[link]

The increased military efficiency led to more and more clans being incorporated into Shaka's Zulu empire, while other tribes moved away to be out of range of Shaka's impis. The ripple effect caused by these mass migrations would become known (though only in the twentieth century) as the Mfecane (annihilation). Some groups which moved off (like the Hlubi and Ngwane to the north of the Zulus) could have been impelled by the Ndwandwe, not the Zulu. Some moved south (like the Chunu and the Thembe), but never suffered much in the way of attack; it was precautionary, and they left many people behind in their traditional homelands.

At the time of his death, Shaka ruled over 250,000 people and could muster more than 50,000 warriors. His 10-year-long kingship resulted in a massive number of deaths, mostly due to the disruptions the Zulu caused in neighbouring tribes, although the exact death toll is a matter of scholarly dispute.^[24][25] Further unquantifiable deaths occurred during mass tribal migrations to escape his armies.

Among the many fascinating cases of the Mfecane is that of Mzilikazi of the Khumalo who was a 'general' of Shaka's, who fled Shaka's employ, and in turn conquered an empire in Zimbabwe, after clashing with European groups like the Boers. The settling of Mzilikazi's people, the AmaNdebele or Matabele, in the south of Zimbabwe with the concomitant driving of the AmaShona into the north caused a tribal conflict which still resonates today. Other notable figures to arise from the Mfecane include Shoshangane, who expanded from the Zulu area into what is now Mozambique. Shaka was clearly a tough, able leader, the most able of his time who, during the last four years of his reign, indulged in several long-distance raids.

Disruptions of the Mfecane[link]

The theory of the Mfecane holds that the aggressive expansion of Shaka's armies caused a brutal chain reaction across the southern areas of the continent, as dispossessed tribe after tribe turned on their neighbours in a deadly cycle of fight and conquest. This theory must be treated with caution, some scholars hold, as it generally neglects several other factors such as the impact of white encroachment, slave trading and expansion in that area of Southern Africa around the same time. The development of the view that Shaka was the monster responsible for the devastation is based on the need of apartheid era historians to justify the apartheid regime's racist policies.^[25] Other scholars acknowledge distortion of the historical record by apartheid supporters and shady white traders seeking to cover their tracks, but dispute the revisionist approach, noting that stories of cannibalism, raiding, burning of villages, or mass slaughter were not developed out of thin air but based on the clearly documented accounts of hundreds of black victims, and refugees. Confirmation of such accounts can also be seen in modern archaeology of the village of Lepalong, an entire settlement built underground to shelter remmnants of the Kwena people from 1827-36 against the tide of disruption that engulfed the region during Shakan times.^[26]

William Rubinstein wrote that "Western guilt over colonialism, have also accounted for much of this distortion of what pre-literate societies actually were like, as does the wish to avoid anything which smacks of racism, even when this means distorting the actual and often appalling facts of life in many pre-literate societies".^[27] Rubinstein also notes:

"One element in Shaka's destruction was to create a vast artificial desert around his domain ... 'to make the destruction complete, organized bands of Zulu murderers regularly patrolled the waste, hunting for any stray men and running them down like wild pig.' ... An area 200 miles to the north of the center of the state, 300 miles to the west, and 500 miles to the south was ravaged and depopulated ..."^[27]

Physical descriptions[link]

Though much remains unknown about Shaka's personal appearance, sources tend to agree he had a strong, muscular body and was not fat.^[11] He was of medium height and his skin tone was dark brown. He was uncircumcised, which bucked a trend in Zulu culture near that time.

Shaka's enemies described him as ugly in some respects. He had a big nose, according to Baleka of the Qwabe, as told by her father.^[11] He also had two prominent front teeth. Her father also told Baleka that Shaka spoke as though "his tongue were too big for his mouth." Many said that he talked with a speech impediment.

There is an anecdote that Shaka joked with one of his friends, Magaye, that he could not kill Magaye because he would be laughed at. Supposedly if he killed Magaye, it would appear to be out of jealousy because Magaye was so handsome and "Shaka himself was ugly, with a protruding forehead".^[11]

Shaka in Zulu culture[link]

A muster and dance of Zulu regiments at Shaka's kraal, as recorded by European visitors to his kingdom, c. 1827.

The figure of Shaka still sparks interest among not only the contemporary Zulu but many worldwide who have encountered the tribe and its history. The current tendency appears to be to lionise him; popular film and other media have certainly contributed to his appeal. Against this must be balanced the devastation and destruction that he wrought. Certain aspects of traditional Zulu culture still revere the dead monarch, as the typical praise song below attests. It should be noted that the praise song is one of the most widely used poetic forms in Africa, applying not only to gods but to men, animals, plants and even towns.^[28]

Other Zulu sources are sometimes critical of Shaka, and numerous negative images abound in Zulu oral history. When Shaka's mother Nandi died for example, the monarch ordered a massive outpouring of grief including mass executions, forbidding the planting of crops or the use of milk, and the killing of all pregnant women and their husbands. Oral sources record that in this period of devastation, a singular Zulu, a man named Gala, eventually stood up to Shaka and objected to these measures, pointing out that Nandi was not the first person to die in Zululand. Taken aback by such candid talk, the Zulu king is supposed to have called off the destructive edicts, rewarding the blunt teller-of-truths with a gift of cattle.^[29]

The figure of Shaka thus remains an ambiguous one in African oral tradition, defying simplistic depictions of the Zulu king as a heroic, protean nation builder on one hand, or a depraved monster on the other. This ambiguity continues to lend the image of Shaka its continued power and influence, almost two centuries after his death.^[23]

Legacy[link]

• The King Shaka International Airport at La Mercy, 35 km north of the Durban city centre was opened on 1 May 2010 in preparation for the 2010 FIFA World Cup after a protracted debate over the name lasting over two years.^[30]

• uShaka Marine World, an aquatic theme park in Durban opened in 2004.^[31]

Popular culture[link]

• Shaka Zulu is a playable character in Deadliest Warrior: Legends.^{[citation needed]}
• Shaka Zulu was pitted against William Wallace in Spike's TV show, Deadliest Warrior. The winner of the match was William Wallace. Shaka used the Zulu axe, the iklwa, the iwisa, and poison.^{[citation needed]}
• Shaka Zulu has been featured as leader of the Zulu Civilization in most of the Civilization video games.^{[citation needed]}
• Shaka Zulu was the inspiration for Afrika Bambaataa's Zulu Nation.

See also[link]

• List of Zulu kings
• African military systems to 1800
• African military systems after 1900
• African military systems (1800–1900)
• Brother, assassin, Umthlangana
• King Moshoeshoe I of Lesotho
• Ndebele
• Shaka Zulu, an SABC TV series about Shaka
• List of South Africans – Voted 14th in the TV Show 100 Greatest South Africans
• Chaka, a novel by Thomas Mofolo based loosely on Shaka Zulu's life
• Nada the Lily, a novel by Henry Rider Haggard based in part on the events of Shaka's reign
• Emperor Shaka the Great- a heroic epic poem based on Zulu Oral history collected by Mazisi Kunene

References[link]

Further reading[link]

• Chanaiwa, David Shingirai (1980), "The Zulu Revolution: State Formation in a Pastoralist Society," In: African Studies Review 23(3) (Dec. 1980): 1–20.
• Edgerton, Robert (1988) Like Lions They Fought
• Hamilton, Carolyn (1998) Terrific Majesty: the Powers of Shaka Zulu and the Limits of Historical Invention
• Knight, Ian (1995) Anatomy of the Zulu Army
• Laband, John (1997) "The Rise and Fall of the Zulu Nation"
• Morris, Donald R. (1965) [1994]. The Washing of the Spears: The rise and fall of the Zulu nation. Pimlico. ISBN 978-0-7126-6105-8. 
• Mostert, Noel (1992) Frontiers
• Omer-Cooper, J. D. (1965) The Zulu Aftermath
• Ritter, E. A. (1955) Shaka Zulu: The Rise of the Zulu Empire
• Wylie, Dan (2006) Myth of Iron: Shaka in History
• The South African Military History Society - The Zulu Military Organization and the Challenge of 1879
• Shaka: Zulu chieftain
• The History of Shaka
• Statue proposal
• "Shaka Zulu," Carpe Noctem
• Rory Carroll in Johannesburg, Shaka Zulu's brutality was exaggerated, says new book, Monday May 22, 2006, The Guardian.

This is a page about the reggae artist Jah Shaka. For the video editing software, see Jahshaka

Jah Shaka
Jah Shaka in New York, 2002
Background information
Genres	Roots reggae, R&B, dub
Occupations	Musician
Instruments	Vocals, guitar, piano
Years active	1968 to present
Labels	Jah Shaka Music
Website	Official website

Jah Shaka has been operating a South East London-based, roots reggae Jamaican sound system since the early 1970s. His name is an amalgamation of the Rastafarian term for God and that of a Zulu warrior, Shaka Zulu.

Career[link]

Jah Shaka started out on the Freddie Cloudburst Sound System as an operator,^[1] before setting up his own sound system.^[2] By the late 1970s Shaka's system rapidly had gained a large and loyal following due to the combination of spiritual content, high energy rhythms, massive sonority, and his dynamic personal style. That following notably included many of the pioneers of post-punk such as Public Image Ltd and The Slits.

In 1980 Shaka played himself in the film Babylon (directed by Franco Rosso, although he directed the scene he appeared in^[2]), operating his Sound System in a soundclash at the climax of the story.

Shaka stayed true to his spiritual and distinct musical style during the 1980s when many other Sound Systems had started to follow the Jamaican trend towards playing less orthodox styles^[3] tending towards slack dancehall music.

In 1989 Shaka visited Jamaica and worked with many musicians there, including King Tubby.

On 23 September 2000 he suffered numerous injuries during a house fire.^[4]

In 2002 Jah Shaka appeared before a large crowd in New York City's Central Park.

Live footage of Shaka is featured in the documentary All Tomorrow's Parties based on the musical festival, which was released in 2009.

The Jah Shaka Sound System continues to appear regularly in London, with occasional tours of the United States, Europe and Japan.

Label[link]

On his own record label he has released music from Jamaican artists such as Max Romeo, Johnny Clarke, Bim Sherman and Prince Alla as well as UK groups such as Aswad and Dread & Fred.^[5] He has released a number of dub albums, often under the Commandments of Dub banner.

Artists featured on more recent releases include both established singers like Tony Tuff, and new emerging artists like Rockaway and Principle - who have sung over riddims produced by his son Malachi, known as Young Warrior.

Style and influence[link]

Shaka's uncompromising "Warrior Style" has inspired a host of new UK reggae artists and Sound Systems such as Eastern Sher, The Disciples, Iration Steppas, Jah Warrior, Channel One Sound System, Conscious Sounds, The Rootsman and Aba Shanti-I. Non-reggae artists such as Basement Jaxx have cited Jah Shaka as being their best night out ever.^[6]

Jah Shaka events are renowned for attracting a wide audience from all backgrounds, races and ages. His dances attract numbers previously thought unthinkable for this genre of music. Shaka believes it to be a testament to the quality of the message that he expounds in his choice of music and his Rastafarian beliefs. His followers are known to be vocally ardent, and have developed dance steps that resemble African war dances.

Non-musical work[link]

Shaka has also established the Jah Shaka Foundation to carry out assistance with projects in Ghana, where the foundation has bought 7 acres (28,000 m²) of land in Agri, thirty miles outside of Accra.^[7] It has also managed to distribute medical supplies, wheelchairs, library books, carpentry tools, drawing materials and records to clinics, schools and radio stations in the Accra area establishing important links with the local communities.^[1] Shaka himself was actually a youth worker years ago, and has regularly been quoted encouraging youths to study geography and history so they know "whats happened, where it's happening and who's doing it".

References[link]

External links[link]

• Official website
• Jah Warrior Records - Profile of the legendary Jah Shaka.
• Jah Shaka interview by Ray Hurford for Boomshakalacka zine, 1990.
• Jah Shaka interview
• Jah Shaka interview by Ray Hurford and Colin Moore
• Jah Shaka interview by Pier Tosi
• The Jah Shaka Dub Commandments - Illustrated Discography
• PUNKCAST#171 Live video of Jah Shaka performing in NYC's Central Park on 23 June 2002. (RealPlayer)
• Jah Shaka to play at BASS 2010 - Jah Shaka playing this June as part of Bass Festival

Bertrand Lucien Bruno Cantat (born 5 March 1964) is a French singer and songwriter. He was the frontman for the rock band Noir Désir.

Career[link]

Cantat was born in Pau, Pyrénées-Atlantiques. The son of a Navy officer, he spent his childhood in Le Havre. His family moved when he was an adolescent to Bordeaux and at the lycée Saint-Genès he met Denis Barthe, Serge Teyssot-Gay, and Frédéric Vidalenc, who would soon become members of his band. At the end of Cantat's first performance in March 1981, when he was still 16, he threw himself into the crowd and suffered cranial trauma. In 1991 he suffered a black out, and in 1993 he had to undergo an operation on his vocal cords and then follow a series of vocal classes. Self destructive behaviour, cigarettes and alcohol, had taken a toll.^[1]

At the height of Noir Désir's success in the 1990s, he was one of the most prominent figures of French music. His left-wing political views caused him to take a position against globalisation, fascism, desertification of urban areas in Bordeaux and the 2003 invasion of Iraq, among other topics.

Personal life[link]

In 1997 he married Krisztina Rády, with whom he had two children. Milo was born in 1998, and their daughter Alice in 2003.

In 2003, following an argument related to infidelity, Cantat repeatedly assaulted his girlfriend Marie Trintignant in a hotel room in Vilnius, Lithuania. She died several days later in hospital in a deep coma, and a post-mortem examination showed she had suffered multiple head injuries. At his 2004 trial, prosecutors said he had hit her 19 times, causing irreversible brain damage, whereas Cantat admitted hitting Trintignant four times, but told the court her death was a tragic accident.^[2] He was said to have flown into a jealous rage after she received an affectionate text message from her former husband.^[3] The death of Marie caused considerable emotion in France. Nadine Trintignant, Marie's mother, actively sought a heavy sentence; Cantat's friends claimed he had been out of his mind and had not intended to cause harm. On 29 March 2004, Cantat was sentenced by Vilnius Regional Court under Article 129 of the Lithuanian Criminal Code to 8 years in prison for murder committed with indirect intent (dolus eventualis), i.e. it was acknowledged by the court that he didn't want to kill the victim, but foresaw her death as a probable consequence of his acts and was indifferent with regard to such a consequence. The verdict was at first appealed by Marie's family (who wanted to toughen the sentence), then by Bertrand Cantat (who wanted the higher court to reclassify his crime as a manslaughter and lessen his sentence), but both parties ultimately decided to cancel their appeals, which rendered the first 8 years judgment final.^[4] While in Lukiškės prison of Vilnius, Cantat performed on 11 August 2004 a concert for prison's inmates and administration.

At the request of his lawyers, Cantat was moved from a Lithuanian prison to a prison near Muret, France on 28 September 2004.

Cantat was released on parole on 16 October 2007, after serving half of his sentence. His early release aroused the anger of feminist campaigners and the victim’s mother, who had failed to persuade President Sarkozy and judges to block the early release.^[5][3]

His house in Landes was burned down on 11 September 2003.

Ex-wife Krisztina Rády committed suicide on 10 January 2010, while he was sleeping in the same house.^[6]

In October 2010 Cantat resumed his musical career with a gig in Bordeaux. The overwhelmingly positive reception he has received has infuriated feminist and victim support groups.^[7]

On 30 November 2010, the group announced that it would split up for good and that the era of Noir Désir was over.

In early 2011 he was poised to sing in his friend's, Wajdi Mouawad, Montreal production of a Sophocles play. However, once the media reported on his role there was outrage - with politicians proposing to ban his entry into the country (despite the fact that he should have already been prohibited entry under Canadian law due to his conviction). In April 2011 the artistic director of TNM, Lorraine Pintal, announced that he would not be performing.^[8]

Post Noir Desir Solo Career[link]

In November of 2011 Cantat released the album Chœurs with musicians Pascal Humbert, Bernard Falaise and Alexander MacSween. The music was composed for Wajdi Mouawad's production of a Sophocles play.

References[link]

External links[link]

• Profile: Bertrand Cantat
• Noir Désir

Tarrus Riley
Performing at Negril Escape, 2009
Background information
Birth name	Omar Riley
Born	1979 The Bronx, New York City, United States
Genres	Reggae
Instruments	Vocalist, Guitar
Years active	Mid-1990s–present
Labels	VP, Cannon Productions
Website	tarrusriley.com

Tarrus Riley (born Omar Riley, 1979, The Bronx, New York City, United States) is a Jamaican-American reggae singer, member of the Rastafari movement and the son of Jamaican reggae singer Jimmy Riley.^[1]

Biography[link]

His father is veteran reggae singer Jimmy Riley. He made his recording debut as a teenager. In 2004, Tarrus released his debut album, Challenges. Riley has consistently racked up awards for his work. Among his accolades are Best Singer, Male Vocalist, Cultural Artiste, Song of the Year, and Best Song. Some of the awards institutions which have rewarded Riley include the Youth View Awards, The Star People’s Choice Awards, EME Awards, and the Reggae Academy awards. Tarrus is the holder of Jamaica's CVM TV's 15th Anniversary Award, held in February 2009, for the ‘Most Admired Song in the Past 15 Years’ for the hit, "She’s Royal".

In 2009 Riley released his third opus Contagious on Cannon Production. The album was distributed by VP Records. It contained the hits Start Anew, Contagious, Good Girl Gone Bad featuring Konshens and Superman, a cover of a Robin Thicke original.2010 saw the release of the chart topper Protect the People, which scaled several charts in Jamaica and across the Caribbean. Early 2011 saw the release of the Black History themed Shaka Zulu Pickney which was featured on the Nyabingi rhythm from Bombrush Music. The video for the song which was directed by Storm Saulter was well received upon its release. His interest in educating the youth about Black History resulted in the Tarrus Riley Freedom Writers Competition, which ran on Jamaica’s Irie FM radio station.

2011 also saw the release of videos for hit singles including Come Ova and Never leave I. Both songs have become anthems on Jamaican radio as well as in several Caribbean territories. Riley has performed on several stages around the world. His performances have drawn credible reviews from the media in the Caribbean, North America, the United States and Europe.

Riley tours Europe once each year, performing on the major reggae festivals in several European countries. Riley's most recent high profile performances include the 2011 Jamaica Jazz and Blues Festival, Reggae Sumfest 2010, Betty Wright and Friends in concert in Jamaica, and the Palmyra Foundation's Fundraising event. He also headlined the Hennessey Artistry show in Barbados in December 2011.

Among his accolades in 2011 were the EME Awards (Excellence in Music and Entertainment) for Vocalist of the Year Male and Cultural Artiste of the Year. Riley also copped the 2011 Youth View Award for Cultural Artiste of the Year.

Riley released the acoustic album Mecoustic in 2012 and toured Europe in support of it with his Blak Soil band.^[2]

Awards & nominations[link]

• 2007 - Jamaica Observer Artiste of the Year^[3]
• 2008 - Excellence in Music & Entertainment (EME) Awards - Cultural Artiste of the Year (nominated), Male Vocalist of Year Award, Song of The Year ("She's Royal")^[4]
• 2008 - Reggae Academy Awards - Best Reggae Song, Most Popular Song (both for "She's Royal"), Best Solo Male Vocal Performance, Breakthrough Reggae Artiste^[5]
• 2009 - Caribbean-American Heritage Awards - Reggae Runnins Caribbean Heritage Award
• 2009 - MOBO Awards - Best Reggae (nominated)
• 2009 - Soul Train Music Awards - Best Reggae Artist (nominated)
• 2011 - (EME- Excellence in Music and Entertainment (Jamaica)- Cultural Artiste of the Year and Vocalist of the Year (Male)
• 2011 - Youth View Awards (YVA's) - Cultural Artiste of the Year
• 2011 - UNIA Marcus Garvey Award - For Contribution of Music

Discography[link]

• Challenges (2004), VP
• Parables (2006), VP
• Contagious (2009), VP
• Mecoustic (2012), VP

References[link]

External links[link]

• Official website
• Tarrus Riley at Allmusic