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12
Contents
editorial
LOUIS CHUDE-SOKEI WITH IR INDIGENOUS RESISTANCE
Sharp as a Blade: Decolonizing Decolonization
RATO MID FREQUENCY
Social Death Beyond Blackness
HUGO CANHAM
Exchanging black excellence for failure
SABELO J NDLOVU-GATSHENI
The Dynamics of Epistemological Decolonisation in the 21st Century: Towards Epistemic Freedom
MALAIKA WA AZANIA
The Timbila LIbrary - 120 books to read by age 28
Theme Timbila Library
NOSIPHO KOTA
Seven Poems
MING DI
“Through Multiculturalism We Become Better Humans”: A Conversation with Vonani Bila
VONANI BILA
Ancestral Wealth
TINYIKO MALULEKE
An Ode to Xilamulelamhangu: English-Xitsonga Dictionary
MZI MAHOLA
Three Poems
MXOLISI NYEZWA
Seven Notes To A Black friend, The Dance of the Ancestors and Two Other Songs That Happened
SANDILE NGIDI
Three Poems
LUCAS LEDWABA
'I have nothing left' – flood victims count the costs
MASERAME JUNE MADINGWANE
Two Poems
RAPHAEL D’ABDON
Resistance Poetry in Post-apartheid South Africa: An Analysis of the Poetic Works and Cultural Activism of Vonani Bila
MPUMI CILIBE
American Toilet Graffiti: JFK Airport 1995
MPHUTLANE WA BOFELO
Language is Land
MAKHOSAZANA XABA
Poems from These Hands
VONANI BILA
The Pig and four other poems
MAROPODI HLABIRWA MAPALAKANYE
Troublemaker’s Prison Letter
KGAFELA OA MAGOGODI
Four Outspoken Poems
DAVID WA MAAHLAMELA
Three Poems
VUYISILE MSILA
People’s English in the Poetry of Mzi Mahola and Vonani Bila
THEMBA KA MATHE
Three Poems
MZWANDILE MATIWANA
Three Poems
ROBERT BEROLD
Four Poems
AYANDA BILLIE
Four Poems
MM MARHANELE
Three Poems
VONANI BILA
The Magician
VUYISILE MSILA
Four Poems
KELWYN SOLE
Craft Wars and ’74 – did it happen? (unpublished paper)
galleri
TSHEPO SIZWE PHOKOJOE
The Gods Must Be Crazy
THAIO ABRAHAM LEKHANYA
Mary Sibande: Reimagining the Figure of the Domestic Worker
KHEHLA CHEPAPE MAKGATO
TŠHIPA E TAGA MOHLABENG WA GAYO
DATHINI MZAYIYA
Early Works
LEFIFI TLADI
Two Letters to Kemang Wa Lehulere
TENDAI RINOS MWANAKA
Mwanaka Media: all sorts of haunts, hallucinations and motivations
ROFHIWA MADAU
Colour Bars
THULILE GAMEDZE
No end, no fairytale: On the farce of a revolutionary ‘hey day’ in contemporary South African art
KEITH ADAMS
Vakalisa Arts Associates, 1982–1992: Reflections
SAM MATHE
On Comic Books
OBINNA OBIOMA
Anyi N’Aga (We Are Going )
borborygmus
NDUDUZO MAKHATHINI
uNomkhubulwane and songs
RICHARD PITHOUSE
The radical preservation of Matsuli Music
BONGANI TAU
Ukuqophisa umlandu: Using fashion to re-locate Black Psyche in a Township
ALON SKUY
Marikana 2012/2022
CARSTEN RASCH
Searching for the Branyo
VONANI BILA
Dahl Street, Pietersburg
frictions
IGNATIA MADALANE
Not on the List
SITHEMBELE ISAAC XHEGWANA
IMAGINED: (excerpt)
ALEXANDRA KALLOS
A Kite That Bears My Name
SHANICE NDLOVU
When I Think Of My Death
VONANI BILA
The day I killed the mamba
ALLAN KOLSKI HORWITZ
Three New Poems
MPHUTLANE WA BOFELO
Biko, Jazz and Liberation Psychology
M. AYODELE HEATH
Three Poems
ZAMOKUHLE MADINANA
Three Poems
MASELLO MOTANA
Four BLK Poems
FORTUNATE JWARA
Three Delusions
NIEVILLE DUBE
Three Joburg Stories
VERNIE FEBRUARY
Of snakes and mice — iinyoka neempuku
KNEO MOKGOPA
Woundedness
claque
VONANI BILA
Poetry of social obliteration and intimacy
MZOXOLO VIMBA
The weight of the sack: Hessian, history and new meaning in Tshepo Sizwe Phokojoe’s “The Gods Must be Crazy” exhibition.
LORRAINE SITHOLE
Heading
NEO RAMOUPI
title
DIMAKATSO SEDITE
title
MENZI MASEKO
Acknowledging Spiritual Power Beyond Belief - A Review of Restoring Africa’s Spiritual Identity by African Hidden Voices (AHV)
ekaya
VONANI BILA
The Timbila Poetry Project
LWAZI LUSHABA
A Video Call with Kopano Ratele on Politics and the Black Psyche, 22 July 2024
MARTIN JANSEN
Where is the Better Lyf You Promised Us?
THOMAS HYLLAND ERIKSEN & RIAAN OPPELT
Post-apartheid diversification through Afrikaaps: language, power and superdiversity in the Western Cape
THADDEUS METZ
Academic Publishing is a Criminal Operation
MARGARET E. WALKER
Towards a Decolonized Music History Curriculum
VONANI BILA
Probing ‘Place’ as a Catalyst for Poetry
off the record
MIRIAM MAKEBA
Sonke Mdluli
ACHILLE MBEMBE
Decolonizing Knowledge and the Question of the Archive
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
MATSULI MUSIC
The Back Covers
THEODORE LOUW
Reminiscing
GAVIN STEINGO
To be filled
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
WALTER MIGNOLO
Presentación El cine en el quehacer (descolonial) del *hombre*
feedback
MUSA SITHOLE
In Defence of Afropessimism: Aryan Kaganof’s Miseducation(reading) of Frank B. Wilderson III – ANTIBLACKNESS AND THE QUESTION OF PALESTINE
OSCAR HEMER
16 October 2025
NIDA YOUNIS
22 September 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
FACEBOOK FEEDBACK
Facebook
herri_gram FEEDBACK
Instagram
PhD
ALICE PATRICIA MEYER
Timbila Poetry: Vonani Bila’s Poetic Project
the selektah
VONANI BILA
Vonani's Choice
ARYAN KAGANOF
herri films
hotlynx
hotlynx
.
the back page
MENZI APEDEMAK MASEKO
The Meaning of ‘Bantu’
ROLANDO VÁZQUEZ
Translation as Erasure: Thoughts on Modernity’s Epistemic Violence
VONANI BILA
Moses, we shall sing your Redemption Song
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    #12
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MENZI APEDEMAK MASEKO

The Meaning of ‘Bantu’

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 exists 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’ is commonly defined as African people who inhibit 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 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 exist' (Mdw Ntr)
Ntu: 'divine essence' (Nguni/KiKongo)
Mu-Ntu: 'Person, Righteous human (Nguni/Kikongo)
Ntu: 'those' i.e Human or Deity (Mdw Ntr)
Ntu: '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 grided 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 denote plurality, we thus have ‘Nutu’.

In the Nguni languages of South Africa we have another isiXhosa term Luntu meaning ‘population’, inhabitants, ‘natives’ or ‘citezens’ , 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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ROLANDO VÁZQUEZ
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