_THE ZULU WITCH-FINDERS._
English Law now reigns in Zululand, and the occupation of the
Witch-finders is almost gone; but in times past they were potent
personages, whom an enslaving superstition had armed with despotic
influence. The Zulu witch-finders are regular Amazons--perfectly fearless,
with a martial gait, and grave composure of mien. It is their pride,
according to Lady Barker, to be looked upon as men when once they embrace
their dread profession, which the men sometimes share with them. They are
permitted to bear shield and spear as warriors, and they hunt and kill
with their own hands the wild beasts and reptiles whose skins they wear.
“It is not difficult to understand,” says Lady Barker,[41] “bearing in
mind the superstition and cruelty which existed in remote parts of England
not so very long ago--how powerful such women become among a savage
people, or how tempting an opportunity they could furnish of getting rid
of an enemy. Of course they are exceptional individuals; more observant,
more shrewd, and more dauntless, than the average fat, hard-working Kafir
women; besides possessing the contradictory mixture of great physical
powers and strong hysterical tendencies. They work themselves up to a
pitch of frenzy, and get to believe as firmly in their own supernatural
discernment as any individual among the trembling circle of Zulus to whom
a touch from the whisk they carry is a sentence of instant death.”
The magician, like the melodramatist, must have his accompaniment of
music, and the Zulu witch-finders are attended by a circle of black girls
and women, who, like a Greek chorus, clap their hands together, and drone
through a low monotonous chant, the measure and rhythm of which change at
times with a stamp and a swing. Not less necessary is a ceremonial dress;
for such things appeal directly to the imagination of the crowd, and
prepare them to be readily influenced by the necromancer’s devices. The
“Isinyanga,” “Abangoma,” or “witch-finders,” whom Lady Barker describes
for us, were attired with an eye for effect which would have done credit
to a London theatre. It will suffice to depict one of them, by name
Nozinyanga. Her fierce face, spotted with gouts of red paint on cheek and
brow, was partly overshadowed by a helmet-like plume of the tall feathers
of the sakabula bird. In her right hand she carried a light sheaf of
assegais or lances, and on her left arm was slung a small and pretty
shield of dappled ox-hide. Her petticoat, made of a couple of large gay
handkerchiefs, was worn kilt-wise. But if there were little decoration in
her skirts, the deficiency was more than compensated by the bravery of the
bead-necklaces, the goat’s-hair fringes, and the scarlet tassels which
covered her from throat to waist. Her ample chest rose and fell beneath a
baldric of leopard skin, fastened across it with huge brazen knobs; while
down her back hung a beautifully dried and flattened skin of an enormous
boa-constrictor.
The interest attaching to these women is derived from the fact that it was
of old the custom, among the Zulu and other South African tribes, to
attribute all mishaps or catastrophes, political or social, to the agency
of witches. It is not for Englishmen to look down with contempt upon this
manifestation of barbarism and ignorance, considering that a similar
belief prevailed very generally among us up to the reign of Charles I.,
and, in truth, is not wholly extinct even now: while the extent to which
the science of witch-finding was developed in New England will be known to
every reader of Cotton Mather.
When the community had resolved that a certain misfortune was due to the
witches, the next step obviously would be to detect and punish them. For
this purpose the king would summon a great meeting, and cause his subjects
to sit on the ground in a ring or circle, for four or five days. The
witch-finders took their places in the centre, and as they gradually
worked themselves up to a frantic state of frenzy, resembling demoniacal
possession, they lightly switched with their quagga-tail one or other of
the trembling spectators, who was immediately dragged away and butchered
on the spot. And not only he, but all the living things in his hut--wives
and children, dogs and cats--not one was left alive, nor was a stick left
standing. Sometimes a whole kraal would be exterminated in this way; and
the reader will perceive how terribly the cruel custom could be made to
gratify private revenge or to work out the king’s tyrannical inclinations.
A terrible little sorceress is described under the name of Nozilwane,[42]
whose weird wistful glance had in it something uncanny and uncomfortable.
She was really dressed beautifully for her part, in lynx skins folded over
and over from waist to knee, the upper part of her body being covered by
strings of wild beasts’ teeth and fangs, beads, skeins of gaily-coloured
yarn, strips of snake’s skin, and fringes of Angora-goat fleece. This, as
a decoration, was both graceful and effective; it was worn round the body
and above each elbow, and fell in soft white flakes among the brilliant
colouring and against the dusky skin. Lynx-tails depended like lappets on
each side of her face, which was overshadowed and almost hidden by a
profusion of sakabula feathers. “This bird,” says Lady Barker, “has a very
beautiful plumage, and is sufficiently rare for the natives to attach a
peculiar value and charm to the tail-feathers; they are like those of a
young cock, curved and slender, and of a dark chestnut colour, with a
white eye at the extreme tip of each feather.” Among all this thick,
floating plumage were interspersed small bladders, and skewers or pins
wrought out of tusks. Each witch-finder wore her own hair, or rather wool;
highly greased, and twisted up with twine until it ceases to wear the
appearance of hair, and hangs around the face like a thick fringe, dyed
deep red.
Bent double, and with a creeping, cat-like gait, as if seeking a trail,
out stepped Nozilwane. Every movement of her undulating body kept time to
the beat of the girls’ hands and their low crooning chant. Presently she
pretended to find the thing she sought, and with a series of wild
pirouettes leaped into the air, shaking her spears and brandishing her
little shield like a Bacchante. Nowamso, another of the party, was
determined that her companion should not carry off all the applause, and
she too, with a yell and a leap, sprang into the dance to the sound of
louder grunts and harder hand-claps. Nowamso showed much anxiety to
display her back, where a magnificent snake skin, studded in a regular
pattern with brass-headed nails, floated like a stream. She was attired
also in a splendid kilt of leopard skins, decorated with red rosettes, and
her toilette was considered more careful and artistic than any of the
others. Brighter her bangles, whiter her goat-fringes, and more
elaborately painted her face. Nozilwane, however, had youth and a
wonderful self-reliance on her side. The others, though they all joined in
and hunted out an imaginary enemy, and in turn exulted over his discovery,
soon became breathless and spent, and were glad when their attendants led
them away to be anointed and to drink water.
“As for another of the ‘witch-finders,’ the great, big Nozinyanga, she
danced like Queen Elizabeth, ‘high and disposedly,’ and no wonder, for I
should think she weighed at least fifteen stone. Ungiteni, in a petticoat
of white Angora-goat skin, and a corsage of bladders and teeth, beads and
viper skins, was nothing remarkable; neither was Um-à-noujozzla, a
melancholy-looking personage, with an enormous wig-like coiffure of red
woollen ringlets and white skewers. The physiognomy, too, was a trifle
more stolid and commonplace than that of her comrades, and altogether she
gave me the impression of being a sensible, respectable woman, who was
very much ashamed of herself for playing such antics. However, she
brandished her divining brush with the rest, and cut in now and then to
‘keep the fleer’ with the untiring Nozilwane.”
Lady Barker and her friends grew tired of this imaginary “witch-finding,”
and to end the affair it was proposed to test the professed power of the
“weird women” to discover lost property. A silver pipe stem had recently
“gone a-missing,” and they were requested to find what had been lost, and
where. They set to work in a curious and interesting way. In front,
squatted on heels and haunches, a semicircle of about a dozen men, who
were supposed to have invited the assistance of the sisterhood. They had
no idea of what was asked for, and were told to go on with their part
until a signal was given that the article had been named.
“What is it the Inkos has lost?” they cried; “discover, reveal, make plain
to us.”
The witch-finders, by their singing and dancing, had wrought themselves up
to a highly-excited and enthusiastic condition, so that they
unhesitatingly accepted the challenge, Nowamso crying, “Sing for me: make
a cadence for me.” Then, after a moment’s pause, she went on rapidly, in
her own language.
“Is this real? is it a test? is it but a show? Do the white chiefs want to
laugh at our pretensions? Has the white lady called us only to show other
white people that we can do nothing? Is anything really lost? is it not
hidden? No, it _is_ lost. Is it lost by a black person? No, a white person
has lost it. Is it lost by the great white chief? No, it is lost by an
ordinary white man. Let me see what it is that is lost. Is it money? No.
Is it a weighty thing? No, it can be always carried about--it is not
heavy. All people like to carry it, especially the white Inkosi: it is
made of the same metal as money. I could tell you more, but there is no
earnestness in all this,--it is only a spectacle.”
Between each of these ejaculations she made a pause, looking eagerly into
the faces of the men before her, who, for sole answer, gave a loud,
simultaneous snap of finger and thumb, pointing towards the ground as they
did so, and shouting the one word, “Yiz-ora,” (the first syllable strongly
accented and much prolonged;) “discover, reveal!” They can say nothing
more to urge her on, because they themselves are ignorant: but the weird
women watch their countenances eagerly, to detect, if they can, some
unconscious sign or token that their guesses are near the truth.
Suspecting a trick, Nowamso lapses into silence; but Nozilwane rushes
about like one possessed, sobbing and quivering with excitement, “It is
this--it is that!” The tall Nozinyanga strikes her lance firmly into the
ground, and cries haughtily, in her own tongue, “It is his watch!”
throwing around a haughty glance, as if daring any one to contradict her.
The others then join hands, and gallop round and round, making a
suggestion here and a suggestion there, all alike improbable; the
“inquirers,” as the kneeling men are called, affording them no assistance.
At last Nozilwane strikes home: “His pipe!” she exclaims; “Yoziva, yoziva,
a thing which has come off his pipe.”
And so it is. Nozilwane’s pluck, and perseverance, and cunning scrutiny of
our faces at each hit she made, have brought her off victoriously.
A murmur, or rather grunt, of admiration goes around. The “inquirers” jump
up, and “subside into ebony images of impassive respectability.” The weary
chorus disperses in small groups, and the exhausted sisterhood drop, as if
by one consent, on their knees, sitting back on their heels, and raise
their right hands in salutation.[43]