Enoch Mankayi Sontonga was born in Uitenhage, Eastern Province (now Eastern Cape) around 1873 as a member of the Xhosa-speaking Mpinga clan of the Tembu tribe.
He trained as a teacher at the Lovedale Mission Training College, after which he was sent to a Methodist mission school(un-named) in Nancefield, near Johannesburg in 1896. He taught here for nearly eight years. Sontonga was the choirmaster at his school, as well as an amateur photographer. Nkosi Sikelel’ iAfrika was composed by him in 1897. He based the melody on the hymn tune ‘Aberystwyth’, by Joseph Parry. Sontonga originally composed the hymn in B-flat major with a four-part harmony supporting a repetitive melody characteristic of both Western hymn composition and indigenous South African melodies. The words of the first stanza and chorus were originally written in Xhosa as a hymn.
It was one of many songs he composed, and he was apparently a keen singer who composed songs even for his pupils. Most of Sontonga’s songs were sad, witnessing the suffering of African people in Johannesburg, but they were popular and after his death in 1905 choirs used to borrow them from his wife.
In 1927, Samuel Mqhayi, the famous Xhosa poet, added seven additional Xhosa stanzas to Nkosi Sikeleli Africa.
In 1901 it was taken up by the choir of the Methodist-founded Headltown Mission Institute, in the Eastern Cape, which used the song as its Sunday parades, alongside the British national anthem God Save The Queen.
In 1905 the black mission-founded Ohlange High School, in Kwa-Zulu Natal also adopted the song for its school choir song repertoire. The school had been founded in 1900 by John Langalibalele Dube. The idea of the school was conceived when Dube went to the United States of America (USA) in 1897 for training to become a missionary. Upon arrival he enrolled at the Union Missionary Seminary in Brooklyn, in New York. He was ordained a missionary here by the Congregational Church in March 1899.
The travelling Ohlange School Choir popularised the song at concerts in Johannesburg, and it became a popular church hymn that was also adopted as an anthem at political meetings in Johannesburg. This is how it was picked as the song to close the founding meeting of the South African Native National Council in 1912, of which Dube became the founding president. By 1925 it had become the official closing anthem of the organization, now known as the African National Congress.
The song was the official anthem for the African National Congress during the apartheid era and was a symbol of the anti-apartheid movement. For decades during the apartheid regime it was considered by many to be the unofficial national anthem of South Africa, representing the suffering of the oppressed. Because of its connection to the ANC, the song was banned by the regime during the apartheid era.
In 1994 after the fall of apartheid, the new President of South Africa, Nelson Mandela declared that both “Nkosi Sikelel’ iAfrika” and the previous national anthem, “Die Stem van Suid-Afrika” (“The Call of South Africa”) would be national anthems. While the inclusion of “Nkosi Sikelel’ iAfrika” celebrated the newfound freedom of many South Africans, the fact that “Die Stem” was also kept as an anthem even after the fall of apartheid, signified to all that the new government under Mandela respected all races and cultures and that an all-inclusive new era was dawning upon South Africa. In 1996, a shortened, combined version of the two anthems was released as the new national anthem of South Africa under the constitution of South Africa.
Carol Hardijzer is passionate about South African Photographica – anything and everything to do with the history of photography. He not only collects anything relating to photography, but conducts extensive research in this field. He has published a variety of articles (click here to view) on this topic and is currently doing research on South African based photographers from before 1910. He has one of the largest private photographic collections in South Africa.
I recently came cross Carol’s article on missionary photography in South Africa (click here to view). Intrigued by the topic, I decided to dig more into this fascinating, but rarely examined aspect of missionary activities in South Africa by speaking to him. The interview below is the result.
Gateways Book SA : Missionary photography forms a significant part of the history of photography in South Africa. How and why did it become so important?
Carol Hardijzer (CH): Indeed, missionary photography forms a significant part of South African history, yet the value thereof on our cultural history has still not been fully understood or exploited. Many research opportunities still exist in this field.
Within the South African context, it could be argued that the most comprehensive photographic evidence of our diverse cultural history would be those produced by the missionaries who established themselves in the vast expanses of South Africa. The key purpose for the amateur missionary photographers was to publicize their religious work with the local inhabitants in order to bring it to the attention of their principals and supporters in Europe.
We do not know how many missionary photographers have been active in South Africa since the commercialization of photography around the 1850s. Unlike commercial photographers, who focused more on studio work or scenic views, the missionary photographers, who were largely based outside the larger cities, focused their attention on the local inhabitants they interacted with. What is certain is that missionaries were natural visual recorders of their surroundings and in doing so contributed vastly to the early visual history of South Africa.
Some of the primary reasons why photographic works produced by missionaries remain important include:
Their photographic work gives the viewer an insight into the daily lives of the local inhabitants in the rural areas – something the professional photographer generally did not prioritize;
It provides for a perspective as to how the missionaries adapted to their environment;
They compiled valuable visual records – today of historical significance;
The majority of their photographs were not produced for commercial reasons;
The photographs were not staged (maybe posed yes) and therefore gives the viewer a more realistic perspective of daily life and activities that the missionaries were surrounded by;
Photographic work produced by missionaries is scarcer in that their work is not as easily identifiable compared to that of the commercial/professional photographers who made their work identifiable by applying their names to the various photographic formats during those years.
Missionaries based in South Africa were intrigued by the ethnical composition of society. Their curiosity with the indigenous African way resulted in many photographic images being taken to share with Western Society, many of them in the format of magic lantern slides in order for the images to be projected at gatherings.
Gateways Book SA : Who were the main figures behind the practice?
CH: Considering the proposed definition of Missionary Photography above, both the missionaries and travelling professional photographers. It certainly did not form part of any missionaries’ day task to photograph the local inhabitants. Those who did, did so for reasons already stated or due to their personal interest in photography – they remained amateurs. This is why for some missionary regions more photographic evidence would be found compared to other.
An interesting story: One Methodist missionary, Frederick Lewis, returned to London during 1911 due to his long list of shortcomings as a missionary. He was however complimented as “a capital photographer” by his principles who were so critical of him in the first place. In Surviving the Lens (Stevenson & Graham-Stewart) a picture taken by Lewis appears on page 119.
Gateways Book SA : What are the earliest known examples of missionary photography in South Africa?
CH: This is an aspect that still requires further research. The bulk of photographic images produced by missionaries however date from the 1880s to the 1940s. It has been suggested that South African missionary photography probably predates that of many other countries as images from around the 1860s are known to exist. This is confirmed in The Face of the Country (by Karel Schoeman) which shows an image taken by the photographer FAV York, who formed part of the Prince Albert tour. This image is of a formal group in front of the thatched buildings of the Weslyan mission station of Lesseyton (Eastern Cape – Northwest of Queenstown) (Page 50). This photograph was taken on 17 August 1860.
James Cameron, a Scotsman, has been recorded as a Cape Town based photographer during the 1850s. He left for Madagascar as an artisan missionary during 1863. It can therefore be safely assumed that he not only continued his art as photographer whilst in Madagascar, but that he also took missionary related images whilst in South Africa during the 1850s and early 1860s.
Gateways Book SA : Being an enthusiast, and having observed the evolution of missionary photography in South Africa, are there any thematic patterns that you have observed over the period in which the practice took place?
CH: With their Eurocentric masks, missionaries entered communities either as constructive participants or sometimes as antagonists, but almost always as curious observers of the indigenous ways. For reasons both practical and religious, missionaries were dedicated correspondents, diarists and record keepers.
There was significant curiosity value back home around the indigenous people. This made for good photographing opportunities. A strong underlying cultural and anthropological stance can therefore be seen in much of their work.
Gateways Book SA : In hindsight, what do you think was the major motivation for missionary photography in South Africa?
CH: Their needs for creating photographic images were diverse. From creating an argument to their principles about the scale of the evangelistic task at hand to propaganda (mostly presented from an unintended Eurocentric point of view) – or simply for personal reasons in order to communicate back to family based in the country they originated from.
Gateways Book SA : Having covered the length and breadth of the country, where was missionary photography most significant and with which denomination amongst the churches was it most prevalent?
CH: This is an aspect that still requires much research. In order to be able to determine this, missionary societies, or their libraries that hold their archives would be the ideal sources to be consulted. Images produced by, or about missionaries, from all over Europe are known to exist. Whilst much research may have been done to date on missionary activity, the photographic dimension thereof has been neglected.
Gateways Book SA : In the totality of time and space, what is the legacy of missionary photography in the larger narrative of South African photography?
CH: Photographs produced and collected by missionaries left us with a richer visual history. Without the visual evidence produced by them, both missionary and the cultural history of our local population by and large would have been based purely on documented narratives. Images that have survived fill those gaps in our knowledge base as to what “things were like” during missionary activities in South Africa, especially prior to the 1920s.
A woman of many firsts.Among these is the fact that Nokukhanya Luthuli was among the first students in the early 1900`s to attend all three of Durban`s legendary mission education schools.
As a young girl she was a pupil of Ohlange Institute,a school started by John Langalibalele Dube, a good friend to her father,who was later instrumental in the founding of the African National Congress,and who also started South Africa`s first black-owned newspaper.She went on to matriculate at Inanda Seminary, recognised for its unheralded role in black women`s education in South Africa. She then completed her teacher`s diploma at the famed Addams College, near Amanzimtoti.
It was under the sweltering heat of a Durban summer in February 1990, amongst a 150 000-strong politically charged crowd at Durban`s that the author was brought into awareness about the subject`s life. It was just after he had famously proclaimed, “Take your guns, knives and pangas, and throw them into the sea”, that Nelson Mandela requested that an unrecognisable old woman,dressed in a bright but a little oversized white summer dress, and walking with aid of a walking stick,to approach the stage.
“Ï have a present for you”, he tells the crowd. Ï have here with me the Mother of the Nation, Nokukhanya Luthuli.I want you to receive her by shouting loudly and saying “Nokukhanya”! three times. The crowd clap their hands and raise their voices high beyond the stadium’s walls and shout “Nokukhanya!” “Nokukhanya!” “Nokukhanya!”
In NOKUKHANYA – MOTHER OF LIGHT, author Peter Bruce, weaves through a tapestry to a life so remarkable,but yet virtually unknown in South African public life.This is the story of Nokukhanya Luthuli, nee Bhengu, wife of erstwhile African National Congress leader, and Africa`s first Nobel Peace Prize winner, Chief Albert Luthuli. Far more than just being the wife to a celebrated struggle hero, the book demonstrates the fact that Nokukhanya`s life had impact well beyond this fact.
Personally, I was drawn to Nokukhanya`s story by her personal journey through mission education in KwaZulu-Natal province in the early twentieth century. The book touches on this in an ample and encompassing manner. For starters Nokukhanya, whose royal blood dates back to her paternal grandfather,was born and reared at a time when there was, amongst African communities, a clear distinction between Christian believers and non-believers.
Her father, Maphitha Bhengu, was one of the early Christsian converts of the Umngeni American Board Mission, and it was at the Umgeni Mission Station that a girl was born on 3 March 1904, Maphitha`s sixth and last-born child.She was christened with the name Nokukhanya – Zulu for Mother of Light.
“Our family aspired to be achievers in the civilization with which they were coming into contact through the British settlers and the missionaries in the Natal colony”she states in the book.By giving me the name Nokukhanya, my parents were”demonstrating expressing their wish that I should grow up and play my part in bringing the light to our people.The light at that time translated to education and Christianity.”
As stated earlier, and according to the book, Nokukhanya’s place in mission education heritage is unique. She is among the students placed on record as having been in the position of having attended all three of the then Natal colony’s prestigious mission education schools in Durban.
This fact alone puts her at the centre of mission education in Natal at its most significant and pivotal period, at the turn of the twentieth century. Her attendance of John Dube’s Ohlange Mission Institute put her in touch with the “black economic independence and self-reliance” philosophy inculcated into the school ethos by Dube after his stay at Booker T Washington’s Tuskgee Institute in the United States.
At Inanda Seminary part of her routine would have been the domestic and industrial, designed to make the girls turn into productive and efficient homemakers. At Addams College, Nokukhanya certainly came into contact with men and women who would later become esteemed members of the black community, for their work in politics, education etc. Amongst these was a lecturer, and the man who would later become her husband, Chief Albert Luthuli. Interestingly enough, their time at teacher training college at Addams College was not the first time they had been in the same institution. Unbeknownst to them, they had both been primary school students in the same years at Ohlange Institute.
As in a number of other books that touch on mission education in South Africa, the book paints an elaborate picture of the stark differences between mission education and its aftermath, Bantu education. The most glaring of these differences is race. The separation of races was of crucial importance in the execution and maintenance of Bantu education. In direct contrast, the free-mixing of the various racial groupings was an objective espoused and encouraged by mission educationists. This fact is very much evident in Nokukhanya’s education, from Ohlange right up until she received her teacher’s diploma at Addams College.
Given Nokukhanya and Chief Albert’s close propinquity with mission education, it is somewhat of a conspicuous omission that this family legacy is not brought further into the twentieth century by the author. Where did the Luthuli children, largely present in the book, receive their education?
In its entirety, Nokukhanya – Mother of Light paints a comprehensive picture of how the various elements of life – roots, upbringing, joys, pain, hardships and milestones conspire to channel the life of one woman to great societal significance. Nokukhanya – Mother of Light is a worthy addition to the comprehensive study of mission education in South Africa.
For most black South Africans the process of colonization in the late 19th century that led onto the system of apartheid in the 20th century left them with a poor education, broken family structures and little hope of living the life they wished for themselves,and their children.
But there were pockets of excellence that offered black students an education at least comparable to that which their white counterparts received – the education offered by mission education schools.
View the video below on the role of mission education in South Africa. It was produced by the The National Electronic Media Institute of South Africa (NEMISA). It is an institution of education and learning, specializing in teaching the production and technical skills applicable to the TV, radio and broadcasting industries.
Nokutela Mdima was born in 1873 to Christian converts at a missionary station at Inanda, near Durban. After leaving Inanda Seminary School Mdima worked as a teacher, and married John Langalibalele Dube in 1894 in Inanda. John was the son of the Reverend James Dube, who was a minister at Inanda. The couple left South Africa in April 1896 and travelled to Britain. From there they sailed onto New York ,USA in May 1896.
While the Dubes were in the US they were inspired by the African-American educationist Booker T. Washington, who preached self-reliance – arguing black people had to make economic progress before they could make political progress. Their main training,however, came from the Union Missionary Training Institute where 30 to 45 Christian missionaries from Europe, Asia, Australia, Arabia, and Africa studied. This Brooklyn establishment was able to exist because pastors and professors would volunteer their time. While she was in America the Woman’s Board of Missions published her story, Africa – The Story of My Life, in 1898.
She was “young, with blazing black eyes, smooth brown skin and handsome regular features,” says an article first published in the New York Tribune in 1898. “She speaks good English with a deliberation that is charming and in the softest voice in the world. Her manner is grace itself.”
After returning to South Africa and teaching at Inanda they set up Ohlange Institute, becoming the first black South Africans to start a school. It was her husband who was offered the opportunity to use a farm that his cousin had bought, but it was Nokutela’s links back to Mary Edwards, who led her old school, that substantially helped the couple establish Ohlange Institute.
The Dubes returned to the US at least twice to raise funds for the school – John would speak and Nokutela would perform traditional Zulu songs and play the piano and autoharp, a hand-held wooden box with strings that are plucked.
At Ohlange Institute Nokutela taught music, cooking, housekeeping and tailoring, and also sang and played traditional instruments on fundraising tours. With her husband, she co-wrote Amagama Abantu (A Zulu Song Book), published in 1911. This book is regarded as a milestone in the creation of a new type of Zulu choral music. The Dubes described these secular songs as the first to combine Zulu and European traditions in Christian music. The first printing of this book records both John and Nokutela as joint authors in a plural form of isiZulu.
In addition to his literary works, the Dubes founded the first isiZulu/English newspaper Ilanga laseNatali (The Sun of Natal) in 1903. The Dubes are also credited with making the song “Nkosi Sikelel’ iAfrika” popular. The song was sung regularly at morning assembly by Ohlange Institute’s choir. The choir played it at the first meeting of the South African Native National Congress,(the forerunner to the African National Congress) meeting in 1912. It was sung after the closing prayer and the ANC adopted it as its official closing anthem in 1925.
Nokutela Dube`s pioneering work amongst women inspired Lillian Tshabalala and others to found the club movement called “The Daughters of Africa”, in Natal in 1932, modelled on the African-American women’s club movement.
Nokutela and John Dube’s failure to have children was seen to reflect badly on Nokutela and John fathered a child with one of their pupils. In her own childhood, Nokutela had written of the importance and expectation that her people put on having children. A committee was set up to investigate her husband, but they took no action and Nokutela felt humiliated.The couple separated in about 1914, and Nokutela moved to the Transvaal, where she preached in rural communities before becoming ill with kidney disease.
She returned to live with her husband in Johannesburg, and died in 1917 at the age of 44. Her funeral was attended by Pixley ka Isaka Seme and other prominent members of the African National Congress.For almost a century, Nokutela Dube’s remains lay forgotten in the Brixton Cemetery, in Johannesburg, marked simply by a small plaque with the racist initials “CK” which stood for “Christian Kaffir”, and the number 2973.
An official plague was erected on her grave after it was identified by the Johannesburg Parks Service in 2009.In 2013 a headstone for Nokutela Dube was unveiled at an official ceremony in the presence of hers and John Dube`s descendants, and hosted by the Johannesburg City Council.
In 2012, the Carleton College in Minnesota, USA in conjuction with its Head of African Studies Prof Cherif Keita, made a documentary film about the life of Nokutela Dube. Named Ukukhumbula uNokutela – Remembering Nokutela, the film fullfilled the college and Prof Keita`s aim was to raise awareness of Nokutela`s pioneering deeds and work at the turn of the 20th century both in South Africa and in the United States.View the official film trailer below:
February 8 2016, is a milestone on the calendar: it marks the University of Fort Hare in Alice turning 100 years old.Originally a British fort in the wars between British settlers and the Xhosa of the 19th century, missionary activity under James Stewart led to the creation of a school for missionaries from which at the beginning of the 20th century the university resulted.
It is interesting to reflect on the fact that institutions such as this, and that were cradles to so many trailblazers of the past century, were created to keep black people in check, not to empower them through knowledge and experience.
To consider the honour roll of luminaries who have been associated with Fort Hare over the decades, such as Oliver Tambo, Nelson Mandela and ZK Matthews, to name but a few, fills one with immense pride.
It also serves as a powerful reminder of what a spectacular failure the apartheid project was in its institutionalised attempt to provide second-rate education. These luminaries — and there are many like them — succeeded despite the best designs of the oppressors.We celebrate Fort Hare’s centenary at a time when the question of access to education is once more at the top of the agenda.
The question we need to answer today is whether there are lessons from Fort Hare’s trajectory that can be applied to today’s challenges, to avoid making the mistakes of the past. What kind of institution is needed today to carry on the great traditions of Fort Hare?
The university’s Vision 2030 will see the rehabilitation of a dilapidated campus, with the building of a world-class library, great laboratories for scientific research and decent residences. However, this vision requires huge capital to restore the legacy of this fine institution.
The upgrading of the neighbouring community of Alice to attract students who, from a lifestyle perspective, would rather be in a university city such as Cape Town, is going to take some doing.Fewer and fewer students will in future want to be confined to a bush college set-up, far away from decent recreational facilities.
This raises the question of how we can undo the bush colleges of old and integrate universities into neighbouring towns as part of stimulating local economic development.But these are largely issues of infrastructure.The focus should be on the real question: has Fort Hare evolved to be a truly universal yet proudly African university that can be trusted with liberating young minds?
Have our universities’ curricula evolved since 1994 in terms of what they teach our young people and how they prepare them for an era of post-colonial reconstruction?For me, the real celebration of an institution such as Fort Hare lies in answering these questions.
My hope is that in executing Vision 2030, Fort Hare can achieve the financial support needed to build a lasting legacy that will truly honour the luminaries who strode the campus in the past.
On a different note, the question of free higher education must become a key deliberation in the educational dialogues Fort Hare is hosting to mark its centenary.As a country, we waste valuable resources on graft and on unnecessary projects, and in the process, we neglect spending that would ensure access to education.This matter is serious as it defines the kind of future we create for our young people.
So many of them may remain outside the higher education system because of poor pass rates and low-quality basic education, or because they take their university pass and waste it by prematurely entering the job market because of the prohibitive cost of education.
The University of Fort Hare’s centenary is an opportunity for the entire higher education sector to take stock of its future so that those who walked this path can have their legacy restored, and future generations can reap the rewards of true economic empowerment.
• Onkgopotse Tabane is a regular columnist for the Sunday Independent.
Former president Nelson Mandela, in his opening address at a commemoration marking the 46th year of the Women`s March on the Union Buildings, on 09 August 2001, I n Pretoria:
“I invite you to join me in my admiration of Charlotte Maxeke’s contributions and achievements in championing women’s rights, and the promotion of women in the sphere of social welfare most especially education field in South Africa.
There are many things we continue to learn from the life of Charlotte Maxeke.From her we have learned that one can be a leader and remain humble.From her we have learned that you can be a leader and still respect others in actions and deeds regardless of their status in life.
From her we have learned that one can be educated and remain sensitive to the needs of those who are less privileged.From her we have learned that that leadership is about sacrifice, selflessness and commitment.
As we celebrate this special day for women in honour of Charlotte, we must be reminded of all these values she has instilled in us.
It is human beings in the form of Charlotte Maxeke who taught us that unity must prevail amongst us, and indeed, amongst all of us as South Africans, black,white,yellow or brown. She has encouraged us to internalize the true fundamentals of leadership and Ubuntu – these are just some of the tenants of unity that she wanted us to learn.
In her interface with our people, especially women, she always urged us to uphold many values that we must internalize in our own lives, and behaviour that influences unity rather than focus on issues that divide us.
It is through her work that she cared for all – the elderly, the church, youth, the homeless, the rural poor, and ordinary folk.
Very few people can be said to have served their country and people with dedication, commitment, sacrifice, loyalty, respect, selflessness and patriotism like Charlotte. Indeed, very few can hope to attract such an outpour of applause, which demonstrates that she was unique in every respect.
Collectively, we must cherish these values our daily struggles towards creating a better future for our people.”
Professor D. D. T. Jabavu, leading New African academic scholar of the 1920`s, also made the following pertinent observation:
“Throughout all her life, she has been engaged in efforts of a patriotic character on behalf of the aboriginal races of Africa, these efforts entailing herculean tasks every time. Her social line has been the redemption of our womanhood as well as humanity in general.
The League of Bantu Women which she was responsible for starting, was a wonderful movement that stirred the imagination of our people and unmistakably infused a widened public spirit among our women-folk throughout South Africa with results still traceable right to the present time”.
Charlotte Maxeke`s contribution to the betterment of African rights was noted far beyond her own area of activity.Here she is recalled with great fondness by one of the great African-American figures of the late twentieth century, W. E. B. Du Bois:
“I have known Charlotte Manye Maxeke since 1894, when I went to Wilberforce University as a teacher. She was one of the three or four students from South Africa, and was the only woman. She was especially the friend of Nina Gomer, the student who afterwards became my wife.”
“I regard Mrs Maxeke as a pioneer in one of the greatest of human causes, working in extraordinarily difficult circumstances to lead a people, in the face of prejudice, not only against her race but against her sex. . . . I think that what Mrs Maxeke has accomplished should encourage all men, especially those of African descent.”
In one of his writings in the publication Imvo Zabantsundu,Prof ZK Matthews, one of the foremost academics and anti-apartheid leaders in the 1950s, described Mrs Maxeke as follows.
“Charlotte Maxeke was a stout lady with a striking face, with sharp penetrating eyes which could strike terror into those who crossed words with her and yet be gentle and kind to those who needed her sympathy”.
“She was an eloquent speaker and a fearless denouncer of the disabilities under which her people laboured. Soon she came to be recognised as an authority, especially in matters affecting women and juveniles. In this capacity, she often appeared before Government Commissions to give evidence on public questions affecting African women and children.”(“Mrs Charlotte M. Maxeke: Defender of Women`s Rights”, September 9, 1961).
The former President of the ANC, Dr AB Xuma coined the phrase that Dr Maxeke came to be associated with Charlotte Maxeke,”the mother of African freedom in South Africa”.
In his opening address at an occasion marking the celebration of women’s day on 09 August 2013, President Jacob Zuma said:
“Comrade Maxeke was born as Charlotte Makgomo Manye on 7 April 1872 at Ramokgopa Village in Polokwane (then Pietersburg).She grew up in an era where there was scant respect for black people in particular, and black women in general. Black women had to bear the greatest brunt and the injustices of the colonial regime`s repressive laws.
As a young girl growing up in colonial South Africa, Charlotte Maxeke did not allow herself to become discouraged by the limitations imposed on black people in general and women specifically by society and the regime.Even as a young girl, Comrade Maxeke believed that women must play a leading role in building up our movement in its struggle to defeat the enemies of the people and achieve liberation.
Other than her social work, it is Charlotte the political leader and activist that captures imagination and attention.She detested pass laws and the manner in which they sought to restrict the movement of women. She decided to organise and mobilise women against pass laws.
It was this resilience and tenacity of leaders such as Charllote Maxeke that built the principled and fearless foundation for the contribution of women in the effort to remove the repressive apartheid regime in South Africa.Comrade Maxeke is also known for having inspired other leaders within the ANC. One such leader is former ANC President the Rev Zac Mahabane.
Charlotte Maxeke is said to have been the most decisive early political influence upon the Rev Zac Mahabane.Reverend Mahabane met Charlotte Maxeke in Cape Town in 1916. Reports state that comrade Maxeke was already an influential national figure by then, in demand for speaking at a range of meetings.
It was after listening to some of Charlotte Maxeke`s speeches in Cape Town that Reverend Mahabane, some seven years her junior, decided in 1917 that his calling as a man of the cloth required also an active involvement in politics.In that year, he joined the Cape African Congress, which was the regional branch of the South African Native National Congress.
In 1919 Mahabane was chosen as President of the Cape Congress. His work in the Cape Congress was noted by African leaders elsewhere in the country, and in 1924 he was elected as the third President-General of the national body which had changed its name in 1923 to the African National Congress.
The role of Charlotte Maxeke in developing this leader of the ANC must not be forgotten.She was an eloquent speaker, a unifier and a true revolutionary. She understood that the primary function of the liberation struggle was to carry out the political tasks of the revolution and also to develop others.
In one of her popular addresses called “Social Conditions of African Women and Girls”, delivered in 1930 at the conference of European and Bantu Christian Student Association held at Fort Hare University, Comrade Maxeke said:
“If you definitely and earnestly set out to lift women and children up in the social life of the Bantu, you will find the men will benefit, and thus the whole community, both white and black…”
As we celebrate the centenary of the liberation struggle, we acknowledge and praise the contribution of this pioneer of education and founder of the ANC Women`s League.We celebrate this woman who allowed no boundaries to be set for her, as she lived her life to the fullest, in pursuit of freedom for all and personal achievement.
In honour of her memory, especially her unrelenting drive to acquire education, the ANC Women`s League named a nursery school in Morogorogo, Tanzania as the Charlotte Maxeke Child Care Centre.
The Gauteng Government also boasts a Charlotte Maxeke hospital, which is enjoined to provide as excellent a service as its namesake did in her service to humanity.
Today Maitland Street on which she led the 1913 women`s march, has been named Charlotte Maxeke Street, a befitting tribute to this great South African leader.As a collective, we must emulate the exemplary leadership of Mama Maxeke by building a national united front that strives to attain the objectives of the National Democratic Revolution.
Indeed, if you can rise, bring someone with you. Her words echo what women stand for. They develop others, they develop communities. This is a trait we will be celebrating as we mark women`s month.
Comrades,against the backdrop of celebrating Comrade Charlotte Maxeke, it is my honour and privilege to launch Women`s Month on behalf of the ANC Women`s League and indeed on behalf of the ANC as a whole.Malibongwe!Amandla!”