Light shed on Zulu queen’s burial site
An Umlazi pensioner may have shed light on the final resting place of King Goodwill Zwelithini’s mother, Queen Thomo Jezangani Ndwandwe, who was buried secretly in Durban in the late 1950s.
Makhosegazi Simelane-Buthelezi this week took City Press and the monarch’s representative, Prince Zeblon Zulu, to a grave site in Chesterville’s Wiggins Road cemetery, where she says the queen’s remains were interred.
Buthelezi’s information could bring relief to Zwelithini, who has no idea where his mother was buried.
His mother’s departure from the royal household and life thereafter has long been the subject of speculation and rumour.
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Buthelezi (92) said Ndwandwe passed away in 1958 after a short illness.
“She was secretly buried at Chesterville cemetery,” said Buthelezi, who added that the grave had been neglected.
Buthelezi, who gave detailed information about Ndwandwe’s life, said she and her family were very close to the monarch’s mother.
“She stayed with us at KwaBhanki area in Umkhumbane (now Mayville).
“We were very close. My husband, Mkhishwa Buthelezi, was her cousin.”
She said Ndwandwe was the second wife of King Cyprian, who had two other wives – Queen Nompumelelo Masuku and Queen Majali. Ndwandwe, she said, “was buried like a commoner after being kicked out from the royal palace by King Cyprian”.
When Ndwandwe came to her house, she arrived with a little boy whose name she could not remember.
She said: “The strange thing is that Thomo never mentioned anything about the father of that boy.”
Ndwandwe moved out of her house to rent her own place in Nyaluka, in the same area of Umkhumbane.
“She moved out to start a new life. She worked in a doctor’s surgery. I was a domestic worker.
“Thomo’s son was stabbed to death and his tongue was cut by unknown people at Umkhumbane. The boy was killed while on his way to the shops to buy paraffin,” she recalled.
Buthelezi said the king’s mother was kind.
“She was very beautiful, tall, well-built, light in complexion and had a nice voice,” she said.
In 2006, Buthelezi met Zwelithini at an Umhlanga hotel, where she informed him about his mother’s grave.
“He promised to make arrangements so that we could visit the grave, but since then nothing has been done,” said Buthelezi.
Prince Mbonisi Zulu, Zwelithini’s spokesperson, confirmed the royal household heard about Ndwandwe’s grave being somewhere in the Chesterville cemetery after many years of trying to find it.
He said: “Isilo (referring to the king) would be very happy to know about his mother’s grave.”
At the cemetery, Zulu pointed out a small hill with several graves on it, but was unable to pinpoint the exact grave.
Zulu said the spot was the same one pointed out to him in 2006 by Zwelithini’s late uncle, Somjumase Ndwandwe, after he had been sent by the king to find his mother’s grave.
“We were unable to find her grave or her name in the register. It might have happened that they deliberately changed her name,” said Zulu.
Zulu is about to release a second book about Zwelithini’s life, Inhlendla Yethusi kaZulu.
In it, he writes that a woman from KwaNyuswa at Botha’s Hill, Mamagasela, came to King Cyprian’s Kwakhangela palace to deliver a “prophesy” that the monarch’s first-born son, Zwelithini, who had not been born yet, would not be raised by his biological mother.
He added that soon after Zwelithini’s birth in 1948, he was taken away from his mother and raised by his grandmother, Queen Hlabangani, who was married to King Solomon.
Buthelezi said Ndwandwe never abandoned Zwelithini as she used to send clothes for him.
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#ICYMI: WATCH: Cato Manor Museum opening and unveiling of the tombstone of the Queen mother
Camera- Bonani Mbatha
Editor- Londiwe Gumede pic.twitter.com/YrqCFM4OLE
— The Mercury™ (@TheMercurySA) May 30, 2017
Commercial development damages Heritage Building – news article by R.Moodley – Crit News
Heritage for heritage sake often results in static environments that serve the name rather than the people of a city. Heritage for people’s sake has much more dynamic and profound results. Like many old buildings, 849 Chris Hani Road in Red Hill tells layered stories serving as a reminder, a challenge and a memorial. However, unlike many other heritage buildings it has formed and been formed by the communities around it, posing possibilities for re-imagining public buildings. Its destruction raises questions about who is building our city and what space making in
neighbourhoods means in an age of commercial developers.
In January 1905, land on then North Coast Road was bought for R130 to build the Greenwood Park and Redhill Presbytarian Church- a wood and iron building that was the first Presbytarian church in Durban North. The ‘tin temple’ was consecrated on 10 February 1906 to cater for the growing suburb.Since its inception as a church, the building has been used as a warehouse, carpenters workshop, a Swiss Stone Mason’s shop and a community arts centre.
In 1995 Leonie Hall and Rodney Choromanski, a young artist and architect respectively, restored the building and founded the arts centre called Studio 849. It operated for two and a half years asserting art’s ability to empower citizens. Its placement at the beginning of new democratic era linked the studio to projects like the BAT Center in its vision for bridging gaps and celebrating cultural diversity.The project attracted large media coverage, assisting over one thousand students from all ages and cultures within the area and surrounding communities. Its heritage value, position along a main road and quaint aesthetic made it the perfect spot for demonstrating how buildings with public identities can enrich communities.
Once the arts centre closed down, the Swiss Stone Mason once again took over the building, preserving the heritage and using it for the display and sale of tomb stones. He eventually sold and immigrated.
Driving past the site today, you will see the building destroyed and covered by a commercial development in the community.
Instead of destruction, incorporating the tin temple in the form of a public entrance, gallery or workshop could have not only retained social and heritage value, but also presented possibilities of how a business and the community it is in could interact and be mutually enriching.
We cannot afford to lose these places of possibility to insensitive practice at this time in our country’s history. For architecture to reflect people rather than capital we need to explore innovative ways of making public spaces, commercial viability and heritage work together.
Choromanski, R. October 2016. 849 Chris Hani (North Coast) Rd., Redhill, Durban North. [email]
Choromanski, R. 2017. Studio 849. Interview with R. Moodley on 21 April. Durban.
Davis, A. et al. 2003. Not Consumed: Presbyterianism Into the Canefields. Accessed online on 24 April 2017 at http://www.ndpchurch.co.za/wp-content/uploads/2014/11/Whole-book.pdf
Shevlin, I. April 1997. Sunday Tribune: The OtherMag. Art and Soul.
Rivertown,Beer Hall,Milne Drain Development
Project by the Architecture Department,eThekwini Municipality and Choromanski Architects
The city of Durban was originally a mangrove wetland and an adjacent secondary dune of the Durban Beach. Two Vleis, namely the eastern and western dominated the landscape, thereby restricting city settlement. The Milne Drain together with other drains that still exist, serve as a memory to the once wetland of Durban. Owned by the municipality, the Beer Hall with its prime location along the historical Milne Drain, robust heritage architecture, and its past decadent legacy of use and identity made it a meaningful transformation project to initiate the Rivertown Cultural Precinct, which was made public at the UIA Conference hosted by Durban in 2014. The Milne Drain initially was an open channel, which fluctuates due to tidal change. It was later given a concrete cover over its entire length, which still exists today. In 2014, the cover was removed in cut sections that were re-used as benches within the new Milne public area and within the Beer Hall courtyard, which could be replaced when needed. Planting was included along the open edges of the drain, creating a soft green zone amongst the hard industrial facades of the surrounding urban environment and serving as a reminder of the marshlands. The existing workshop buildings of clay brick and asbestos to the technical centre were removed thus creating a multi-purpose open courtyard at the centre of the complex. A portion of the John Milne Road boundary wall to the perimeter of the Beer Hall, was demolished, allowing the public to be drawn into the central courtyard from the Milne’s Drain Public area where they are then able to circulate through the courtyard and gallery spaces The two primary buildings are to be converted into galleries and multi-purpose facilities of which the DAG building will be converted once the collection storage is relocated to a new home. The opening of the drain as a test,exposed the challenges such as:
- Health hazard due to very poor quality of water as a result of uncontrolled disposalof contamination by property owners,which eventually contaminate the Harbour
- Vermin and pests
- Tidal movement which restricted refuse in the Drain to flush out
- Informal use of water by homeless people and their activities such as wetting of cardboard for higher sale price
Further research is needed with regards to the stormwater disposal through the Precinct, from existing and proposed building stock, roads and sidewalks, and how this could be managed to establish an eco-aware community who will be sensitive to environmental destruction, and avoid contaminated stormwater flowing into the Harbour and Sea. Similarly to the Vleis performance as filters before city settlement The development to establish a walkable back of beach Precinct which Durban does not have, thereby supporting the transformed beach promenade of 2010. The cleansing of the Drain through innovative management and engineering which could become a landscaped public space through the city grid together with the historical Victoria Park. The Milne Drain could transform into landscaped public space connecting the city to the natural edge of the harbour with cultural buildings at both ends: the Beer Hall in Rivertown and The Bat Centre near the harbour in Cato Creek; a cultural node, which was established in 1994. The 800 metres distance between the two active city nodes, namely ICC and Beach Promenade enables the Precinct to support a walkable connection.
Project by the Architecture Department,eThekwini Municipality and Choromanski Architects
Black Africans came to settle in Cato Manor during the 1920s, and rented land from Indian market gardeners who occupied the area since the early 20th century, as the apartheid system restricted settlement in the city.
Cato Manor covers a geographical area of approximately 1800 hectares and is situated approximately 7 kilometres from Durban’s City Centre. It is currently the home to an estimated 93 000 people who settled in the area through mass invasions in the late 1980’s and early 1990’s.Cato Manor had been left vacant since the 1950’s and 1960’s following apartheid forced removals of an estimated 150 000 people. Today, Cato Manor residents include some of the poorest of the urban poor, despite the successes of the EU funded Cato Manor Development Association (CMDA) programme.
The area remains characterised by a high unemployment rate and social fragmentation. At the same time, Cato Manor residents are increasingly taking the initiative in the development of the area and there is a high level of community organisation, citizen action and participation. The Cato Manor Area Based Management (ABM) Unit of the Municipality seeks to work with these strengths and build on post-infrastructure development and consolidation processes such as social upliftment, responsibility and cohesion; community planning and participation; economic development and skills development.
The city’s Economic Development Unit together with Parks Recreation and Culture and the CMDA identified Cato Manor as an ideal location to develop The “uMkhumbane Heritage Site ”, to preserve the areas rich cultural and political history and stimulate innovation. The site at the confluence of two major arterials is crossed by the uMkhumbane River and included in the Durban Metropolitan Open Space System (DMOSS) and in close proximity to mixed residential areas, businesses and the University of KwaZulu-Natal (UKZN).
The first project reports responding to the heritage project were compiled in 2003 and an architectural competition by the City Architects laid the foundation for the appointment of the professional team. A master plan created by Choromanski Architects, incorporated the vision of the “uMkhumbane Heritage Site ” which compliments the Cultural Renaissance Programme of the eThekwini Municipality, and includes the following:
a cultural park and public square,
galleries for permanent collection on forced removals, focusing on the struggle by women and children and temporary collections,
dedicated space for community exhibitions,
gathering areas for oral, performance, installation exhibits,
social gathering areas for functions, eg. book launches, festivals (film, writers, poetry, dance, music)
concession areas including traders market stalls,
theatre as multipurpose space,
children’ innovative facilities,
linking of the development to tour routes through the community and surroundings areas, thereby extending the innovative entrepreneur spirit from the “uMkhumbane Heritage Site ” through Cato Manor and Surroundings
Funding for this project was initially provided by Lotto who together with the city stimulated momentum for the development, which was complimented by the donation of land for the site by the UKZN.
This site on the banks of the uMkhumbane River is also especially significant as it was chosen by the Zulu King, Goodwill Zwelithini for the reburial
of the remains of his late mother in May 2011,Queen Thomozile Jezangani KaNdwandwe Zulu,who passed on in December 1959
A process of co-creating regenerative and enabling systems, where the project serves as a catalyst within its immediate environment, creates structure to enable the health of the surrounding community and natural environment. The activation of a neglected apartheid buffer zone along the uMkhumbane River to become a Heritage and Innovation Site
Creating new unique African Identity and Brands towards stimulation of a Township Economy
South Africa has a very wealthy history that is only now being appreciated for its complexity and diversity…”
Zaha Hadid, a gutsy architect who skipped the class on mediocrity and conformity.
Form and inspiration Deconstructed boundaries
Zaha Hadid Eternal Works
music and architecture are interwoven
architectural drawings, the music score
the building, the music
every project, its very own spirit & identity
read more about our music construction here
Choromanski says Manteca is more than a music band, it’s a project that regards the audience as being part of the group.
“The idea is to bridge into different fields of art where we have a collective of creative and innovative thinkers in a group and in our community, creating social integration in public spaces.”
The approach was similar to that of Jay Pather, the Durban choreographer “who did amazing work with dancers in public spaces”, Choromanski said.
“Carol Brown, with Red Eye, also did public art… Art is meaningful. Art brings people together.
In 2013 I participated in ‘Conversations on Architecture.’ It’s always a privilege listening to ideas shared by my peers and to contribute to building the collateral around South African architecture.
Distinguished international speakers from as far afield as UK, Germany and Paraguay together with our local architectural prodigies will be probing important matters pertaining to the ‘built environment’.
Rod Choromanski – Choromanski Architects
Rod Choromanski is a Durban-based architect specialising in small-scale community projects, medium to large-scale institutional projects, architectural heritage & conservation; architectural competitions, sports facilities, low-income housing, urban design, utility and service structures, as well as residential houses and offices.
Choromanski has served as juror for the 2012 Afrisam Sustainable Building Awards. He has written for the “Wetlands Wire” on the Greater St. Lucia Heritage Park and he has had projects published in local, national and international architectural journals.
For the full article, click here.
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