The Political Ruthlessness of “Shaka iLembe”

In its second season, the South African drama series Shaka iLembe adopts a bolder and more defined direction as it delves into the life and legacy of one of the Zulu Kingdom’s most formidable monarchs, Shaka kaSenzangakhona, widely known as Shaka the Zulu or Sigidi. Rising to prominence in the 19th century, Shaka distinguished himself through unconventional warfare strategies and sweeping military reforms that cemented his authority over the Zulu nation and its neighboring territories. His innovations included the development of new weapons, the enforcement of strict military discipline and rigorous training, and the use of psychological warfare. These elements are vividly dramatized in Shaka iLembe, a large-scale production led by South African showrunner Angus Gibson, which fuses historical records with creative imagination to explore the making of a legend.

The first season of the Mzansi Magic series, which debuted in June 2023, focused on the circumstances of Shaka’s birth, his teenage and youthful years, and his rise through the ranks to the status of a celebrated warlord. Amongst the several issues established from the beginning was the brutal political climate of the times, which had kingdoms and individuals aspiring and contesting for power. Brothers became enemies. Family members and kinsmen turned their backs on each other, either due to betrayal or for fear of being betrayed. Even the titular character and hero who, for much of the first season, was an unpolished version of what he is to become, suffered paternal rejection and a chaotic upbringing. We learnt that these circumstances were required to prepare him ahead of the leadership he was destined for. There was a gradual build-up of ideas and conflicts in the maiden season, with relations established among all the kingdoms of the time—Zulu, Mthethwa, Qwabe, ELangeni, Ndwandwe, and Hlubi. We witnessed the development of characters and subplots, from the opportunistic Zwide and his witchcraft-practicing mother who forcefully took over power, to the travails of Dingiswayo, who became a cornerstone and inherited the Mthethwa throne. Season 1 was more about Shaka’s father than it was about him. However, with the twelve-episode debut season reaching a heart-warming resolution, signalling the beginning of a new dispensation, the audience was left feeling confident of expectations in the follow-up season.

Season 2 does not disappoint. It sustains the momentum of its predecessor and introduces more political intrigues and ruthlessness. Dialogues remain in the classical Zulu language through which the showrunners appeal to cultural sentiments and enhance verisimilitude. The settings and costumes are apt, characteristic of the social milieu they represent, with their clothes made from animal skin. Dawn Thandeka King reprises her role as Princess Mkabayi, Shaka’s paternal aunt, and the narrator who becomes instrumental to the new Zulu king’s council. Through her far-reaching narrative eyes, this installment underscores Shaka’s monarchy against the wider web of alliances, betrayals, spirituality, and power tussles. It does not take long for us to figure out what Shaka wants: territorial defence, administrative legitimacy, and an expansionist agenda. Even without having undergone a formal coronation, he embarks on a quest to eliminate immediate threats to the throne, including the assassination of his half-brother Bhakuza. As the story progresses, he finds himself having to seek alliances and confront obstinate leaders to unify the entire kingdom.

Many great African empires and kingdoms of pre-colonial civilization were known for their military might, with which they intimidated enemies, proved their strength, and negotiated peace and stability in the long run. The Songhai Empire (15th – 17th century) created one of the largest standing armies in pre-colonial Africa. The Mali Empire (13th – 17th century) depended on its cavalry to protect and facilitate smooth trade relations. The Kingdom of Dahomey, which existed from the 17th to 19th century, boasted an unprecedented elite all-female regiment. However, while the Zulu Kingdom was initially a small clan under the reign of Shaka’s father, Senzangakhona, it grew into a formidable and central force in Southern Africa, all thanks to Shaka’s authoritative leadership style.

A central theory that undergirds Shaka iLembe is Machiavellianism. Named after Niccolò Machiavelli, a 15th-16th-century Italian statesman and philosopher, this theory is established in his seminal work The Prince. The theory suggests that coercive methods can be necessary for acquiring and maintaining political power, urging leaders to be ruthless, aggressive, and emotionally detached. Individuals who align with this approach often display traits of narcissism and psychopathy, driven by self-serving, individualistic ambitions. Such is the case with King Zwide, particularly in this second season of Shaka iLembe, where, aided by the dark powers of his mother, he seeks to conquer all the surrounding nations by force, baiting and gruesomely murdering the Mthethwa leader, Dingiswayo.

One Machiavellian idea is captured in the phrase “The end justifies the means”, which suggests that achieving a goal is more important than the process itself, regardless of the moral or ethical considerations involved. This principle is reflected in the actions of Shaka in the current season of Shaka iLembe, where he embarks on a series of military campaigns driven largely by revenge and the desire to safeguard his sovereignty. He deliberately frames the aggrieved Phungashe and the Buthelezi for the killing of Zulu cattle, a self-sabotaging act with which he aims to make them realize his might and unite the internally divided Zulu people. In Zulu traditions, cattle bear spiritual connections to their ancestors. Also, the Zulu forces launch a retaliatory attack against the Ndwandwe following Dingiswayo’s death, leaving only a handful of survivors afterwards.

As a whole, Shaka iLembe is an intriguing dramatization of power, politics, and the often-bloody road to nation-building. Through its tapestry of historical accounts and creative imagination, the series captures both the grandeur and brutality of Shaka’s reign as Zulu king, showing how diplomacy, manipulation, and military action are deployed to create one of the most sophisticated legacies in Africa. By embracing Machiavellian ideals, cultural authenticity, and with its unflinching portrayal of betrayal and conquest, the historical drama not only entertains but also provokes reflection on the cost of leadership and the sacrifices demanded in the pursuit of unity and authority. With its third and final season slated to premiere in 2026 and possibly capture the series of actions and incidents resulting in the decline of the legendary ruler, Shaka iLembe looks certain to live off its reputation as an exemplum of excellence in modern African filmmaking.