Introduction
Ulwaluko is an ancient Xhosa tradition Xhosa people typically undergo during childhood to be welcomed into adulthood. This rite of passage usually includes a series of lessons teaching young boys about the responsibilities that come with manhood. A man who has not undergone the coming-of-age ritual is referred to as a boy, regardless of his age. He is not allowed to participate in male activities such as tribal meetings. The coming-of-age ritual is a process held in high esteem, surrounded by secrecy and deep cultural pride. After the initiation process is complete, each initiate receives a new blanket and is now called an “ikrwala” (singular), which means ‘new man’. The plural form for initiates is amakrwala, while non-initiated men are called inkwenkwe. However, what happens when tradition collides with personal identity and modern values? The controversial film Inxeba: The Wound dared to ask these questions. And in doing so, by cracking open a complex national conversation that still echoes across South Africa today.
The Power and Pressure of Ulwaluko
Ulwaluko is more than circumcision, it’s a transition into manhood that encompasses pain, endurance, and mentorship. Initiates are taught the values of responsibility, resilience, and cultural honour. The ritual is often viewed as a social equalizer and a badge of true masculinity in the Xhosa society. However, its deeply patriarchal and heteronormative values leave little space for boys and men who don’t fit traditional molds, particularly those who identify as queer or non-conforming.
Inxeba: Breaking the Silence
Released in 2017, Inxeba: The Wound tells the story of Xolani, a queer man who returns to the mountains to guide initiates, including a rebellious young boy, Kwanda. The film explores the hidden emotional trauma that some men carry beneath the surface of their cultural obligations. It sparked outrage, was banned in cinemas, and was labelled “pornographic” by some traditional leaders. But to others, it was revolutionary, a necessary disruption of toxic masculinity and cultural exclusion. By exposing the rarely discussed queer experience within Ulwaluko, Inxeba challenged viewers to reconsider whose voices are honoured and whose are erased in the name of tradition. Criticism of Inxeba was rooted in the belief that the film disrespected and revealed a sacred ritual. But at its core, the film wasn’t about shaming tradition, it was about questioning whether culture can grow to include all who live within it. Culture is meant to guide, not confine. When parts of it begin to silence, harm, or shame, then it’s fair to ask: can tradition evolve? The reality is many young people today straddle both tradition and modernity. They’re proud of their roots but also navigating identity in a rapidly changing world. Ulwaluko should reflect on this.
Conclusion
A Tradition with room to grow. Ulwaluko will always be a cornerstone of Xhosa identity, a rite that deserves respect. But Inxeba teaches us that silence is not always sacred. There’s space to preserve tradition and still make room for truth. Manhood, after all, should be big enough to hold vulnerability, identity, and evolution.
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