Le filimu "Omunye UFlew Over Nest the Cuckoo sika": ukubuyekezwa. "Omunye UFlew Eminyakeni Cuckoo": nabalingisi izindima 'Inyanga ye-Wikipedia Asia' ibuyile! Sikufisela inhlanhla nonke emncintiswaneni. Imihlahlandlela eyisisekelo yomncintiswano ingatholakala ekhasini lakho lendawo ye-Wikipedia Asia Month. Ngeminye imininingwane, bheka ekhasini lethu leMeta kubahleli. “Kasikafinyeleli lapho kumele sifinyelele khona, lokhe kusalokusilela okuthize. Inengi labodokotela abasanda kuphutsha izifundo sebabuyela emsebenzini, ohlangothi lwabodokotela abakhulu yikho lapho okusasilela khona lanxa besiza ukuzasiza labo abadinga usizo lwesiphangiphangi kodwa ayisikho okumele kwenzakale, sifisa ngabe senza ngcono ukwedlula lokho okwenzakalayo okwamanje. Siyabacela bonke abangaphenduki emsebenzini ukuba benze njalo, odokotela abancane labakhulu ukuba baphenduke emsebenzini bezosiza uzulu.” The Princess’s royal origins meant that she was uniquely situated to become a repository of Zulu history and musical culture, since she was exposed to traditional music from a wide variety of sources — not only that used by the Court and in public ceremonial, but also songs of the people and personal lyrics of a more intimate type — some of which reflect a musical lineage dating back as far as the reign of the great King Shaka KaSenzangakhona (regn.1816–1828), and perhaps even earlier. In addition to preserving a vast repertoire of traditional songs, the Princess also composed original works in the same style. Perhaps the most distinguishing features of her own compositions are their unusual solistic format, fully developed formal structure and moving poetic and musical subtlety, characteristics that set them uniquely apart from other endeavours of their kind. Like many a royal personage, the Princess experienced a crucial conflict between duty and personal inclination in her private life: the explicit passion that permeates her love-lyrics — so unusual for a woman in her social and historical context — was inspired by a profound romantic attachment in her youth, which she suppressed in order to enter into a dynastically arranged marriage with her husband, and which she appeared never to forget. Biographical and social issues in fact find frequent reflection, to a greater or lesser degree, in Princess Magogo’s musical works.