Credo mutwa biography of michael
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His storytelling, sculpture, and writings were never intended as tools of conspiracy, but as acts of healing and preservation, meant to strengthen communities and safeguard the sacred traditions of Africa.
It is important to remember that Mutwa’s voice belongs first and foremost to the lineage of African oral tradition, and to the people whose wisdom he carried forward.
His most famous book, Indaba, My Children (first published 1964), is widely anthologized as a major collection of African folktales and creation myths retold in his voice. Later in life he continued to develop cultural sites and toured the country speaking about art, myth and heritage.
Public life, advocacy and institutional work
Mutwa worked publicly to defend and promote indigenous medicine and knowledge.
Artist, sculptor and the cultural village
Mutwa was also an artist and sculptor who translated mythic themes into large outdoor work and living architecture. That experience convinced him that he had been called to the path of a sangoma (traditional healer), and he underwent the traditional initiation (thwasa) under the guidance of elders in his family and community—training that shaped his lifelong identity as a sanusi/sangoma and storyteller.
It was also during this time where he had experienced major trauma that left him ill for a very long time. His play uNosilimela, first performed by the Experimental Theatre Workshop '71 in 1973, was based on this reconstruction.
Writing and intellectual themes
Mutwa’s writings are a mixture of traditional narrative, ethnographic retelling, personal memoir, prophecy and wide-ranging speculation.
Isanusi, according uMkhulu VVO Mkhize of Umsamo Institute, is a healer who reveals that which is hidden, such as mysteries erased by history, and who tells us about the future.
Credo Mutwa Spoke About Africa’s Chitauri Aliens.
His journey into the world of Extraterrestials began after falling severely ill in his teenage years, and orthodox Western Medicine failing him, then his grandfather brought him back to health by taking him to recieve treatment from a Traditional African Healer.
The episode ignited a spiritual awakening, and at this point Baba Mutwa began to question many of the negative stereotypes and portrayals of African Spirituality perpetuated by Missionaries.
His grandfather instilled in him the belief that his illness was a sacred calling, which meant he was destined to become a Sangoma.
He subsequently went through and passed his intiation as an African Spiritual Healer which involved an intriguing incident where he describes an Alien abduction in the sacred mountains of Zimbabwe as part of his initiation.
The Chitauri Ancient Astronaut Aliens Of Africa
Baba Mutwa provides extraordinary insight into the History of Alien intervention in Africa.
He chronicles Africa’s most ancient times in which Africans did not use speech but instead used Telepathy to communicate with each other and nature.
According to Credo Mutwa, these Telepathic abilities were diminished when speech was introduced by a species of Reptilian Alien beings he calls the ‘Chitauri’ or ‘The Talkers’, who according to the Ancient teachings of African Mystics arrived to mine Gold in Southern Africa.
This Ancient Tradition also records how humans were altered by the Chitauri so they could use speech and learn to use the Technology brought by the Chitauri Aliens as labourers on the Chitauri Gold mines.
The most striking aspect of this tradition is how similar it is to the Annunaki Alien Ancient Astronaut Theory proposed by Zechariah Sitchin although there is no traceable contact between the African Mystic Tradition and the ancient Sumerians in recent history.
Baba Mutwa’s body of knowledge and wisdom on the history of Alien involvement in Africa is worth considering, particularly because it was passed onto him as part of his Spiritual Training and Initiation as an African Traditional Healer.
This means the idea or concept of Aliens is not foreign to African knowledge and understanding, which would not be surprising taking into account other traditions elsewhere in Africa such as that of Mali’s Ancient Dogon Tribe that also record Africa’s ancient encounter in the past with Extraterrestrial ‘wise Teachers’ from the Sirius Star system and the Akans of modern Ghanawho were led by aliens and transmogrified gods to their present location 1,222 years ago.
Mutwa died at Kuruman Hospital in the Northern Cape hospital early on Wednesday, 25 March 2021 at age 98 following a period of ill health.
At the time of his death, Mutwa was living with his third wife Virginia in Kuruman, where he ran a clinic for people with Aids.
Contribution to SA theatre, film, media and/or performance
Claimed there were developed dramatic forms in African traditional societies (see articles in S'ketsh) and attempted to reconstruct this form of early African theatre, for which he used the Zulu word umlinganiso. Mutwa openly attributes the destruction of African identity to European colonization mainly in the form of the Christian religion, he says once a nation is taught to hate themselves, their culture and religion, essentially who they really are through the veil of religion, that culture has been permanently destroyed and will continue to self-destruct long after the colonizers have walked away.
He was a Guardian of the Umlando (tribal history). The village was intended as a living repository for indigenous knowledge; it was at times controversial in the charged politics of South Africa but also widely recognized as a unique cultural project. Over eight decades he collected, retold and reinterpreted folktales and cosmologies from across southern Africa, created public works and a living cultural village, trained as a traditional healer, and campaigned for the preservation of indigenous knowledge systems.
Tributes at the time of his death remembered him as a towering figure in South Africa’s living cultural landscape—an uncompromising advocate for indigenous wisdom and an artist who sought to make those stories public.
How Credo Mutwa’s path remained rooted in African traditions
If you are presenting Mutwa on a site with an emphasis on indigenous sources, key points to highlight are:
his initiation and lifelong role as a sanusi/sangoma within Zulu spiritual lineages (thwasa and divination training);
his method of preserving oral traditions by retelling folktales, praise poetry and rituals in his own voice and artistic media;
his practical work as a healer, curator of herb knowledge and founder of a living cultural village to embody those teachings;
Selected bibliography and resources
(Primary works by Mutwa and reputable secondary sources)
By Credo Mutwa (selected)
Secondary and reference material
Credo Mutwa
Vusamazulu Credo Mutwa (also known as Credo Mutwa and Credo V.
Mutwa) (1921- ) [1] is a Zulu sangoma (traditional healer), theorist, author, playwright and cultural leader from South Africa. The South African government and cultural bodies recognized aspects of his contribution: in later years he received national honors that acknowledged his role as a custodian of indigenous knowledge.
Legacy & Misrepresentation
In his later years, much of Credo Mutwa’s knowledge was taken out of context by appropriation—particularly white conspiracy theorists who used fragments of his teachings to bolster their own speculative narratives.
He positioned storytelling and myth-making as active forms of cultural medicine: collecting folktales, praise poetry and ritual songs and retelling them in books, performances and public talks. This usurption often stripped away the cultural, spiritual, and communal roots of his words, recasting them through lenses of fear and conjecture.
Yet Mutwa’s true legacy lives in his identity as a sanusi, healer, artist, and cosmology keyholder of the Zulu people.
Henry Kwadwo Amoako
Mr.
His published writings include: Indaba, My Children (1964); Africa Is My Witness (1966); My People, the Writings of a Zulu Witch-Doctor (1977); Songs of the Stars (2000); Zulu Shaman: Dreams, Prophecies, and Mysteries (19**) (2nd edition 2003); The Reptilian Agenda with David Icke (20**)
Sources
See: Wikipedia[2].
First published in Robert Kavanagh (ed) South African People’s Plays by Heinemann in 1981.
Role as a sanusi / sangoma and keeper of stories
Mutwa called himself a sanusi, a title for an initiated diviner within certain Zulu spiritual lineages; he practiced divination, healing and ritual across his life and framed much of his public work as a responsibility to preserve and pass on African cosmologies.
As a young man he fell very ill; where Western medicine failed, the care and ritual of his Zulu elders helped him recover.
Across his oeuvre he insisted on African sources of knowledge and on the value of indigenous epistemologies for understanding human life and the world.