neral formation regimental identity was also expressed in subtle variations other than just shield colour, and quite often this would be in the headdress chosen, and within that quite often variations would be in the colour and form of decorative plumage.
The most celebrated of the amaNdebele regiments was the Mbizo, and theirs was a headdress of black ostrich feathers stitched into a net and tied around the back of the head by a leather thong. Besides this the feathers of other elaborately plumed birds might also feature. Some, such as the Isiziba Regiment, favoured the tail feathers of the African Long-tailed Shrike, others the polka dot plumage of a Guinea Fowl. Some sported the yellow feathers of a weaverbird and some the maroon wingtips of a Turaco. In the case of the King, and strictly he, the feathers of the iconic bird of the bushveld, the Lilac Breasted Roller decorated the royal headdress.
The weaponry of an average amaNdebele foot soldier were also standardized, and featured prominently the iconic broad bladed stabbing assegai of the Zulu, and which was used in precisely the same manner. To supplement these each warrior carried a variety of throwing spears, a thrusting lance, a knobkerrie and occasionally a small battle-axe. The manufacture of these weapons was a craft spread widely amongst the individual regimental headquarters, but may also have often have been contracted out to vassal groups, or formed part of the stipend owed to the amaNdebele by tribute groups.
Tactically the amaNdebele army altered the standard Zulu battle formation very little, formations which had themselves evolved under Shaka from earlier patterns of Nguni military organization. Both armies were divided into a number of corps that each consisted of several regiments that in turn were sub-divided into companies. Each corps had a commander and a number of sub-commanders. The most senior of these was the second-in-command, the commander of the left wing and two wing officers. When on the march the army or corps travelled in order of companies with its support staff and carriers on either flank, and if the army was large communications would be by runner. In close proximity to the enemy the troop formation closed up while the support formations fell back.
The established Zulu battle formation as Shaka refined it took the form of the classic horns and chest configuration. The older and more reliable warriors were placed at the chest while the horns were composed of younger and more mobile forces that could move rapidly over what was usually broken terrain to complete the encircling manoeuvre. Once completed the opposing force would be compacted and smashed by the chest. Behind the main battle formation would wait a reserve force which was often positioned to face away from the battle to help it resist the temptation to rush in and join the battle prematurely. Commanders usually selected an elevated position from where they could observe the battle and communicate with the field commanders by runner.
Psychological tactics also played an important part in the battle. The massed, uniformed ranks of highly disciplined and motivated men would present nothing if not an intimidating spectacle, but initially shields were presented edgeways to diminish the size and impact of the force. A tense silence would be deployed, sometimes the men would squat and nonchalantly whet their blades, and then as tension built they would rise, their shield would be turned to face the enemy and the silence would be broken by the uniform stamping of feet and drumming of weapons on shields. Then, as the charged commenced, each man would hiss. The combined effect of several thousand voices issuing this sound would be terrifying beyond belief, sending a message at the last moment of confidence, virility and deadly serious intent.
In his adaptation of Zulu tactics Mzilikazi employed essentially the same formation, although the limits of his available manpower forced him to economise, and in the beginning he did not employ any reserve. He had also in the early days been 