Modern-day war in Zululand

The Telegraph has the story of a 'white Zulu', who met his end trying to build up his beloved country:

In the 1960s David Rattray's family bought a large farm along 10 miles of the Buffalo River, which marks the border with old Zululand. Fugitives' Drift, the crossing used by the very few survivors of the battle of Isandlwana into the Natal Colony, opens on to the Rattray farm; just beyond it are the graves of Lieutenants Melvill and Coghill, who escaped with the Queen's Colour but were killed as they crossed the river. The colour was lost, only to be found in the river a few days after the battle of Rorke's Drift, a discovery that was treated as almost miraculous, in some way a vindication of British sacrifice. This tattered colour hangs in Brecon Cathedral, in the home town of the 24th Regiment of Foot, which is now part of the Royal Regiment of Wales. But now David Rattray is dead, murdered for reasons that are not yet fully explained. One possible motive was robbery, though nothing was stolen; another, more likely, was a land dispute... He became obsessively interested in the Zulu War and the actors on both sides. But his genius was for turning the Zulu War into a virtuoso act of oral history as he stood at Rorke's Drift or on the hill facing the battlefield of Isandlwana. With his fluent Zulu and familiarity with some of the descendants of the Zulu indunas who had taken part, he fulfilled brilliantly his desire to take "people out on to the great battlefields... painting a verbal picture for them. A blow-by-blow account, so to speak, and thus to bring the past to life." Fugitives' Drift Lodge became a very successful business and a steady stream of British visitors in Viyella shirts and Puffa jackets has been entranced by Rattray's dramatic accounts of these battles for years. I think that his rather old-fashioned ideas about loyalty, bravery and patriotism satisfied a need in these visitors for something they missed in ironic Britain itself. His oral history was made all the more moving by his rousing replication of the battle cries of the Zulu Regiments. In fact his talent was for a kind of romantic and emotional presentation of what was in reality a very unworthy war, fomented by colonists... The contrast between what the wealthy - still predominantly white - and the rural poor possess is strikingly obvious; it would be easy for the poor to assume that there is some connection between race and money, and it may well be difficult for a future government to explain to the dispossessed that their best hope is to keep the whites on side. Nor does it matter how much the white man may claim that he too is an African, as is the vogue in right-thinking circles, because the poor will not care. Rattray's death may not be the tipping point, but I believe that more and more white South Africans will understand the message of J M Coetzee's novel Disgrace, which is that unless they are prepared to accept the values of the new South Africa, it is time to ship out.
If David Rattray, who had brought so much to this remote part of South Africa and was loved by so many, could be murdered, no whites can expect to be safe just because they are well-intentioned.