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Torstraße 110 Berlin, 10119 Issue 2, 2015 South African Journal of Cultural History - Volume 29,
Volume 29 (2015) Volume 28 (2014) Volume 27 (2013) Volume 26 (2012) Volume 25 (2011) Volume 24 (2010) Volume 23 (2009) Volume 22 (2008) Volume 21 (2007) Volume 20 (2006) Volume 19 (2005) Volume 18 (2004) Volume 17 (2003) Volume 16 (2002) Volume 15 (2001) Volume 14 (2000) Volume 13 (1999) Volume 12 (1998) Volume 11 (1997) Volume 10 (1996) Volume 8 (1994) Volume 7 (1993) Volume 6 (1992) Volume 5 (1991) Volume 4 (1990) Volume 3 ([1989, 1986]) Volume 2 ([1985, 1988]) Volume 1 ([1987, 1984]) Volume 3 ([1989, 1986]) Volume 2 ([1985, 1988]) Volume 1 ([1987, 1984]) Volume 29,
Editorial / Redaksionele voorwoord
South African Journal of Cultural History 29, pp I –IV (2015)
It is certainly true that a sense concerning places and the value of places originates and develops especially from recorded research or some form of exposure of places and persons in history, monuments, ballads and anecdotes. This November 2015 edition of the South African Journal of Cultural History (SAJCH) offers an interesting spectrum with regard to cultural aspects. Research conducted by Emile Badenhorst and Robert Herbst in the Eastern Cape (in the erstwhile Algoa Bay and subsequent Port Elizabeth) reminds readers of the lost heritage of the Dutch entrepreneur Frederick Korsten in respect of his estate Cradock Place (the farm formerly called Papenkuilsfontein). What is especially fascinating are the distinguished guests that were once received at Cradock Place - particularly in the nineteenth century. Success is often accompanied by misfortune and the authors accompany their readers along this route. It is indeed a pity that this homestead was not eventually preserved in its physical, visual form.
Cradock place : verlore erfenis van die Oos-Kaapse entrepreneur, Frederick Korsten
Emile Badenhorst and
South African Journal of Cultural History 29, pp 1 –25 (2015)
Cradock Place: Lost heritage of the Eastern Cape entrepreneur, Frederick Korsten
Algoa Bay was known from the earliest times for the natural saltpans in its vicinity, pans that played a major role in the development of the region. In 1812, Dutch entrepreneur Frederick Korsten became the owner of the farm Cradock Place in Algoa Bay (today Port Elizabeth). Originally known as Papenkuilsfontein, the farm was destined to change the commercial landscape and economic future of Algoa Bay dramatically during the nineteenth century. In addition to its commercial importance, in time Cradock Place also became the social centre for well-to-do visitors to Algoa Bay. Regular guests at Cradock Place included Cape Governors of the day, French scientists, a Zulu delegation sent by Shaka, as well as the well-known traveler-artist Thomas Baines.
Regrettably this successful enterprise was ravaged by misfortune and sorrow: the demise of Cradock Place started with a devastating flood, followed by an all-consuming fire and, ultimately, new urban expansions in the area accelerated and even destroyed the once colourful legacy of the farm. In time the property was extensively vandalised and ultimately little was left of Korsten&apos;s commercial legacy. During the twentieth century renewed efforts to protect and even to redevelop the historic property came to almost naught. Today only the foundations of the once admired homestead are left to remind the visitor of a prosperous time gone by. This article seeks to reconstruct the rise en fall of Cradock Place by analysing and integrating available literature on the farm. The fact that the once prosperous Cradock Place is completely unknown today, illustrates how failure to conserve eventually contributes to the total loss of valuable cultural and historical heritage.
Algoabaai was van die vroegste tye bekend vir die natuurlike soutpanne in die omgewing wat &apos;n uiters belangrike rol gespeel het in die ontwikkeling van die streek. In 1812 het die Nederlandse entrepreneur, Frederick Korsten, die eienaar van die plaas Cradock Place in Algoabaai (vandag Port Elizabeth) geword. Oorspronklik bekend as Papenkuilsfontein, sou die plaas gedurende die negentiende eeu die kommersiële en ekonomiese toekoms van die streek dramaties verander. Benewens die kommersiële belang van Cradock Place, het die plaas mettertyd ook die sosiale bymekaarkomplek gevorm vir gesiene besoekers aan Algoabaai. Gereelde gaste op Cradock Place het Kaapse goewerneurs, Franse wetenskaplikes, &apos;n Zoeloe afvaardiging van Shaka, asook die alombekende reisiger-kunstenaar, Thomas Baines, ingesluit.
Ongelukkig is hierdie suksesvolle onderneming geteister deur teenspoed en hartseer: die ondergang van Cradock Place het begin met &apos;n verwoestende vloed, gevolg deur &apos;n allesverterende brand en ten einde laaste het nuwe stedelike uitbreidings in die area, die agteruitgang en selfs vernietiging van die eens kleurvolle nalatenskap van die plaas versnel. Mettertyd is die eiendom heeltemal geplunder en uiteindelik het ook weinig van Korsten se kommersiële nalatenskap behoue gebly. Gedurende die twintigste eeu het pogings om die historiese eiendom te beskerm en selfs tot sy voormalige glorie te herstel, ook op bykans niks uitgeloop. Vandag herinner slegs die fondasies van die eens bewonderenswaardige hoofopstal nog die besoeker aan die voorspoed van &apos;n vervloë tydperk. Hierdie artikel poog om die ontstaan en verval van Cradock Place te rekonstrueer deur beskikbare literatuur omtrent die plaas te analiseer en te integreer. Dat die eens welvarende Cradock Place vandag in algehele vergetelheid verval het, illustreer hoe bewaringsgeleenthede wat nie benut word nie, kan bydra tot die algehele verlies van waardevolle kultuur-historiese erfenis.
The Black Tie Ensemble&apos;s contribution to opera in South Africa
Antoinette Olivier and
South African Journal of Cultural History 29, pp 26 –42 (2015)
Toe by die Staatsteater in Pretoria in 1997 opgehou bestaan het is om &apos;n tuiste aan &apos;n permanente operamaatskappy te bied, het &apos;n behoefte ontwikkel om &apos;n program te ontwikkel om talentvolle jong sangers uit diverse kulturele agtergronde op te lei en hulle bloot te stel aan uitvoerings op &apos;n professionele operaverhoog in Suid-Afrika en in die buiteland. Vanaf 1999 tot 2011 het die Black Tie Ensemble so &apos;n program voorsien - &apos;n program wat nie alleen die opleiding van voornemende sangers tot gevolg gehad het nie, maar ook die viering van kulturele diversiteit en die bevordering van &apos;n genre wat mense &apos;n medium bied waardeur menslike ervaring en identiteit uitgedruk kan word. Die doel van hierdie artikel is om die bydrae te verken wat die Black Tie Ensemble tot opera in Suid-Afrika gemaak het, deur die geskiedenis van hierdie inisiatief te ondersoek vir die tydperk van twaalf jaar waartydens dit uitsluitlik as operageselskap gefunksioneer het. Die navorsing volg &apos;n kwalitatiewe navorsingsontwerp. &apos;n Enkele, historiese gevallestudie word gedoen teen &apos;n interpretivistiese filosofiese perspektief. Data is ingesamel deur die beperkte beskikbare literatuur te ondersoek en deur onderhoude te voer met prominente rolspelers in die Black Tie Ensemble, sowel as &apos;n oorsig van artikels uit koerante en tydskrifte. Spesifieke temas het gekristalliseer namate die geselekteerde informante hul ervarings en persepsies met die onderhoudvoerder gedeel het. Hierdie temas is soortgelyk aan dié wat voortgevloei het uit die navorsing wat oor die gevallerekords (koerant- en tydskrifartikels) gedoen is. &apos;n Organisering van die data van die onderhoude en gevallerekords volgens temas toon duidelik wat die impak van die Black Tie Ensemble se optredes en opleidingsgeleenthede was, en dit toon hoe hierdie ensemble gedurende die twaalf jaar van sy unieke bestaan gefloreer het. Die temas het ook aangedui dat die ontwikkeling van sangers en borgskap van die kunste aansienlik bygedra het tot die sukses van hierdie verskynsel. Voorts het uitreikprogramme wat verband hou met die ensemble, die genre aan die breër gemeenskap bekendgestel.
Antropomorfisme by diere in die Afrikaanse volkslied : &apos;n analise van "Apie se bruilof"
South African Journal of Cultural History 29, pp 43 –64 (2015)
Die skaarste aan tradisionele Afrikaanse volksballades maak dit uit &apos;n volkskundige, kultuurhistoriese en akademiese oogpunt van belang dat dié wat wel opgeteken is, deeglik ondersoek en geanaliseer word. Die lied "Apie se bruilof", of, soos oorspronklik deur Melt Brink geskep, "Die bruilof van Miss Aap", bied baie stof vir analise, omdat dit die interessante tegniek van antropomorfisme gebruik. Dit is &apos;n tegniek wat uiters skaars is in Afrikaanse ballades, hoewel volop in kinderryme en -liedjies, sowel as in volksverhale. Die menslike rolle wat in die ballade aan diere toegeken word, is in hierdie ondersoek ontleed deur onder meer te probeer vasstel of daar spesifieke redes vir die spesifieke rolle is. Die ander twee elemente in die lied wat ondersoek word, is die samestelling van die refrein, wat spesifiek na die dansparty verwys, en die addisionele element van "nuttige resepte" wat in die ballade ingebring word deur middel van die spyskaart van die bruilofsfees. Die abstrakte "bestanddele&apos; van die resepte is van diere-herkoms, wat dit laat inskakel by die gebruik van antropomorfisme, en die aanbied van ander diere en insekte op die spyskaart.
Animal anthropomorphism in the Afrikaans folk song: an analysis of "Die Apie se bruilof" [The monkey&apos;s wedding]
From a folkloristic, cultural historical and academic perspective it is important to analyse the existing traditional Afrikaans folk ballads, because of the scarcity thereof. The song "Apie se bruilof" (The monkey&apos;s wedding), or, as titled originally by the author Melt Brink, "Die bruilof van Miss Aap" (The wedding of Miss Monkey), lends itself to thorough analysis, because of the technique of anthropomorphism that is applied - a technique very rare in Afrikaans ballads, though abundant in children&apos;s songs and rhymes, as well as in folk tales. In this ballad the human roles allocated to animals will be analysed by trying to establish, amongst other things, whether there are specific reasons for specific roles. The two other elements in the ballad that are investigated are the chorus, referring to the dance at the wedding, and the additional element of "useful recipes", brought into the ballad by the menu of the wedding dinner. The abstract "ingredients" of the recipes are of animal origin, which connects them to the use of anthropomorphism and the appearance of other animals and insects on the menu.
Alleged mass graves and burial sites outside a formal cemetery at the Orange River concentration camp, South Africa
Willem. C. Nienaber,
Maryna Steyn and
South African Journal of Cultural History 29, pp 65 –77 (2015)
Die oprigting en groeipyne van die nuwe Bloemfonteinse mark (1925) op Baumannplein
Hannes Haasbroek and
South African Journal of Cultural History 29, pp 78 –99 (2015)
Na die hewige debat oor die oprigting van &apos;n nuwe markgebou vir Bloemfontein is daar in 1922 uiteindelik besluit om dit op Baumannplein te bou. Tot in dié stadium was die mark vir dekades op Markplein in die hart van die stad gevestig. Die studie bekyk die oprigting van die nuwe markgebou in 1925, insluitend die aandeel van die argitekte, asook die probleme en groeipyne gedurende die eerste paar jare, waaronder onbevredigende marktye, kwade gevoelens tussen swart en wit inwoners oor die gebruik van die mark en die gebruik van die gebou vir ander doeleindes. Aandag word ook gegee aan die omstrede kwessie rakende die oprig van die dak, wat eens die munisipale swembad bedek het, oor die opelug-gedeelte van die mark. Ten slotte word die omstandighede rondom die gebou vandag in oënskou geneem nadat dit in die 1980&apos;s as &apos;n mark ontruim en in &apos;n soort winkelsentrum omskep is wat nie die mas kon opkom nie.
The establishment and growing pains of the new market building (1925) for Bloemfontein on Baumann Square
After the fierce debate concerning the establishment of a new market building for Bloemfontein it was at last decided in 1922 to build a new market on Baumann Square. Up to this time, the market had for decades been situated on Market Square in the heart of the city. This study discusses the actual establishment of the new market building in 1925, including the part played by the architects as well as problems and growing pains during the first few years of its existence, such as market times, ill-feelings between black and white residents concerning the use of the market, and the use of the building for other purposes. Attention is also given to the controversial matter of the construction of a roof, previously part of the municipal swimming bath, over the open air part of the market building. In conclusion the position of the building today is described since the building became disused as a market in the 1980&apos;s and wassubsequently transformed into a kind of shopping mall.
South African Journal of Cultural History 29, pp 100 –118 (2015)
The results of official government decisions made in Limpopo Province, Warrior Kings Monuments inevitably took two dominant forms: the statue of a king sitting and that of another king standing there brandishing a weapon as if ready for war. The emergence of these forms of memorials suggest the extent to which the responsible officials with the power to shape commemorative plans reached agreement about how to look back at the wars of resistance. This kind of patterning also provides consistency regarding the interpretation of the designs in line with the instructions to the sculptors by those government officials involved.
Monumentbeelde van die Krygerkonings van Limpopo - &apos;n Besinning oor die ontwerpe
Gedenkbeelde van krygerkonings het volgens ampsbesluite van die Limpopo-regering twee onvermydelike vorms aangeneem: eerstens die sittende figuur, en tweedens die staande figuur, gewapen asof oorlogsgereed. Die opwagting van gedenktekens van dié aard gee &apos;n aanduiding van die mate waarin die amptenare wat daartoe gemagtig is om gedenkprogramme te bepaal hul gesamentlike stempel geplaas het op waarneming van die oorloë wat teen oorheersing gevoer is. Hierdie rigtinggewende optrede dien dan ook as konsekwente rigsnoer by die vertolking van voorkoms (dit wil sê uitbeelding) volgens opdragte wat die betrokke regeringsamptenare uitgereik het.
Our land, our life, our future: Black South African challenges to territorial segregation, 1913-1948, Harvey M. Feinberg : book review
South African Journal of Cultural History 29, pp 119 –121 (2015)
Since the pre-election campaigns of the 1990s, generalizations, assumptions and myths on African access to land and ownership of land are important issues in the South African political arena. However, access to and ownership of land are not resent issues, but date back to the late 19th and early 20th century. The Natives Land Act (Act No. 27 of 1913) not only paved the way for the rise in Black South African nationalism, but also stressed the fact that land has a political meaning that appears out of proportion to the role of land in the South African economy.
Die Dorslandtrek, 1874-1881, Nicol Stassen : boekbespreking
South African Journal of Cultural History 29, pp 121 –123 (2015)
Dr. FJN (Nicol) Stassen is &apos;n bekende historikus en &apos;n deurwinterde uitgewer wat in die wêreld van die Suid-Afrikaanse boek, sy spore verdien het. Daarom verwag &apos;n leser heelwat van &apos;n boek waarvan hy die outeur is. In geen opsig word die ywerige leser geleurgesteld in hierdie lywige werk nie. Dit vertel die uniek asemrowende swerftog in byna Bybelse getalle en proporsies. Ongeveer 700 Afrikaanssprekendes het oor &apos;n tydperk van omtrent sewe jaar deur die warm en droë landstreke van noordwes Transvaal getrek, deur die huidige Botswana en Namibië om uiteindelik in die omgewing rondom Humpata in Angola te vestig. Die boek lewer daarnaas waardevolle bydraes ten opsigte van genealogie, kultuurhistoriese bestaanswyses soos jag, handeldryf, vervoer, eetgewoontes, die kerklike- en burgelike lewe en kontak met verskeie volkere en tale.
South African Journal of Cultural History 29, pp 124 –127 (2015)
It is extremely satisfying to see how contemporary historians are still rewriting South Africa&apos;s history through a variety of perspectives. Yet, this book reminds me of the "life changing" question my archaeology lecturer issued to his first-year class in 2006. He asked: "Who owns the past?" and yet, to this very day, I cannot answer that question. The "Suid-Afrikaanse Akademie vir Wetenskap en Kuns" (henceforth the Academy) launched a laudable effort, under the auspices of Professor Fransjohan Pretorius (retired Professor of History at the University of Pretoria), to deliver several accounts about South Africa&apos;s past and therefore try and showcase our shared ownership of the country&apos;s history. The Academy approached highly-skilled and knowledgeable researchers and writers within its own membership to write this book. In addition to the social scientists within their own ranks, historians who were not part of the Academy were also requested to contribute, so that the expected rigorous scholarship could be obtained. The book starts with a chapter from the sharp analytical mind of Prof Andrie Meyer about the geological, geomorphic, paleo-anthropological and archaeological facts about South Africa, Africa and also the entire Universe. His work is followed with chapters explaining the pre-colonial, colonial and modern history of the Republic of South Africa. Chapters by experienced and professional historians such as Profs Japie Brits (retired Professor of History from UNISA), Kobus Du Pisani (Professor of History at the Potchefstroom campus of the North-West Province), Grietjie Verhoef (Professor of Accountancy and Economic history at the University of Johannesburg) and journalists such as Jan-Jan Joubert and Dr Leopold Scholtz, just to name a few, gives this publication a large variety of different views and arguments to engage with, especially regarding our present day obstacles and challenges.
Old Cape Furniture: studies in styles, Matilda Burden : book review
South African Journal of Cultural History 29, pp 128 –129 (2015)
This book makes an important contribution to South African furniture history from a culture historical viewpoint. The author based her investigation not only on the original colonial collection in Groote Schuur, a collection compiled by the architect sir Herbert Baker for his friend Cecil John Rhodes more than 100 years ago, but also on museum and private personal collections to illustrate the pioneer- and rural furniture made in the Cape. She made a notable contribution to the history of Cape furniture firstly by investigating original archival sources, secondly by using old journals and paintings, and thirdly by dating the furniture chronologically according to style historical features, a viewpoint previously neglected or ignored by other historians.
Eden&apos;s Exiles, Jan Breytenbach : boekbespreking
South African Journal of Cultural History 29, pp 129 –131 (2015)
Die Eden waarna die titel van die boek verwys is die Cuando-Cubangostreek in suidelike Angola en die westelike deel van die Caprivi in die huidige Namibië. Die tydperk wat gedek word is ongeveer 1966 tot 1988, waartydens die sogenaamde grensoorlog of bosoorlog in Angola en Suid-Wes Afrika (SWA) plaasgevind het. In die skrywer, kolonel Jan Breytenbach, se eie woorde is dit die verhaal oor twee onversoenbare konsepte naamlik oorlog en natuurbewaring.
Hoogty. Die opbloei van &apos;n koloniale kultuur aan die Kaap, 1751-1779 (Kolonie aan die Kaap-reeks, nommer 7), Karel Schoeman : boekbespreking
South African Journal of Cultural History 29, pp 131 –133 (2015)
Met Hoogty. Die opbloei van &apos;n koloniale kultuur aan die Kaap, 1751-1779, doen Karel Schoeman sy reputasie as ons tyd se die voorste kenner van die Kaapse kultuurgeskiedenis gestand. Dit is die sewende boek in sy reeks, Kolonie aan die Kaap, wat oor die VOC-tydperk aan die Kaap die Goeie Hoop handel. Hoogty fokus in die besonder op die tyd toe Rijk Tulbagh goewerneur van die Kaap was.
Storm over the Transvaal, TV Bulpin : book review
South African Journal of Cultural History 29, pp 134 –135 (2015)
Storm over the Transvaal is one of six books written by the author T.V. Bulpin and reprinted by Protea Book House. Bulpins&apos; books are well-known and provide a good overview of historical events; in this case the years between 1884 and 1900 in the Transvaal Republic (ZAR). The book tells the dramatic story of the Transvaal during these turbulent years and although the facts may not always be exact, a very good overview of events is given, especially for someone who needs a quick introduction to the history of the Transvaal.
Forged in Battle, Jan Breytenbach : boekbespreking
South African Journal of Cultural History 29, pp 136 –137 (2015)
Breytenbach gee &apos;n kort uiteensetting van die situasie in Angola met die val van die Portugese regering in 1975 en optredes deur die MPLA (met die militêre vleuel FAPLA), UNITA, en die FNLA. Die boek handel oor die ontstaan van 32 Bataljon tydens Operasie Savannah in Angola. Die bataljon, aanvanklik bekend as Bravo Groep, het bestaan uit wit offisiere en onder-offisiere van die SAW en swart troepe van die Chipenda faksie van FNLA. Die groep swak opgeleide troepe met ewe swak disipline, word gesmee om uitendelik erken te word as die beste gevegstroepe in die Suid-Afrikaanse Leër. Met onttrekking van die SAW uit Angola in 1976, was daar wedersydse respek tussen die wit bevelvoerder en sy swart troepe.