South African Journal of Cultural History - Volume 29, Issue 1, June 2015
Volume 29, Issue 1, June 2015
Source: South African Journal of Cultural History 29, pp 1 –7 (2015)
It was 31 years ago (in January 1984) that the first volume of the South African Society for Cultural History was produced. The far-sighted editor, Dr (subsequently Prof.) OJO (Cobus) Ferreira and his co-editor, Dr JC Pretorius, started the initiative. Two language advisors, Mr DPM Botes and Mrs H Dreyer, rendered their passionate and frequent support. Without explicitly stating the original rationale and vision of the Journal, it was widely accepted that the South African Journal of Cultural History (SAJCH) should and must only accommodate cultural articles related to a heritage and legacy of tangible artefacts and the intangible heritage of a group or society. Prof. Ferreira remembers that articles were easily rejected if they did not conform to this narrow standard as vision. The scientific practice of culture as a science was also endorsed and enhanced since the founding of the Journal as part of the South African Society for Cultural History on 30 September 1982. The 1984 editorial then stated that : "Cultural history is a comprehensive discipline and the fields of interest of the practitioners of this science are naturally diverse. The editorial committee will endeavour to do justice to the different cultural components, yet will at the same time emphasise the integrated nature of the relationships between these components." Decades later, the extended view of culture and cultural history is noticeable in publications of the SAJCH. The vast variety originating from both Afrikaans and English authors has thus far provided inclusivity and richness with regard to the history of the journal; inclusivity and wealth that should indeed be explored with a view to furthering the inclusion and accommodation of the proud heritage of all cultures in South Africa. The editorial board of the SAJCH also wants to acknowledge the valued contribution of Estelle Pretorius. For eight years Estelle served as editor until 2014, and she accomplished this mammoth task very efficiently and with exceptional cheerfulness.
Dit was 31 jaar gelede (in Januarie 1984) dat die eerste volume van die Suid-Afrikaanse Vereniging vir Kultuurgeskiedenis gepubliseer is. Die versiende redakteur, dr. (later prof.) OJO (Cobus) Ferreira en sy mederedakteur, dr. JC Pretorius, was vir hierdie inisiatief verantwoordelik. Twee taaladviseurs, mnr. DPM Botes en mev. H Dreyer het die eerste redakteurs sorgsaam bygestaan.Alhoewel &apos;n konkrete rasionaal en visie vir publikasie in die tydskrif gedurende die beginjare nie so uitgestippel was nie, is daar algemeen aanvaar dat die Suid-Afrikaanse Tydskrif vir Kultuurgeskiedenis (SATKG) slegs kultureelgerigte navorsingsbydraes behoort te aanvaar en dan wel dié wat met &apos;n fisiese erfenis en/of &apos;n nalatenskap van tasbare en nie-tasbare artefakte van &apos;n groep of van die breër gemeenskap verband hou. So onthou prof. Ferreira dat artikels eertyds maklik afgekeur is indien dit nie aan die destydse beperkte begrip van kultuur voldoen het nie. Die wetenskaplike praktyk van kultuur as &apos;n wetenskap is ook onderskryf en versterk sedert die vestiging van die tydskrif as deel van die Suid-Afrikaanse Vereniging vir Kultuurgeskiedenis wat op 30 September 1982 begin is. Die eerste 1984-redaksie het verklaar dat : "Kultuurgeskiedenis &apos;n wydvertakte dissipline [is] en [dat] die belangstellingsvelde van die beoefenaars van hierdie wetenskap natuurlik wyd-uiteenlopend [is]. Die redaksie sal egter steeds daarna streef om die onderskeie kultuurkomponente tot hulle reg te laat kom, maar om ook klem te lê op die geïntegreerde verbandlegging tussen hierdie komponente." Dekades later val dit steeds op dat hierdie uitgebreide siening van kultuur en kulturele geskiedenis steeds in publikasies van die SATKG geag word. Die redaksie van die SATKG kan ook nie nalaat om die gewaardeerde bydrae van Estelle Pretorius te erken nie. Estelle het vir agt jaar (tot 2014) as redakteur gedien en sy het hierdie groot taak besonder effektief en met uitsonderlike blymoedigheid deurgesien. Die wye verskeidenheid artikels vanuit talle dissiplines, asook ruim bydraes in beide Afrikaans en Engels, het tot dusver inklusiwiteit en diepte in die tydskrif verseker. Vir die toekoms behoort die trotse erfenis van alle kulture in Suid-Afrika op &apos;n meer konstruktiewe wyse aangemoedig en geakkommodeer te word.
Dealing with statues, monuments and memorials in South Africa - a heritage based response to current controversies
Source: South African Journal of Cultural History 29, pp 7 –21 (2015)
The Roman officer Marcellis says to his Greek slave Demetrius :"I say, damn all men who make war on monuments! The present may belong to the Roman Empire by force of conquest; but, by all gods, the past does not! A nation is surely of contemptible and cowardly mind that goes to battle against another nation&apos;s history! It did not take much courage to come up here and hack the ear off old Pericles! I dare say the unwashed, drunken vandal who nicked his broad sword on the nose of Hippocrates could neither read nor write! There is not much dignity left in a nation that has no respect for the words and works of geniuses who gave the world whatever wisdom and beauty it owns!"
Die hantering van standbeelde in Suid-Afrika: &apos;n Erfenisgebaseerde antwoord op huidige kontroversies
Die onlangse kontroversie rakende die verskuiwing van die standbeeld van Cecil John Rhodes van die kampus van die Universiteit van Kaapstad en die daaropvolgende openbare debat oor die verwydering van standbeelde beklemtoon die nodigheid vir &apos;n erfenisgebaseerde oplossing.Gedurende die debat was dit duidelik dat daar groot onkunde omtrent die Wet op Nasionale Erfenishulpbronne en oor erfenis en geskiedenis in die algemeen bestaan. Die doel van die artikel is om &apos;n bydrae te lewer tot die hantering van die moontlike verskuiwing van standbeelde, maar met beklemtoning van erfenis en wetgewende aspekte. Die Wet, wat daarop gemik is om alle plekke van kulturele belang te beskerm, word kortliks bespreek. Die Wet spreek monumente en gedenktekens, wat standbeelde insluit, spesifiek aan en verwys ook na die proses wat gevolg moet word in die hantering van erfenishulpbronne. Hierdie proses word in detail bespreek. Die klem word geplaas op die begrip &apos;kulturele belang&apos; wat &apos;n kernbegrip in erfenisbestuur is. Hoewel die gebeure kan lei tot die moontlike transformasie van die Suid-Afrikaanse erfenis, is dit gebeure van in die afsienbare toekoms aandag kan geniet. Daar word tot die gevolgtrekking gekom dat standbeelde, monumente en gedenktekens deur wetgewing beskerm word en dat die moontlike verskuiwing daarvan versigtig en met inagneming van die wetgewende proses, benader moet word.
Author F.J. (Fred) Van Staden
Source: South African Journal of Cultural History 29, pp 22 –57 (2015)
This paper comprises a review of the legacies of noted gold- and silversmiths, who opened their studios in South Africa from 1960 to 1980.2 Through literature searches, interviews, relevant e-mail exchanges and internet searches, précis with pertinent information were composed. Information on 14 local gold - and silversmith studios are chronologically presented. Brief notes on a further 8 goldsmiths are also provided. Where possible, descriptions of maker&apos;s marks and the years they were in use are provided.
Suid Afrikaanse edelmetaalontwerp tussen 1960 en 1980
Hierdie artikel beslaan &apos;n oorsig van die nalatenskap van bekende goud - en silwersmede wat hulle ateljees tussen 1960 en 1980 in Suid-Afrika geopen het.1 Gebaseer op &apos;n literatuursoeke, onderhoude, tersaaklike e-pos skrywes en internetsoektogte, is opsommings met tersaaklike inligting saamgestel. Inligting oor 14 plaaslike goud - en silwersmid ateljees word kronologies voorgelê. Kort notas oor &apos;n verdere 8 goudsmede word ook verskaf. Waar moontlik, is beskrywings van vervaardigerstempels en die jare wat dit in gebruik was ook verskaf.
Italian grand opera at the Cape of Good Hope : the 1875 and 1876 Cagli seasons
Source: South African Journal of Cultural History 29, pp 58 –73 (2015)
The history of Italian grand opera (opera seria) remains a woefully underexplored topic in the cultural historiography of South Africa. The present article is intended to fill one of the many gaps by exploring the first two years of an ambitious undertaking by an Italian impresario and entrepreneur in Cape Town, Augusto Cagli, to arrange operatic seasons in the Mother City. It is demonstrated that initially the performances of works by Verdi, Donizetti, Rossini, and other renowned composers drew large audiences and received enthusiastic reviews from local critics. Before the end of the first season, however, attendance dwindled, and this lack of consistent public support continued in 1876. Adding ballet to the performances proved to be only a temporary nostrum. It is suggested, in accordance with contemporary journalistic commentary, that Cape Town at that time lacked a sufficiently large base of potential theatre-goers with sufficient musical sophistication and specific interest to sustain lengthy seasons of serious opera.
Italiaanse "Grand Opera" aan die Kaap die Goeie Hoop : Die 1875 en 1876 Cagli Seisoene
Die geskiedenis van die Italiaanse "Grand opera" (opera seria) is steeds &apos;n besonder onontginde onderwerp in die kulturele historiografie van Suid-Afrika. Die artikel is geskryf met die doel om een van etlike leemtes te vul, naamlik &apos;n kritiese terugkyk na die eerste twee jaar van &apos;n ambisieuse onderneming deur &apos;n Italiaanse impresario en entrepreneur van Kaapstad, byname Augusto Cagli. Sy doelwit was om &apos;n "Grand opera"-seisoen in die Moederstad te reël. Die studie het uitgewys dat aanvanklike vertonings, geskoei op die werke van Verdi, Donizetti, Rossini en ander bekende komponiste, groot gehore getrek het en entoesiastiese resensies tot gevolg gehad het. Voor die afloop van die eerste seisoen het bywoning begin afgeneem. Die gebrek aan konsekwente openbare steun is ook gedurende die 1876-seisoen waargeneem. Die byvoeging van ballet as deel van die vertonings het slegs as &apos;n tydelike trekpleister gedien. Dit blyk dat Kaapstad in die jare onder bespreking &apos;n gebrek gehad het aan teatergangers met voldoende musikale gesofistikeerdheid. Die besonder lang tye van ernstige opera was dus moeilik om suksesvol te onderhou. Hierdie insigte is ook in harmonie met die eertydse joernalistieke kommentaar.
The &apos;Cape Malay&apos; culture as represented in the South end Museum and the Dr. Nortier&apos;s Rooibos museum
Source: South African Journal of Cultural History 29, pp 74 –97 (2015)
The Muslim community has made a rich input towards religion and culture in South Africa over the past three centuries. At the Cape it has treasured and preserved artifacts and items that have been the central ingredients of its evolving religio-cultural identity. As a consequence of its relatively sizeable heritage, the Cape Malay heritage&apos;s representatives in the form of religious and cultural bodies have, to a large extent, set aside artifacts and preserved them in the local museums; some of these artifacts form part of permanent exhibitions, whilst smaller collections appear only as temporary travelling exhibits. Although a part of this essay intends to focus on selected &apos;Cape Malay&apos; artifacts and items that have been transferred and exhibited on a permanent basis at Dr. Nortier&apos;s Rooibos Museum in Shah Alam (Malaysia), it also intends to bring into purview the small collection of artifacts that were temporarily exhibited in Port Elizabeth&apos;s South End Museum between April and October 2008. Apart from describing the artifacts that have been and are on display in these two museums, the essay places these exhibitions within a larger context by connecting it to developments in South Africa regarding museum transformation and also questioning relevant policies associated with the use and preservation of &apos;local&apos; heritage abroad.
Die "Kaapse Maleier"-kultuur soos verteenwoordig in die South End Museum en die Dr Nortier-Rooibos Museum
Die kultuur- en godsdiensbydrae van die Moslem-gemeenskap oor drie eeue in Suid-Afrika is &apos;n besonder noemenswaardige erfenis. Plaaslike museums in die Kaap huisves veral van die artefakte as deel van hulle permanente uitstallings, terwyl kleiner versamelings soms as tydelike uitstallings uitgestal word. In hierdie artikel word veral klem gelê op &apos;n paar geselekteerde &apos;Kaapse Maleier&apos; artefakte en ander items wat op &apos;n permanente basis uitgestal word by die Dr Nortier Rooibos Museum in Shah Alam (Maleisië). Die kleiner versameling artefakte wat op &apos;n tydelik basis gedurende April en Oktober 2008 uitgestal was by die South End Museum in Port Elizabeth word ook toegelig. Afgesien van die beskrywing van die artefakte in hierdie artikel, is die doel ook die plasing van hierdie uitstallings binne &apos;n groter internasionale konteks rakende ontwikkeling, en ten opsigte van die status van museumtransformasie in Suid-Afrika.
The Cape post office date stamp - patterns of usage 1853-1910
Author Franco Frescura
Source: South African Journal of Cultural History 29, pp 98 –119 (2015)
Field research towards this project was conducted between 1979 and 2002, much of which time was spent in the recording of individual items of mail posted at the Cape between 1853 and 1910. This represents an effort to replace, from root sources, the information that would have been contained in the Cape Colonial Archive, but which was reportedly destroyed soon after 1910. This research has been based upon the recognition that an item of mail represents a text, whose postal markings can be read and subjected to inter-contextual interpretations. Although the readings supplied by to supply valuable clues as to the day-to-day running of the colonial postal system. This paper has used these readings as a means of identifying the historical sequences and patterns of usage that postal cancellers and office date stamps were subjected to over a period of 57 years, from 1853 to 1910. In the process it has set out to answer two key questions : what policies were followed by the Cape Post Office in the ordering of postal instruments from overseas suppliers; and what procedures were put in place,once delivered, for their distribution to country postal agencies. A third question, whose answer was already suspected in general terms, but which had never been substantiated by historical evidence, related to the sequence that was followed by the Cape GPO in the design and distribution of its canceller types.
Afrikaner culture in Southern Rhodesia during 1938 - 1952 : an exposition of the contribution of the Afrikaner folk festivals
Author P.A.H. Labuschagne
Source: South African Journal of Cultural History 29, pp 120 –143 (2015)
the Union of South Africa and Southern Rhodesia (present day Zimbabwe). The link was especially noticeable during the window period (1930s-1950s). The ties between the two countries were enhanced by Afrikaner folk festivals in South Africa from 1938 to 1952. This galvanised Afrikaner culture awareness across the border (Union of South Africa and Southern Rhodesia). The three folk festivals of that period, the 1938 symbolic re-enactment of the Great Trek, the 1949 inauguration of the Voortrekker Monument, and the 1952 Van Riebeeck festival, played a critical role in enhancing a specific and distinct Afrikaner culture and identity, between these two neighbouring countries. During the 1960s, the link between these two countries gradually levelled off when Southern Rhodesia declared a unilateral declaration of independence in 1965 and was largely terminated after Zimbabwe gained independence in 1980. The purpose of this article is to discuss the link between the Afrikaners through the folk festivals and to indicate that the spread of Afrikaner cultural awareness was not limited to geographical boundaries.
Afrikaner kultuur in Suid-Rhodesië gedurende 1938-1952 : &apos;n uiteensetting van die bydrae van Afrikaner volksfeeste
&apos;n Sterk politieke en kulturele band het vir dekades tussen die Afrikaner gemeenskappe in die Unie van Suid-Afrika en Suid-Rhodesië (huidige Zimbabwe) bestaan. Die band was veral sterk gedurende die venster tydperk 1930 tot 1950. Die band tussen die twee gebiede is veral deur die Afrikaner volksfeeste versterk wat vanaf 1838 tot 1952 plaasgevind het. Die volksfeeste het kultureel die twee gebiede, die Unie van Suid-Afrika en Suid-Rhodesië, oor grense heen saamgebind. Die drie volksfeeste wat gedurende die tydperk plaasgevind het, was die 1938 simboliese ossewa-trek, die 1949 inwyding van die Voortrekker Monument en die 1952 Van Riebeeck fees. Die feeste het &apos;n groot rol gespeel om &apos;n spesifieke Afrikaner kultuur tussen die Unie van Suid-Afrika en Suid-Rhodesië te vorm. Gedurende die sestigerjare het die kulturele band tussen die twee gebiede afgekoel nadat Rhodesië in 1965 eensydig onafhanklik geword het. Die verbintenis is later in 1980 verbreek nadat Rhodesië as Zimbabwe sy onafhanklikheid verkry het. Die doel van die artikel is om die band tussen die Afrikaners van die twee gebiede te bespreek en veral die rol wat die volksfeeste gespeel het om kultuur oor grense te versterk.
Jacques Vissige see aandeel in enkele protestantse byeenkomste en opstootjies in Suidwes-Vlaandere omstreeks 1565-1568
Source: South African Journal of Cultural History 29, pp 144 –158 (2015)
The contribution of Jacques Visaige to Protestant gatherings and riots in Southwest-Flanders between 1565-1568
Through research in the archives of churches of Antwerp on the Visagie family&apos;s European background, it can be concluded that Pieter Visagie, the progenitor of the South African Visagie family, lived in Antwerp with a family, presumably his mother and father. Pieter&apos;s first son, who was born in the Cape, was named after the man whom Pieter stayed with in Antwerp. This connection strengthens the assumption that the man in Antwerp was Pieter&apos;s father. The pursuit to establish Pieter&apos;s birth-date and to further trace the origin of the family, guides the author&apos;s research to records of churches in South West Flanders and North West France. The process of locating and identifying persons in Western European documents can be a laborious task. It is not uncommon for such research to lead to a dead end. This article also indicates the various spellings of the Visagie surname in Flanders, France and South Africa.
Met navorsing oor die Europese agtergrond van die Visagie-familie kon in die doopregisters van kerke in Antwerpen vasgestel word dat die latere Suid-Afrikaanse stamvader (Pieter) saam met &apos;n gesin Visagie daar gewoon het. Bewyse dat dit sy vader en moeder was by wie hy klaarblyklik gewoon het, kon nie opgespoor word nie. Sy eerste seun wat aan die Kaap gebore is, het egter dieselfde naam gekry as die man in Antwerpen wat vermoedelik sy vader (of dalk oom of broer?) was. Met pogings om die geboortedatum van Pieter vas te stel en terselfdertyd die verdere oorsprong van die Visagie-familie na te spoor, het die skrywer, ná verskeie aanduidings, sy navorsing toegespits op Suidwes-Vlaandere en Noordwes-Frankryk. &apos;n Breë gordel wat strek oor laasgenoemde streek was bekend as Vlaandere en selfs vandag is die gedeelte wat onder Frankryk val, nog bekend as Frans-Vlaandere. Die speurtog om identifisering van persone te onderneem in Wes-Europese dokumente is &apos;n tydrowende taak en blykbaar is dit algemeen dat &apos;n doodloopstraat bereik word. In hierdie artikel word ook &apos;n paar variasies aangedui hoe die van Visagie in Suid-Afrika en Vlaandere/Frankryk in dokumente gespel is.
Two contrasting early printed books of hours in the Grey collection of the national library in Cape Town
Source: South African Journal of Cultural History 29, pp 159 –176 (2015)
Two of the eight early printed Books of Hours in the Grey collection in the National Library in Cape Town are discussed in this article. They have never been studied or discussed before. A Book of Hours is an illustrated prayer book that contains in the first place the Office of the Virgin Mary. One of the books, Book 3b10, is extremely rare and is an early indication of the transition from the use of Latin to the use of the vernacular in the Roman Catholic church. The format of the book is most unusual : it consists mainly of rhymed French verse with the usual Latin text for a Book of Hours in the margins. The other book, Book 2a30, conforms to the usual layout and content of Books of Hours and was probably used as a primer to teach children to read. The two books are juxtaposed in this article to emphasise and explain the contrast and also to illustrate different formats of Books of Hours. Book 3b10 was printed in Paris in 1498 by Antoine Vérard, Book 2a30 was printed in 1509, also in Paris, by Jean Barbier. Both books are printed on vellum. Both books are decorated with metal or woodcuts. The cuts in Book 3b10 have been painted over by an artist, making it unique, although the edition must have consisted of a number of copies. The cuts in Book 2a30 are not painted over.
Twee kontrasterende vroeé gedrukte getyde boeke in die Grey Versameling van die Nasionale Biblioteek, Kaapstad
Twee van die agt vroeë gedrukte getydeboeke in die Grey versameling in die Nasionale Biblioteek in Kaapstad word in hierdie artikel bespreek. Hulle is nog nooit van te vore bestudeer of bespreek nie. &apos;n Getydeboek is &apos;n geïllustreerde gebedeboek wat in die eerste plek bestaan uit die erediens van die Maagd Maria. Een van die boeke, Boek 3b10, is uiters seldsaam en is &apos;n vroeë aanduiding van die beweging weg van die gebruik van Latyn na die gebruik van die volkstaal in die Rooms Katolieke kerk. Die boek het &apos;n baie ongewone formaat : dit bestaan hoofsaaklik uit berymde Franse verse met die gewone Latynse teks van getydeboeke in die kantlyne. Die ander boek, Boek 2a30, stem ooreen met die gewone uitleg en inhoud van getydeboeke en was waarskynlik gebruik as &apos;n ABC-boek om kinders te leer lees. Die twee boeke word naas mekaar gestel in hierdie artikel om die kontras te benadruk en te verduidelik en ook om die verskillende formate van getydeboeke te illustreer. Boek 3b10 is in 1498 deur Antoine Vérard in Parys gedruk; Boek 2a30 is in 1509 deur Jean Barbier gedruk, ook in Parys. Albei boeke is op vellum gedruk. Albei boeke is met hout- of metaalgravure versier. Die gravure in Boek 3b10 is deur &apos;n kunstenaar oorskilder, wat dit uniek maak, hoewel daar &apos;n aantal kopieë gedruk moes gewees het. Die gravure in Boek 2a30 is nie oorskilder nie.
Forged in battle, Jan Breytenbach : boekbesprekings
Author Alida Boshoff
Source: South African Journal of Cultural History 29, pp 177 –178 (2015)
Kolonel Jan Breytenbach, skrywer in eie reg, is die broer van die bekroonde skrywer en digter Breyten Breytenbach, oorlogskorrespondent en fotograaf Cloete Breytenbach, Sebastiaan en Rachel. Die gebou wat die Breytenbach Kultuursentrum in Wellington huisves, is in die vyftigerjare van die vorige eeu deur hul ouers as losieshuis bedryf. Nadat die huis aan die plaaslike munisipaliteit verkoop is het dit diens gedoen as daghospitaal, maar het later vervalle geraak. Na restourasie is die Breytenbach Kultuursentrum op 27 Februarie 2007 geopen.
&apos;Ons gaan &apos;n taal maak&apos; : Afrikaans sedert die Patriot-jare, J.C. Steyn : boekbespreking
Author O.J.O. (Cobus) Ferreira
Source: South African Journal of Cultural History 29, pp 179 –180 (2015)
J.C. (Jaap) Steyn, uitstaande student, joernalis en later dosent, is een van die voorste en veelsydigste Afrikaanse skrywers. Hy is digter: Die grammatika van liefhê (1975); kortverhaal- en novelleskrywer : Op pad na die grens (1976) en Dagboek van &apos;n verraaier (1978); biograaf : lewensbeskrywings van N.P. van Wyk Louw (1998), Piet Cillié (2002) en M.E.R. (2004); en, in &apos;n sekere sin, outobiograaf : Hoeke Boerseuns ons was (1991) en Sonkyker : Afrikaners in die verkeerde eeu (2008). Daarby moet nog sy talle artikels in koerante en vaktydskrifte gevoeg word. Akademiese erkenning het nie uitgebly nie en hy is onder meer bekroon met die Eugéne Maraisprys, die Stalsprys, die Louis Hiemstraprys vir Nie-fiksie, die C.J. Langenhovenprys vir Taalwetenskap en die N.P. van Wyk Louwmedalje. Die Suid-Afrikaanse Akademie vir Wetenskap en Kuns het pas in 2015 erelidmaatskap, die hoogste eer wat die Akademie aan iemand kan bewys, aan prof. Steyn toegeken.