en ceb en en en en en en en en en en en en en en en en en en en en en en de en sv af af af en en af af af af af af af af af af af af af af af af af nl nl nl af af af af sv af af af af af af af af af nl af af af af en af af fr af de af af af af af en af en en en en nl nl en af en af en nl af af af af af af af nl af nl nl af af nl af en en en en en en en en en en en eo en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en en pt de pt en en en en en en en en fr en en en en ru de en it en en en en en en fr en en en en en en en en en en tr en fr en ceb en en en
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FULL HOUSE – Opening Stellenbosch South African premiere at the Labia, Cape Town
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jim haynes – workers of the world unite and stop working!
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Sabelo Dludla on the South African “nation”
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Stephanus Muller – Die stem
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Om Die Stem as ’n kollektiewe herinnering te ondersoek, steun op hierdie metaforiese verstaan van musiek in die algemeen, en van ’n spesifieke werk in die besonder. Dit is nie ’n ondersoek wat veel te doen het met die geskiedenis van die lied nie. C.J. Langenhoven se vers is slegs die fondament van hierdie plek, M.L. de Villiers se melodie slegs die buitemure daarvan en Hubert du Plessis se amptelike orkestrasie die binneversiering. Die vraag na geheue en herinneringe en van hoe hierdie dinge hierdie teks betrek het, is by uitstek nie ’n vraag na die skryf van geskiedenis nie. Die verbeelding wat op soek is na geheue moet meer poëties te werk gaan.
Figuur 1: David Goldblatt-foto met die beskrywing “Die Heldeakker, The Heroes’ Acre: cemetery for White members of the security forces killed in ‘The Total Onslaught’ Ventersdorp, Transvaal, 1 November 1986”.
Die slotfrase van Die Stem word heel letterlik ‘triomferend’ (die karakteraanduiding in die musiek) gespan as sin-gewende banier oor hierdie afgekampte ruimte. Dit skenk definisie aan die ruimte van die militêre begraafplaas. Hoor die kyker dit? Die twee gestorwenes in die begraafplaas word opgedra deur die kontoer van die melodie: B-mol-A-G-B-mol-D-E-mol. Die gepunteerde ritmiese aanhef van die frase, gerig deur die tussendominante harmonie besweer twyfel, stu vorentoe, mik na die oplossing aan die einde van die frase. Die einde is gerusstellend as einde. Dit maak sin. Dit besorg ons tuis.
Goldblatt se foto dateer uit 1986. Dit is verskoonbaar om Die Stem in hierdie tyd te hoor as ’n militêre lied; die kontoere en ritmes en harmonieë daarvan as skanse teen die vyand, as onderskraging vir dié wat oor die uiteindelike oorwinning sou twyfel. Vir André P. Brink is Die Stem egter ook die lied van marteling in die sewentigerjare:
… telkens word die belhamel van die betogers gearresteer, gemartel en doodgemaak: dan ontstaan nuwe protes, en daaruit kom nuwe martelaars. So hou dit aan tot daar ’n doodse stilte toesak waaruit Die Stem begin groei terwyl ’n groepie Volkspelers in spierwit maskers oor die lyke van die martelaars begin dans.
Dit is ook hierdie ‘Stem’ wat aan die einde van J.M. Coetzee se Age of iron die nagmerrie-visie van die hel van ’n klankbaan voorsien. “I am afraid”, sê die sterwende mevrou Curran, “of going to hell and having to listen to Die stem (sic) for all eternity”. Die Stem wat die kis van Milla Redelinghuys haar graf in begelei aan die einde van Marlene van Niekerk se Agaat, ’n ander teneur. Wanneer die plaas Grootmoedersdrift in besit geneem word deur die bruin vrou, Agaat, gevorm deur die wit vrou wat haar liefgehad en verwerp het, is dit Die Stem wat op ’n dubbelsinnige manier verandering en voortsetting artikuleer:
Gaat wat die mense by die graf die derde versie van Die Stem laat sing: … by die klink van huw’liksklokkies, by die kluitklap op die kis … Thys se liggaamstaal! Die skouers militaristies agtertoe, oë strak na bo, ou Beatrice starend na die einder. Die werkers, mans en vrouens, het dit gesing soos ’n hallelujalied, oë omgedop. Woordvas tot en met. Trust Agaat. Sy sal nie sommer gou die nuwe lied invoer nie.
Maar hoe het historiese resepsie gelei tot ’n stelselmatig-groeiende fascistiese timbre wat uitvoerings en resepsies van Die Stem in die tagtigerjare gekenmerk het en ook in bogenoemde voorbeelde uit die letterkunde opgeroep word? Daar was immers ’n tyd toe Die Stem ’n bevrydingslied was vir Afrikaners, ’n alternatiewe teks vir kollektiewe musikale mobilisasie as God Save The Queen. Hierdie essay wil die enkele aangehaalde voorbeelde van fiksienarratief-gemedieërde herinneringe aan Die Stem probeer koppel aan historiese proses, soos dit verteenwoordig word in argiefdokumente van die FAK uit die vyftigerjare.
In 1952, vyf jaar voor Die Stem die enigste amptelike volkslied van Suid-Afrika sou word, loods die Afrikaanse Kultuurraad van Pretoria ’n inisiatief om “drie gesaghebbendes se mening oor die gepaste geleenthede, wanneer ’n Volkslied behoort gesing of gespeel te word, te verneem”. Uit Stellenbosch skryf dr. C.G.S. (Con) de Villiers:
Ek is van geaardheid en opvoeding uiters konserwatief, veral wat die heilige dinge van ons volk betref. En Die Stem het een daarvan geword. Ek het dit selfs bitter betreur dat Die Stem aan die end van die voetbalwedstryde in Engeland gesing en gespeel is … Daar is vir my net een leidraad vir die sing: besit die vergadering poids et majesté in die Calvynse kriterium? Dan kan Die Stem gesing word!
De Villiers se antwoord kan slegs ten dele aangehaal word. In die res van die brief spreek hy hom ook uit teen die sing van Die Stem by politieke vergaderings aangesien hy as lid van die Nasionale Party dit sal “betreur indien die Sappe Die Stem as visitekaartjie van die [Nasionale] Party aanskou”. Die verskriklikste vergryp teen Die Stem bestempel hy as “’n juffroutjie [wat] aan die klavier gaan sit en haar eie, apokriewe harmonie (?) by die wysie maak”.
In 1952 het Die Stem vir De Villiers dus reeds een van die ‘heilige dinge’ van die Afrikaner geword, ’n plek van aanbidding. Sy afkeure dui op moontlike kontaminerende invloede: sport, politiek en ‘juffroutjies’. Wat laasgenoemde betref is die gevaar vir besmetting gesetel in die harmonie en nie enige van die ander parameters nie. Histories (’n mens dink aan Jean-Jacques Rousseau, die Konsilie van Trent) kan hierdie vrees gekoppel word aan ’n filosofiese en ideologiese verbintenis aan die woord, waarvan die helderheid deur meer komplekse vertikale musikale bedrywighede vertroebel word. Meer hieroor later.
Vir De Villiers is Die Stem as heilige ruimte ’n ruimte van goeie smaak en hoër dinge. Sy gepubliseerde geskrifte is deurspek met hierdie politieke en gender-vooroordele wat uiting vind as pseudo-estetiese oordele. Mussolini se ondertekende portret wat in sy sitkamer uitgestal was gekoppel met sy Verdi verering, die invloed van Engelse ‘songs’ wat soos ’n slegte reuk aan sy verlede bly kleef het, die herinnering van “hartstogtelike, barbaarse Sigeunervolksdanse wat die jong Jood vir die besadigde, burgerlike Afrikanerhuisgesin voorgespeel het”; koördinate van hoe ’n mens De Villiers se kamp ‘poids et majesté’ kan rekonstrueer. Die Stem as soete inval.
Doktor H.C.E. Bosman, destydse sekretaris van die Suid-Afrikaanse Akademie vir Wetenskap en Kuns, skryf op 16 Junie 1952 dat Die Stem gesing kan word by “geleenthede waarin volksgevoel tot natuurlike uiting kom.” Dit sluit in “algemene Volksfeeste, Dingaansfeeste, Uniedag, Heldedag, Van Riebeeckdag, Parlementêre verrigtinge, funksies waarby die Staatshoof of regering betrokke is, funksies waarby die Provinsiale Administrasie of Stedelike Administrasie verbonde is”. Bosman dink nie dat Die Stem by groot politieke vergaderings ‘onvanpas’ is nie, en dink dat dit ook by “Kultuurbyeenkomste, Laertrekke, Volkspele, groot samekomste van die Jeug, Internasionale wedstryde of byeenkomste” gehoor kan word. Uitgesluit is “Bruilofte, Danspartye, Skemerpartye, Bioskope, Kampe, Toneelopvoerings, Konserte, Pieknieks”. Die rede wat hy hiervoor verskaf is dat dit ’n navolging sou wees van “die Engelse gebruik en dit is deels monargisties-tradisioneel, deels doelbewuste imperialistiese propaganda”. Die Stem is dus ’n anti-Britse ruimte, maar meer nog: dit beset ruimtes van die staat. In hierdie ontluikende diskoers is Die Stem as simbool nie meer ’n ruimte wat betrek word nie, dit is ’n ding met ’n plek.
Vir prof. A.N. Pelzer van die Universiteit van Pretoria is ’n Volkslied
… ’n verhewe uiting van die standhoudende aspirasies wat diep in die volksiel leef. Dit dui op die verlange dat volk en Staat sal voortbestaan en dit dien as ’n middel om die volk saam te snoer tot ’n hegte eenheid en hom also te sterk om die verhewe ideale wat vir volk en staat gekoester word, te verwesenlik. Dit styg uit bo die tydelike en dui op ewige en onverganklike waardes.
Die Stem is ’n metafisiese ruimte van aspirasie en idealisme. Daar kan slegs reg daaraan geskied word deur dit uit te voer by “byeenkomste waar die oogmerk van die byeenkoms nie tot homself beperk is nie maar die tendens inhou om waardes te wek wat ook vir die toekoms betekenis sal hê”, aldus Pelzer. Hy vrees ook dat Die Stem misbruik kan word, te wete deur Die Stem aan dieselfde “laagvloerse behandeling van die Engelse volkslied” te onderwerp. Die transendentale is nie ’n Engelse ruimte nie.
Die Afrikaanse Kultuurraad van Pretoria se intervensie oor hierdie belangrike saak het die FAK tot verdere ondersoek gedring. ’n Opinie is aangevra (en verkry) van die Suid-Afrikaanse Onderwysersunie (SAOU), wat die sing van die lied by skoolfunksies aanbeveel het “om by die jeug van ons land gesonde vaderlandsliefde in te skerp”. Na al hierdie beraadslaging word daar ’n besluit geneem tydens ’n vergadering van die Musiekkommissie van die FAK op 25 April 1953:
Die vergadering beveel by die FAK aan om dit onder die volk te propageer:
a) Dat ‘Die Stem’ alleen gesing word by geleenthede wat landsverteenwoordigende waarde het;
b) dat daarteen gewaak moet word dat ‘Die Stem’ nie in dieselfde gebruik as ‘The Queen’ beland nie;
c) dat waar ‘Die Stem’ wel gespeel word, dit in sy geheel en nie verbrokkel gedoen moet word nie;
d) dat by die afsluiting van byeenkomste ander liedere bv. Afrikaners Landgenote gesing word.
Dit is belangrik om te registreer wat hier besig was om te gebeur: die kontrole, die anti-Britse sentiment, die van-mense-verwyderde estetika van ’n museumstuk wat gepropageer is. Die gevoel dat Die Stem nie net ’n lied was nie, maar ’n mistieke sleutel tot die Afrikanervolk se selfstandigheid. Dit is dus nie verrassend nie, dat wanneer Die Stem in 1957 as enigste amptelike Volkslied van die Republiek aanvaar word, geen oortreffende trap genoegsaam is om die vreugde in die geledere van die lied se kurators in die FAK te beskryf nie. ’n Telegram van gelukwense word aan die eersteminister gestuur:
Aan: Sy Edele Die Eerste Minister, Die Volksraad, Kaapstad
Die verklaring van Die Stem van Suid-Afrika tot amptelike en enigste Volkslied van Suid-Afrika is vir elkeen van die duisende lede van die FAK ’n bron van die hoogste sielsverrukking. Daarmee is ’n lang gekoesterde volksideaal verwesenlik en een van die belangrikste bakens op ons weg na volwaardige nasieskap geplant. Daarmee verdwyn die laaste van die voormalige veroweraar se simbole wat vir meer as ’n halfeeu triomferend oor ons getroon het. Ons bring hulde aan U Edele persoonlik en aan elke lid van die Regering.
Hoogste sielsverrukking! Een van die belangrikste bakens op ons weg na volwaardige nasieskap. Die Stem het die Afrikanerpartituur van nasieskap geword. Drie dae na die versending van hierdie telegram, skryf die voorsitter van die FAK, prof. H.B. Thom, ’n brief van gelukwensing aan J.G. Strydom waarin hy die belang van Die Stem as volg verwoord:
U het die Afrikanerdom, en inderdaad die ganse Suid-Afrika, ’n belangrik stap vorentoe gevoer op die pad van volle, ongekwalifiseerde geestelike selfstandigheid, wat so ’n onmisbare voor-vereiste vir ware ekonomiese en staatkundige selfstandigheid uitmaak. Ek voel oortuig daarvan dat die Geskiedenis nog eendag die enorme betekenis van u leiding in verband met ons volkslied op treffende wyse en in sy volle omvang sal laat sien.
Volle, ongekwalifiseerde geestelike selfstandigheid. Dit is een formulering van wat die betekenis van hierdie lied was in die ore van die Afrikaners van daardie tyd. Maar selfs nadat Die Stem as enigste amptelike Volkslied van die Republiek aanvaar is, het die beheersug daaroor in die geledere van Afrikanerleiers nie verdwyn nie. Geestelike selfstandigheid is, helaas, nie ’n waarborg vir goeie smaak nie. En nie net moes die melodie volksbesit wees en bly nie, maar ook daardie verkankerende korrupsie waarteen doktor Con de Villiers gewaarsku het, afwykende harmonie, moes as volksvreemd uit Die Stem verwyder word. ’n FAK Musiekkommissie-notule van 12 Maart 1960 dokumenteer die volgende bespreking:
Mnr. A. Hartman rapporteer dat die SAUK ’n plaat van Gideon Fagan se verwerking van Die Stem van Suid-Afrika op die mark wou bring met die versoek dat die Regering goedkeuring daaraan gee as die aanvaarde amptelike verwerking. Die Musiekkommissie se beskouing is dat die verwerking nie aanvaarbaar is nie, veral daar dit die harmonie ingrypend verander, en gee voorkeur aan die verwerking van ds. M.L. de Villiers.
Mnr. A. Hartman meld ook dat dr. F.C.L. Bosman, voorsitter van die S.A. Musiekraad, prof. [Friedrich] Hartman (sic) van die Universiteit van die Witwatersrand, se mening oor die saak ingewin het. Laasgenoemde se mening, wat in Engels opgestel is, word aan die Kommissie voorgelees. Daaruit blyk dit dat hy ds. M.L. de Villiers se verwerking op tegniese punte aanval.
Mnr. A. Hartman se mening is dat die stempel geplaas moet word op wat in ons volkstradisie pas en nie juis op die beste tegniese toonsettings nie.
Dr. G.G. Cillíe wys daarop dat prof. Hartman (sic) die verwerking van Gideon Fagan so in die superlatief aanprys en dié van ds. M.L. de Villiers so radikaal verdoem, dat ons beslis kan sê dat dit nie ’n objektiewe en wetenskaplike mening is nie en dat dit daarom geheel-en-al verwerp kan word.
Op 14 Maart 1960 word ’n brief namens die FAK se Musiekkommissie aan prof. H.B. Thom geskryf, vermoedelik deur die FAK se sekretaris. In hierdie brief word ’n ‘dringende saak’ geopper, naamlik die beplande plaatopname van Die Stem deur die SAUK. Die bron van ongelukkigheid is die Fagan ‘vierstemmige verwerking’ wat deur prof. Friedrich Hartmann aangeprys is:
Ons het ook die (Engelse) kommentaar van prof. Hartman (sic) voor ons gehad. Die inhoud daarvan is kortliks dat die M.L. de Villiers-verwerking hopeloos is en die Fagan-verwerking foutloos is. Die Musiekkommissie is van mening dat so ’n absolute verdoeming van die een en absolute ophemeling van die ander nie as ’n wetenskaplik-objektiewe beoordeling aanvaar kan word nie.
En dan volg die doodsteek:
Die Fagan-verwerking se tempo van 60 kwartnote per minuut is onaanvaarbaar stadig en is blykbaar ’n nabootsing van God Save the Queen se tempo.
Die Stem word verengels deurdat dit meer soos ’n himne en minder soos ’n mars gespeel word. Maar die antagonisme teenoor alles wat Engels is, van die karakter van die Engelse nasionale lied tot die voortdurende beklemtoning van die negatiewe kommentaar as ‘in Engels’ maak dit duidelik dat die motiewe hier sterk geanker is in nasionalistiese diskoerse. Dat daar ’n onderliggende wantroue is teenoor ‘die beste tegniese toonsettings’ is duidelik, en dat hierdie wantroue geleë kan wees in die (onbewuste) bevestiging van die Afrikaanse woord as potensieel kwesbaar vir ‘volksvreemde’ harmonie, is ’n ryk gedagte. Die kleinlike Afrikanerpolitiek wat agter hierdie polemiek woed word puntsgewys deur die briefskrywer aan Thom verduidelik. Kortliks is dit ’n “set” deur die “volkvyande van die Afrikaner” om Gideon Fagan as hoofdirigent van die SAUK aangestel te kry, eerder as die voorsitter van die Musiekkommissie van die FAK, Anton Hartman. Of Friedrich Hartmann se opinie musikaal verantwoord is, is nie ter sake nie:
Die opinies wat deur hulle ingewin is, is slegs van mense wat hoegenaamd nie in ons Afrikaanse volkslewe staan nie. As volksliedere en harmoniesering [sic] daarvan, suiwer op musikale perfektheid beoordeel moet word, sou Die Stem in die eerste plek nooit aanvaar gewees het nie.
’n Brief met ’n appèl dat die M.L. de Villiers-toonsetting deur die regering as amptelike toonsetting erken word, is vervolgens ook deur die FAK aan dr. H.F. Verwoerd gestuur.
Wat sou ’n mens kon aflei uit hierdie erbarmlike politiek oor harmonisering, oor geskiktheid van plek en geleentheid, oor waardigheid en gewigtigheid? Beslis dat daar niks neutraal aan hierdie lied is nie, en dat hierdie politieke lading wat aan Die Stem kleef nie slegs van ons tyd is en deur die ‘vyande van die Afrikaner’ terugskouend versin word nie, maar histories deur Afrikaners aangevoor en verstaan is. Ook dat die soort verstikkende beheer wat die Afrikaner se Republiek sou kenmerk ook hierdie lied in selfverheerlikende middelmatigheid sou knel. Laastens dat ook musiek nie die konkelary van die Broeders kon vryspring nie.
Die Stem as Afrikaanse herinneringsplek: Goldblatt se tragiese leegheid, Brink se martelaarsdirge, Van Niekerk se beseëlende kluitklap op die kis van die Republiek, Coetzee se weergawe van die hel, Con de Villiers se ‘poids et majesté’, Anton Hartman se volkstradisie, H.B. Thom se ‘geestelike selfstandigheid’. Verskillende herinneringe in konflik met mekaar, sprekend van verskillende geskiedenisse.
PV 202 1/2/1/4/2/2/1, INEG, Universiteit van die Vrystaat, Bloemfontein.
PV 202 1/2/3/4/2/2/1, INEG, Universiteit van die Vrystaat, Bloemfontein.
PV 202 1/2/3/4/2/2/3, INEG, Universiteit van die Vrystaat, Bloemfontein.
PV 202 2/4/1/3/1/4, INEG, Universiteit van die Vrystaat, Bloemfontein.
Brink, A.P. Kennis van die aand. Kaapstad: Human & Rousseau [1973] 1983.
Coetzee, J.M. Age of iron. Londen: Penguin 1990.
Die sneeu van anderjare. Kaapstad: Tafelberg 1976.
Goldblatt, D. South Africa: the structure of things then. Kaapstad: Oxford University Press 1998.
Hyer, B. “Tonality”, in: T. Christiensen (red.). The Cambridge history of Western music theory. Cambridge: Cambridge University Press 2002, 726-752.
Lüdemann, W. “‘Uit die diepte van ons see’: an archetypal interpretation of selected examples of Afrikaans patriotic music”, in: SAMUS 23, 2003, 13-42.
Muller, S. “Exploring the aesthetics of reconciliation: rugby and the South African national anthem”, in: SAMUS 21, 2001, 19-38.
Soete inval: nagelate geskrifte van Con de Villiers. Kaapstad: Tafelberg 1979.
Van Niekerk, M. Agaat. Kaapstad: Tafelberg 2004.
Vergelyk die bespreking van die retoriek van tonaliteit in Brian Hyer se “Tonality”, in: T. Christiensen (red.), The Cambridge history of Western music theory (Cambridge: Cambridge University Press, 2002), 726-752, veral p. 733.
Hierdie essay handel nie oor die geskiedenis of ideologiese konteks en betekenis van ‘Die Stem’ nie. Meer kan oor hierdie aspekte gelees word in S. Muller, “Exploring the aesthetics of reconciliation: rugby and the South African national anthem”, in: SAMUS 21, 2001, 19-38; Vergelyk ook W. Lüdemann se “Uit die diepte van ons see: an archetypal interpretation of selected examples of Afrikaans patriotic music”, in: SAMUS 23, 2003, 13-42.
D. Goldblatt, South Africa: the structure of things then (Cape Town: Oxford University Press, 1998), 154 en 243.
A.P. Brink, Kennis van die aand (Kaapstad: Human & Rousseau, [1973] 1983), 314.
J.M. Coetzee, Age of iron (Londen: Penguin, 1990), 181.
M. van Niekerk. Agaat (Kaapstad: Tafelberg, 2004), 701.
Vergelyk lêer PV 202 2/4/1/3/1/4, INEG, Universiteit van die Vrystaat, Bloemfontein.
Vergelyk lêer PV 202 2/4/1/3/1/4, INEG, Universiteit van die Vrystaat, Bloemfontein.
Vergelyk Soete inval: nagelate geskrifte van Con de Villiers (Kaapstad: Tafelberg, 1979), 26-27 en 50-51. Vergelyk ook Die sneeu van anderjare (Kaapstad: Tafelberg, 1976), 72.
Lêer PV 202 2/4/1/3/1/4, INEG, Universiteit van die Vrystaat, Bloemfontein.
Lêer PV 202 2/4/1/3/1/4, INEG, Universiteit van die Vrystaat, Bloemfontein.
Lêer PV 202 2/4/1/3/1/4, INEG, Universiteit van die Vrystaat, Bloemfontein.
Lêer PV 202 2/4/1/3/1/4, INEG, Universiteit van die Vrystaat, Bloemfontein.
Vergelyk brief van 14 Februarie 1953, PV 2/4/1/3/1/4, INEG, Universiteit van die Vrystaat, Bloemfontein.
Vergelyk notule van die vergadering van die Musiekkommissie, 25 April 1953, PV 202 1/2/3/4/2/2/1, INEG, Universiteit van die Vrystaat, Bloemfontein. Vergelyk ook Bylae A by die agenda van die Musiekkommissievergadering van 6 Julie 1954, getiteld “Verslag van die FAK-kommissie insake ‘Die Stem’ soos gewysig deur die Afrikaanse Nasionale Kultuurraad”, PV 202 1/2/1/4/2/2/1, INEG, Universiteit van die Vrystaat, Bloemfontein.
Sien telegram van 3 Mei 1957, PV 202 2/4/1/3/1/4, INEG, Universiteit van die Vrystaat, Bloemfontein.
Brief van H.B. Thom aan J.G. Strydom, 6 Mei 1957, PV 202 2/4/1/3/1/4, INEG, Universiteit van die Vrystaat, Bloemfontein.
Notule van ’n vergadering van die FAK Musiekkommissie, 12 Maart 1960, PV 202 1/2/3/4/2/2/3, INEG, Universiteit van die Vrystaat, Bloemfontein.
Lêer PV 202 2/4/1/3/1/4, INEG, Universiteit van die Vrystaat, Bloemfontein.
Brief aan H.B. Thom, 14 Maart 1960; Lêer PV 202 2/4/1/3/1/4, INEG, Universiteit van die Vrystaat, Bloemfontein.
Die brief is gedateer 21 Maart 1960. Ontvangs is deur die eersteminister se kantoor erken op 28 Maart 1960 en ’n volledige antwoord is op 25 Mei 1960 deur die sekretaris van die eersteminister aan die FAK gestuur. Hierin het die regering wyslik besluit om “onsydig” te staan ten opsigte van “alle harmoniserings of verwerkings van die komposisie vir orkes of stemme of wat ook al”, met dien verstande dat sodanige verwerkings “binne die raamwerk van die erkende komposisie bly en met waardigheid en toewyding en by gepaste geleenthede uitgevoer word”.
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advice to the single
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While you are still without a child ENJOY YOUR LIFE TO THE FULLEST because once the child is present it is the child’s life that is to be enjoyed to the fullest and you are merely an appendage to that.
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Music, Archives, People: A FUTURE BEYOND WHITE TEARS
Filed under: stephanus muller — ABRAXAS @ 12:32 pm
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Leonardo di Franceschi on Opening Stellenbosch: From Assimilation to Occupation
Filed under: 2016 - Opening Stellenbosch — ABRAXAS @ 12:57 pm
One of the better aspects of the guidelines of the African Film Festival of Asia and Latin America, at the time of construction of this 26th edition, the choice of the motto (Designing Futures) the compilation of the bill, including side events, is to suggest that here and there they exist, in today’s Africa, the strong points and new intersection between visual art and grassroots movements. If so, the route taken by Aryan Kaganof – who returns to Milan to two years from the poignant An Inconsolable Memory – is emblematic, because it tells a very rare ability to bring productive independence, formal experimentation and constant reflection on visuality and breed in South Africa today, it is no longer afraid to make terms with their foundation myths, because “the rainbow nation is a white lie built on black suffering.”
The beginning of this new phase of occurrence within the South African universities should be done probably date back to March 9, 2015 when the student Chumani Maxwele and a dozen other students staged a protest at the University of Cape Town that was aimed primarily slaughter a large bronze statue of Cecil Rhodes, the figure prince of British colonialism in South Africa who gave his name to Rhodesia, now Zimbabwe. I am throwing human feces at the statue, challenging the university’s security with protest songs and dances in toyi toyi-style, in a manner used successfully by the anti-apartheid movement after the Soweto massacre of 1976, and accompanying the initiative with launch of a Facebook page and hashtag #RhodesMustFall, the movement has not only obtained the removal of the statue on April 9, but has started a chain reaction, producing a reflection on the South African university was involving many other universities. Kaganof has been at the forefront in documenting the development of the protest to Witswaterstand Johannesburg, producing a first film, Decolonizing Wits (2015), which was released in June 2015, and a few weeks ago has completed this Opening Stellenbosch, dedicated to ‘ eponymous movement that developed in the University of Stellenbosch, a town in the Western Cape region, and presented at the 26th FCAAAL world premiere in the section Designing Futures.
The director made this documentary, including one extended version exists in three parts on which he wrote a South African magazine (here), while he was a guest of the university as an artist-in-residency. Well, apparently they not at the Stellenbosch Institute for Advanced Study have not appreciated, because they have refused to screen it. And yes Kaganof, anarchist artist and avant-garde, has produced anything but a reportage on the move, perhaps appealing and effective on the journalistic level. The director, while still showing the removal of images of Rhodes statue, does nothing to help the viewer to navigate, projecting it immediately into the fire of a controversy that leaves the university, as you will understand, to question indirectly, due primarily to reflection of the students themselves, the reality of South Africa today, where the process of political and especially social reforms seems to come to a worrying stalemate. Judging by what emerges from two documentaries, the university is one of the areas where white privilege, Afrikaner and male, continues to dominate virtually undisturbed. We see students do sit-in with signs which show that less than 3.5 of the teacher persons consists of professors and blacks that the 18 members of the board are strictly men and whites. The hall dedicated to Steven Biko and made available to students for meetings and recreational activities is a large room with no windows.
Kaganof cites Fanon’s Black Skin, White Masks to allude to the complexity of the racial dynamics that still cross the South African society and are reflected by the same lacerations within the student movement. Within the university there are some radical professors who supported and indeed in some way favored the very birth of the movement, and the director often gave the floor to a young researcher at the Department of Anthropology, who complains despite its commitment that it has been sometimes silenced by a nationalist fringe of the students simply because white, another student tells of feeling in turn excluded from the movement for the same reason, and a third confessed to live their whiteness with a deep sense of guilt, but the white and male Kaganof with one of his signs vitriolic dissociates from any white unease, self-centered and narcissistic.
On the other hand, is also a problem of authority and legitimacy: a student reflects on the fact that many of his colleagues out of habit are inclined to recognize the authority of a white professor but instead struggle to recognize one black, and someone else claims to blacks the right to enjoy blacks space to heal the wounds of the past. Autodefinitorio the same method by which each student is asked to specify, at registration, if you consider Asian / Indian, African, Colored or White, is the problem and not only to the student’s eyes that you feel uncomfortable because the daughter of an Asian / Indian and an African. Notwithstanding the legitimacy to empathize and identify themselves with the struggles of other black communities in the global reality, another student tells from experience that in the US the Africans like him have trouble feeling Black because everything instead constantly reminds her African origins .
Kaganof plunges into the collective meetings, it does look a participant in the sequences of sit ins and demonstrations on campus, trying to return the hubs around which organized the protest, such as the issue of the official language. Too many lessons are still taught in Afrikaner, the movement came essentially to require the adoption of English as the lingua franca, but some are also to give legitimacy to the local languages. The clash is polarized by many against the dean white, Wim de Villiers, considered an elite specimen that continues to protect their conditions of privilege, merely small formal concessions in terms of diversity. A professor accuses the movement of naiveté and make operation easier copycat in his recapture of the watchwords of the African groups in revolt against racial profiling police, such as the famous and terrible “I Can not Breathe” by Eric Garner but Kaganof responds with a sign in which dusts off a forgotten quote Fanon that sounds “when we rebel is not for a particular culture. We rebel simply because, for many reasons, we can no longer breathe. ”
It is in the application istitito and often provocative cartels that Kaganof puts forward his point of view, unsettling, and iconoclastic, but also in the use of music – which, to many protest songs in English or local languages, performed in the course of demonstrations, sometimes mixed in voice-over pieces of classical music and Lieder – and anti-naturalistic sound processing. On the level of discursive policy, however, the surest sign of Kaganof materialist sensibility in the attention that is always dedicated to the questions of class, opening occasionally glimpses which overlooks the look of a bricklayer or a woman of cleaning, or the object film passages, in which dwells in showing what remains of campus life, in rubbish bins and out: waste, tracks and signs of a power of goods that resists even the most radical racial struggles . Perhaps the ultimate taboo that is still struggling to gain a foothold in the movements, it is precisely that of the class, which calls into question more sharply the continuity in the relations of existing forces in the south africa company, beyond the battles, sacrosanct, on the slope of race, gender and sexual orientation, for which South Africa has much more progressive positions of many western countries, the first African country to legalize same-sex marriage in 2006.
Leonardo De Franceschi | 26. African Film Festival, Asia and Latin America
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RANGOATE HLASANE on Popular Music in South Africa
Filed under: 2003 - sharp sharp! (the kwaito story),music — ABRAXAS @ 9:07 am
first published here: http://musicinafrica.net/mapping/overview-texts?page=30
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John Duncan Talbird reviews Jack Sargeant’s FLESH AND EXCESS: On Underground Film
Filed under: 1994 - the dead man 2: return of the dead man,film as subversive art — ABRAXAS @ 6:03 pm
first published here: http://filmint.nu/?p=18557
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HENDRIK FRENSCH VERWOERD on the race question, Stellenbosch University
Filed under: 2016 - Opening Stellenbosch,race,stellenbosched — ABRAXAS @ 3:09 pm
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Filed under: art,caelan — ABRAXAS @ 3:04 pm
PSYCHOLOGICAL OBSERVATIONS ON THE RELATION BETWEEN POOR-WHITES AND NON-EUROPEANS By Professor R. W. Wilcocks, University of Stellenbosch
Filed under: 2014 - Black Skins Wits Masks,2016 - Opening Stellenbosch,race — ABRAXAS @ 11:46 am
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Filed under: literature — ABRAXAS @ 8:32 am
One night, I don’t know why, they changed our number. The scene of the new sketch was the London Embankment. My misgivings were immediate, our little English girls were expected to sing, off key and ostensibly on the banks of the Thames at night, while I played the part of a policeman. A totally silent role, walking up and down in front of the parapet. Suddenly, when I’d stopped thinking about it, their singing grew louder than life itself and steered fate in the direction of calamity. While they were singing, I couldn’t think of anything but all the poor world’s misery and my own, those tarts with their singing made my heart burn like tuna fish. I thought I’d digested it, forgotten the worst! But this was the worst of all, a song that couldn’t make it … And as they sang, they wiggle-waggled, to try and bring it off. A fine mess, all of a sudden we were knee deep in misery … No mistake! Mooning about in the fog! Their lament was dripping with misery, it made me grow older from minute to minute. Panic oozed from the very stage set. And nothing could stop them. They didn’t seem to understand all the harm their song was doing us all … They laughed and flung out their legs in perfect time, while lamenting their entire life … When it comes to you from so far, with such sureness of aim, you can’t mistake it and you can’t resist.
Misery was everywhere, in spite of the luxurious hall; it was on us, on the set, it overflowed, it drenched the whole earth. Those girls were real artists … Abject misery poured out of them, and they made no attempt to stop it or even understand it. Only their eyes were sad. The eyes aren’t enough. They sang the calamity of existence, and they didn’t understand. They mistook it for love, nothing but love, the poor little things had never been taught anything else. Supposedly, they were singing about some little setback in love. That’s what they thought! When you’re young and you don’t know, you mistake everything for love trouble …
Where go … where I look …
It’s only for you … ou …
Only for you … ou …
That’s what they sang.
It’s a mania with the young to put all humanity into one ass, just one, the dream of dreams, mad love. Maybe later they would find out where all that ended, when their rosiness had fled, when the no-nonsense misery of their lousy country had engulfed them, all sixteen of them, with their hefty mare’s thighs and their bobbing tits … The truth is that misery already had the darlings by the neck, by the waist, they couldn’t escape. By the belly, by the breath, by every cord of their thin, off-key voices.
Misery was inside them. No costume, no spangles, no lights, no smile could fool her, delude her about her own, misery finds her own wherever they may hide; it just amuses her to let them sing silly songs of hope while waiting their turn … Those things awaken misery, caress and arouse her …
That’s what our unhappiness, our terrible unhappiness comes to, an amusement.
So to hell with people who sing love songs! Love itself is misery and nothing else, misery lying out of our mouths, the bitch, and nothing else. She’s everywhere, don’t wake her, not even in pretense. She never pretends. And yet those English girls went through their routine three times a day, with their backdrop and accordion tunes. It was bound to end badly.
I didn’t interfere, but don’t worry, I saw the catastrophe coming.
First one of the girls fell sick. Death to cuties who stir up calamity! Let ’em croak, we’ll all ber better off! And while we’re at it, don’t hang around street corners near accordion players, as often as not that’s where you’ll catch it, where the truth will strike. A Polish girl was hired to take the place of the sick one in their act. The Polish chick coughed too, when she wasn’t doing anything else. She was tall and pale, powerfully built. We made friends right away. In two hours I knew all about her soul, as far as her body was concerned, I had to wait a while. This girl’s mania was mutilating her nervous system with impossible crushes. Naturally, what with her own unhappiness, she slid into the English girls’ lousy song li9ke a knife into butter. Their song began very nicely, like all popular songs it didn’t seem to mean a thing, and then your heart began to droop, it made you so sad that listening to it you lost all desire to live, because it’s true that everything, youth and all that, comes to nothing, and then you start harking to the words, even after the song was over and the tune had gone home to sleep in its own bed, its honest-to-goodness bed, the tomb where everything ends. Two choruses, and you felt a kind of longing for the sweet land of death, the land of everlasting tenderness and immediate foggy forgetfulness. As a matter of fact their voices were foggy too.
All of us in chorus repeated their plaint, reproachful of everybody who was still around, still dragging their living carcasses from place to place, waiting along the riverbanks, on all the riverbanks of the world, for life to finish passing, and in the meantime doing one thing and another, selling things to other ghosts, oranges and racing tips and counterfeit coins … policemen, sex fiends, sorrows, telling each other things in this patient fog that will never end …
Journey to the end of the night
translated into English by Ralph Manheim
New Directions isbn 0-8112-0847-8
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WALTER MIGNOLO: Some Decolonial Options
Filed under: kaganof short films,Walter Mignolo — ABRAXAS @ 7:42 am
Whilst engaging with Walter Mignolo about his ideas on the pluriversity, multiplicity, decoloniality etc I had an idea about to make a film that would adequately convey these ideas; not merely by being a film ABOUT the decolonial option, but by, in its form, actually BEING that very option.
So here it is. What I did was film a 90minute discussion with Walter in my office at STIAS, edit it into 11 sections and then display those 11 sections simultaneously, whilst using sound as a guide to move from scene to scene. In this way I constructed a possibility of narratising the complete 90minute conversation into a possible 11 minute experience, whilst not pretending to tell the whole story, in deed, making clearly explicit that the whole story is never told in media (perhaps also not in unmediated “reality”?).
The idea of this work is to provide audiences with the complete sound files so that any audience could construct their own “flow chart” of sound through the 9 image frames, thereby allowing for the construction of a myriad different stories out of the “one story” of the UR-conversation.
I hope in this way that work serves to also illustrate Walter’s notion of thinking-and-doing, whereby theory is never divorced from praxis but are always working together, being together.
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