en ceb en en en en en en en en en en en en en en en en en en en en en it en en en en en en en en en en en nl nl en en en en pl pl pl pl pl pl pl nl en en ru en en en en en en it en en en it en en en en en en en en en en nl nl en en en af en nl en en af en en en af en en af 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 nl nl nl en af de nl si en en en en en en en en en en af nl en en en nl en nl en en en en en en en en en en en en en en en en en ga en en en en en en en en en en nl tr nl af af af nl en nl af af af nl en af af nl af af af af af af af af af nl af af af af en fr en en en en en en en en en en tr en fr en ceb en en en
Sabelo Dludla on SMS Sugar Man
Filed under: 2008 - sms sugar man,sabelo dludla — ABRAXAS @ 12:13 pm
in the beginning was the mountain…
Filed under: joel assaizky,kagavox — ABRAXAS @ 12:04 pm
Night is Coming to Edge Hill University, 30 May
Filed under: 2014 - Marikana Symphony — ABRAXAS @ 12:33 pm
Filed under: art,philosophy — ABRAXAS @ 12:24 pm
..it is impossible to establish a future without a past. The future is made through relinquishing or sacrificing the past. He who possesses the past of a phenomenon also possesses the sources of its becoming.”
Asger Jorn “Détourned Painting” Exhibition catalogue, Rive Gauche Gallery (May 1959)
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Filed under: kaganof — ABRAXAS @ 12:17 pm
most of good directing lies in the correct casting. the rest is tantrums, ego and pretensions….
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Filed under: dick tuinder,kaganof — ABRAXAS @ 11:02 am
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Kenneth Tynan – Right and Left
Filed under: literature — ABRAXAS @ 11:07 am
Night is Coming – a threnody for the victims of Marikana
Filed under: 2014 - Marikana Symphony — ABRAXAS @ 10:27 am
nege fragmente uit ses khoi’npsalms
A decolonial deconstruction tapping into the indigenous and European dichotomy that has informed South Africa’s blighted history since the Dutch East India Company first dropped anchor in 1652.
Khoi’npsalms is an improvised music exploration that merges sounds of re-imagined Khoi music with 16th century Genevan psalm melodies and texts to engage with our fraught history through lament, protest and contemporary artistic creation. These loaded improvisations take place in the resonant acoustics of four different Stellenbosch churches.
Marietjie Pauw plays flute, Garth Erasmus plays Khoi-memory on bow and blik’nsnaar, and Francois Blom plays organ. In the film the raw intensities – and intimacies – of khoi’npsalms as decolonial aestheSis music curation are brought to the fore.
shot, edited and directed by Aryan Kaganof | 2018 | 20min 59sec. | HDV | Afrikaans | stereo | black & white | South Africa | Concept by Marietjie Pauw | Texts by Garth Erasmus |
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Filed under: kaganof — ABRAXAS @ 10:21 am
one needs to go down into the abyss
precisely in order to return
without the return it’s merely absymal, true
but you can’t make the return until you’ve touched bottom
and you never know that you’ve touched bottom until you’ve touched bottom
so it’s all very paradoxical, art making
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il post-terzo cinema in prima persona di Peck e Kaganof (the post-third cinema in the first person of Peck and Kaganof)
Filed under: Italian,kaganof — ABRAXAS @ 8:49 am
Abstract: L’onda delle primavere arabe susseguitesi a partire dalla fine del 2010 è stata accompagnata da un ritorno in auge di pratiche di guerrilla filmmaking, dettate dall’urgenza di documentare le attività dei movimenti di base. L’eco delle rivolte di piazza promosse dal movimento Black Lives Matter dal 2013 e il dibattito sorto negli Stati Uniti sul racial profiling sono stati alimentati anche da una serie di documentari che hanno riattualizzato la memoria di numi tutelari, figure e fasi del movimento per i diritti civili. Nonostante BLM, così come altri movimenti di lotta abbiano rivendicato rapporti di affinità con le primavere arabe e tutti questi gruppi abbiano abbondantemente costruito la propria capacità di radicamento proprio grazie all’utilizzo dei social media, poche voci hanno evidenziato come questo lavoro potesse essere iscritto nell’eredità del «terzo cinema». Muovendosi in autonomia rispetto a questo orizzonte di sviluppo, a cavallo fra consapevolezza teorica e concreta prassi realizzativa, due autori del Sud globale come Raoul Peck e Aryan Kaganof, muovendo il primo da Haiti, il secondo dal Sudafrica, hanno declinato approcci profondamente originali e pregnanti sul piano stilistico-espressivo all’esperienza contemporanea del cinema del reale, lungo una direzione che autorizza la ripresa di una discussione sull’attualità del terzo cinema. Il mio contributo si propone di intercettare alcuni luoghi di tensione a cavallo fra riflessione teorica e prassi realizzativa che ripropongono l’attualità del terzo cinema, concentrandosi sul percorso di due cineasti la cui scommessa, si basa sul paradosso di una narrazione performativa, alla prima persona singolare, che punta a sovvertire falsi saperi e aspettative circolanti sui documentari realizzati nel Sud globale e sui microcontesti in questione.
Abstract: The wave of the Arab springs that followed from the end of 2010 was accompanied by a return to vogue of guerrilla filmmaking practices, dictated by the urgency of documenting the activities of basic movements. The echo of the street revolts promoted by the Black Lives Matter movement since 2013 and the debate that has arisen in the United States on racial profiling have also been fueled by a series of documentaries that have re-enacted the memory of tutelary figures, figures and phases of the movement for civil rights. Despite BLM, as well as other movements of struggle have claimed affinity relations with the Arab springs and all these groups have abundantly built their capacity for rooting thanks to the use of social media, few voices have highlighted how this work could be written into the ‘legacy of the “third cinema”. Moving autonomously from this horizon of development, between theoretical awareness and concrete realization practice, two authors of the global South as Raoul Peck and Aryan Kaganof, moving the first from Haiti, the second from South Africa, have declined deeply original and meaningful approaches on the stylistic-expressive plane to the contemporary experience of the cinema of the real, along a direction that authorizes the resumption of a discussion on the actuality of the third cinema. My contribution aims to intercept some places of tension between theoretical reflection and practice of realization that reproduce the actuality of the third cinema, focusing on the path of two filmmakers whose bet, is based on the paradox of a performative narrative, the first person singular, which aims to subvert false knowledge and expectations circulating on documentaries made in the global South and on the microcontests in question.
first published here: https://iris.uniroma3.it/handle/11590/331960#.WrNRmIK-kUE
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on film as philosophy
Filed under: Andrei Azsacra,film as subversive art,philosophy — ABRAXAS @ 3:45 pm
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Filed under: music — ABRAXAS @ 3:33 pm
nege fragmente uit ses khoi’npsalms
Filed under: 2018 - nege fragmente uit ses khoi'npsalms,Garth Erasmus,Marietjie Pauw — ABRAXAS @ 3:07 pm
For Khoi’npsalms we align the first three psalms as VOC/power/religion-political power intertwined; the last three psalms are a Khoi voice – so they take on new meanings when they become the words belonging to and uttered by a Khoi voice (and not the VOC voice). Khoi’npsalms is ‘Khoi and (Genevan) psalms’, like Garth’s ‘blik’nsnaar’: a new creation, a new word, a new idea. But not a seamless merging, rather a standing side by side, and surprises of sounds merging that erupt and evolve as we go.
The programme begins with Khoi bow music, then wind (the wind that blew the ships in) and then a psalm about thirst, water: Psalm 42, especially its Genevan melody, is perhaps the most well-known of all these Genevan melodies (in the local church groups that sing Genevan psalms). It sings of thirst, and we framed it as a thirst for the resource of water, as sailors would have needed coming to land.
‘Soos ’n hert in dorre streke, skreeuend dors na die genot, van die helder waterbeke, skreeu my siel […]’
Psalm 8 sings about ‘no land too far’ from God’s reach, and this we morphed into the VOC quest for water, becoming a thirst for taking over the land – and justifying this through the VOC seeing itself as a gesant of God. (As a dramatic notion on our programme I mark and ‘peg down’ the ‘land’ and stake the claims, playing a single high flute note.)
‘Daar is geen land so ver of woes geleë, geen strand, o Heer, of wilde waterweë, geen hemelsfeer in die oneindigheid – of orals blink u Naam en majesteit […] wat is die mens […] U laat hom heers. Tot aan die verste strande gebied hy […]’
As a continuation of Psalm 8 the notes mention Van Riebeeck’s prayer of 1652 and references the connection of religion and colonial land power and control over peoples (‘wilde en onbeskaafde mense’) and control ‘to the benefit of those who govern us’ (the VOC) (this was a VOC prescribed prayer. There are various translations of this prayer available on the internet. I used the ones included far below.)
The Psalm (45) that Garth speaks some of, and that you asked about, took us all by surprise as it moves from the texts that sing praise ‘to God’ (‘the’ Judeo-Christian god) and then moves to this sensitive, heart-felt, human poem where ‘my heart will sing lieflik of ‘a king’ (and not ‘the’ king) – so the king could be any king, also the Khoi’s notion of king. The text to Psalm 45 we use is a Totius text (from three of his verses)
‘My hart, ontroer deur mymering, sal lieflik van ’n Koning sing. My tong, deur digvuur aangedryf, is soos ’n pen wat vaardig skryf […] Gord aan u wapens tot die stryd, o Held, u glans en majesteit! Oorwinnend ry na die geveg vir waarheid, ootmoed, hoogste reg […] uit u ivore-koningshuis kom wonderskone snaargeruis.’
It turns out this psalm is described as ‘love poem’ in an annotated Bible that I consulted. The Koning could be a just, righteous ruler/King, or a mortal man to whom the love poem is sung. When Garth first saw this text he said it was about him metaphorically learning a new language, to be able to survive, so that he would also be speaking words in Afrikaans, perhaps addressed to ‘a King’. I am excited to learn from Garth’s e-mail that he is speaking/looping ‘with the SA coat of arms motto – !KE: !XARRA //KE (meaning: diverse people unite)…’ Also note the words ‘wonderskone snaargeruis’, Garth’s bow!
The sounds the flute make in Psalm 45 are reminiscent of ‘Bone Flute’ that Garth composed, and that you worked into the end of Khoisan Ghost Kreun, and Kreun – those moans.
The Psalm 62, thereafter, refers to a wall that has been pushed over (omgestoot) – so that is where the sax plays, the klaaglied that becomes skreeulied where we use voices to strengthen the human skreeu. (The idea was inspired by your describing the woman who sat and sang (a hymn?) on the train – how that human aaklige skree-klank cannot be made on a flute when played classically. This was at the time of you editing ‘Roesdorp’ films.)
‘Hoe lank, o wreedaards, soek jul dan die onheil nog van so ’n man, ’n enige wat diep in nood is? […] ’n klipmuur wat al omgestoot is?’
Psalm 62 is supposed to be a psalm-of-David text (see below), referring to the hunt that one of his enemies had on him – and his fleeing, but it could just as well be the Khoi fleeing, falling, skreeu-ing about the wall (himself) that has been pushed over.
Psalm 65 uses words that refer to rain, harvest, plentiful, kraal:
‘Ná bange tyd van somerdroogte is daar die uitkoms weer! […] uit verste veld en kraal […] Die land […] milde reën […] kleinvee langs die hange wat juigend veld-toe gaan […] hooggehalmde graan’
Note the intensity of ‘bange tyd van somerdroogte’ and the abundance (for all) of ‘hooggehalmde graan’. I love the fact that Totius uses the word ‘kraal’ – I always thought this was a reference to a Khoi thing, but the etymology on internet references a Portuguese word (curral), and states that it refers (now) to an ‘African’ homestead where cattle are kept, not specifically Khoi Languages. Garth perhaps knows the Khoi/Nama words for kraal, or similar to kraal.
Our programme ends with wind again, – the Totius text of Psalm 65 mentions ‘windgesange’ – so here the wind becomes and enables spreading resources, wholeness, dignity to life, rain, and the surprise of touching wind songs. (And all three of us musicians play wind instruments.) The wind is not (any longer) only a bringer of colonial ships. So I walk out with less aggressive wind sounds – if the acoustics are good you may hear that I do gentle, near-inaudible whistletones which are similar to the bow musics of here as they work on overtones and not just ‘blunt’ gusts of air.
Garth is left behind still playing. His blik’nsnaar becomes the heartthrob that helps us remember. His blik’nsnaar is Khoi-Western, as is his being. Through this production-interaction, the flute has become Western-Khoi, even the organ so, perhaps.
Wholeness of decolonial aestheSis (vs) ‘thinking’ of curatorial brief
You suggested decolonial aestheSis at work in our production: You are right that this is at the heart of my idea of our work together. I am aware that ‘thinking-doing-sensing-being’ of decolonial aestheSis is coming into play in various ways, sometimes one of these more than others, knowing that as soon as there is a curatorial brief (the writing on the wall that tells people what they must ‘know’ as they look at the art, as you call it), then I as musician-artist-live performer can go ahead and play, and be surprised by so much more that comes out, despite the limitations of the curatorial brief. Something of your mention of ‘life changing experience’ that art can bring. (Remember that this is my very first foray into improvising in public – as a classical musician who actually only ‘reads’: so to help me through the angs of naked improvisation, I wrote up programme notes – maybe to help me more than to help the audience! And of course to help the three of us know where we are in the programme, create some direction for our collaboration. That is why we have chosen to stick to the order of our selected psalms.)
‘Exegesis = inquiry on contextual background’
I am also surprised by your query for ‘info on the psalms’, as your query highlights [in hindsight] my own innocence at one point in this project. Throughout the design of this programme I have been rebelling against the Christian-Judaic-Reformed way of taking the word / Word as (Spiritual) text seriously, perhaps as a way of justifying so many things. So when Ernst told me at the start of this idea being born that I should do ‘proper exegesis’ to know where the psalms come from, I didn’t want to do that, for I was afraid the texts would somehow justify history – – or justify I didn’t know what – – but become a voice ‘against’ our production, and somehow justify the usurpation of the Khoi. For, this programme is about that usurpation, and the complex ways that belief and religion have been congested into that usurpation. Basically, of course, the programme plays out the silencing of Khoi music by Genevan psalms (but the programme also feeds into contemporary artistic creation, looking back, imagining-sounding how things could have been different.) So our programme radically re-positions the psalms – not as praise to God, and not as strengthening of a Christian/Judaic believer’s spiritual solace or even sense of spiritual justice for all life, but as texts that can show how history worked here, locally in this Southern place. It becomes our sound-infused way of telling this story: so, yes, it is decolonial aestheSis: radical, critically-minded art from here to tell a story of here. Yes, our production doesn’t just throw away, ignore, but uses something of each of our backgrounds, however, painful.
With some exegesis that came my way (via Ernst, who took a look at Psalm 62), my attention came drawn to the fact that the psalms are contextually placed within a long tradition of usurpations: the (Judeo-) story of cultures decimating other cultures, peoples, taking land, killing, silencing. So I now understand something more of the power of exegesis as a contextualising, and then an application – and in our programme we began with the ‘application’ for the sake of story line. So your asking for information reminded me that I had balked at having to ‘understand, in context’ wanting to ‘use the psalms at random’, not knowing that there was also perhaps something to gain (for the concept of the programme within the texts themselves). I hope you are following my line of thought! (But then: this type of exegesis also shows up powerfully the Judaic history as harm and harmful ‘caused’ by Judaism – I am thinking of Abraham’s Muslim wife/concubine, Hagar, mother of Ishmael – and her expulsion, especially when Sarah bore a ‘Judaic’ ‘angel-announced/ God-given’ child, Isaac, etc.)
Anyway, as you may see, the programme notes carry very little (if any) of this type of contextual exegesis – I didn’t think an audience needed ‘that much’, other than the reference (under ‘Konteks’ to a 1000 years BC, and a history of usurpations). I didn’t want to soften the Khoi usurpation as ‘just another example’ of waves of repeated violence.
The programme notes – the curatorial brief! – do free me up as a player – I know audiences can read that and understand something of how and why we do the programme. I left the programme notes as un-sermon-like as I could, except for saying at the end that the resources were meant for all to be shared. There is no message of ‘reconciliation’ or ‘hope’ or Saartjie Botha’s notion of ‘kohesie’ in my notes. However, as you said – even with knowing nothing of our ‘narrative’ someone can make sense on their own – seeing a bow and a flute and an organ play together in a church space is already radical, and formulates questions even before the curatorial brief is there. And then hearing sounds improvised, sounds seldom heard in ‘consonant, tonal’ church spaces (although church spaces were modal in the Middle Ages, not so much tonal!) will set forth further questions.
Information on the psalms
As for information on the psalms, their history, their arrangements, their developments, as you asked. This is a long topic, and I am no Psalmist historian or church historian, but I will share what I know of, or sense! (My father, two grandfathers, husband, great-grandfathers on maternal and paternal sides were all missionaries or theologians, so my sensing comes from birthing.)
So firstly, you have the volgorde because we keep that the same: 42-8-47-45-62-65. The Bible texts were put over into ‘Genevan’ sing-able tunes (with verses that repeat the melodies) e.g. in the post-Luther Reformed church traditions. One of these melodic traditions is the Genevan psaltery of 1539-1562.
I chose these Psalms because I could trace that they were Genevan melodies, and because I ‘like’ those particular melodies – I was organist (aged 12-14 yr old) for a small congregation in Lusaka, and spent many hours with those melodies. I paid half of my first flute from those earnings, my paternal grandmother saved up to pay the other half.
The history of the Psalms: No one knows exactly when these texts came into existence, but the scholars figure 1000BC is an apt guess, as a reference to Judeo origins. The texts could even have been from further back, earlier and other cultures. And the texts have morphed over the years, some oral history, some written down. The 1000BC figure then often refers to David (of the Israelites) as being the poet of some of these texts (many of the 150 Psalms in the Bible carry the reference ‘psalm of David’). This reference could be metaphorical: he may never have written any or all of them – passed down. At some point a righteous name (or symbol of a person who fought for justice of his people) may have been someone’s political choice to add David’s name as poet.
So these texts became more and more formalised and Bible-ised, intertwined with Judaic history of persecution, flight, power, alignment with God.
In Europe, with the Reformation, the 150 psalms were set to ‘Genevan melodies’, a project started off by Johannes Calvyn (Calvin) when he was in exile in Geneva (exile from Huguenot persecution: Roman Catholic vs Protestant wars: so this is why the Father Wim of Stellenbosch Catholic Congregation giggled about us doing Genevan psalms in the Idasvalley Roman Catholic church!). There are at least eight traceable composers to these melodies of the 16th century (our programme uses melodies by Loys Bourgeois en Guillaume Franc). The texts are in French.
When the VOC came to the Cape, they brought the Genevan melodies with them, but by then translated into Dutch by Petrus Dathenus (1568 translation, called the Dateens-Hollandse beryming). In 1773 a newer Dutch translation was made, used here, and the first Afrikaans translation of all the texts was made by Totius (J.D. du Toit) in 1937. Totius was a volksman: like Pierneef he was concerned about the oppression that the Afrikaans people were undergoing under British imperialist rule (for them the reference to Afrikaans would firstly have been ‘white’, with Afrikaans-speaking ‘coloured’ and ‘black’ people as lower class Afrikaans-speakers.) Totius was also a ‘taal’ man – there is a museum for him in Potchefstroom. I think he was aligned with the Gereformeerde Kerk (see footnote one).
In the four (Dutch) Reformed Churches that speak Afrikaans, these Totius texts are still used (since 1937). The Totius texts were replaced by newer berymings (settings), so that in the 2001-hymnal of the Dutch Reformed Church (the Liedboek) there are settings by Lina Spies and TT Cloete, but at the back of the 2001 hymnal there is still a selection of 1937 texts for those who prefer Totius! That’s almost seventy years later…
In the programme notes I make reference to the continuous translation and re-contextualisation of songs/psalms, noting that the ‘David’, and the Huguenots’ use of the psalm texts, and Totius each had their own idea of oppressor and oppressed, including how the Afrikaner Nationalist became the oppressor that continued to sing these psalm texts in order to mention something of the repetition of history of usurpation, but with the strongest finger pointing at Afrikaners.
In the programme notes I also mention Rosa Nepgen. Francois Blom wanted us to use her harmonisations, rather than ones in the 2001 DRC Liedboek. Reasons were that he wanted a marginalised voice, a feminist voice, incorporated (Rosa, as woman composer in the 1950s and 1960s was never given much recognition. Part of it is that her work was perhaps ‘not that good’, part of it was being a woman. In any case, in 1966 she published her four-part harmonisations of the 150 psalms, for use in the Gereformeerde Kerk. She states in the introduction that she wanted to remedy the many weaknesses that had crept into the Psalms over the afore-going years, so her versions are aligned more carefully with Genevan ideals of rhythm, melody, and tonally, are stricter according to modes – Ionian, Dorian, Mixolidian, etc, rather than only major and minor. Her harmonisations therefore sound ‘odd’ on the ear – again perhaps because we have become used to the ‘corrupted’ versions, or because, in some cases, her work was not all that good, either. I wouldn’t know how to judge, except that I find there is an ethereal strangeness to some of her settings that Francois and I have found enticing – she uses many interrupted cadences, as well as silences between phrases, and her harmonisations are quite stark. But also strange – her Psalm 65 uses triplet passing notes (that I don’t think are very Genevan in character). In any case, we are using her work as a stark reference to a voice that ‘worked with’ Genevan melodies locally. When not using her harmonisation, we use one by Boudewijn Scholten, and then the rest Francois improvises ad lib!
We are also using the Totius texts as a stark reference to ‘working with’ the Genevan texts, framed in a specific time of local history, a time largely dominated by Apartheid and Hoog-Apartheid ‘ethics’. In our production we needed the starkness of these figures (Totius and Rosa), and we would have had less manipulative strength if we had, for example, used Lina Spies texts or TT Cloete texts – firstly because the latter have not yet become known texts (nobody can sing the Spies/ Cloete words ‘by memory’ yet – they are too new) and also because they are free-er settings: the rhymes are less obvious, as the newer texts are in free-er verse. For a production like ours, we had to revert to what is known in the volks-geheue and volksmond.
I hope this helps as an answer to your asking.
Again: It is my answer. Garth and Francois will each give you different personal answers.
The Jan van Riebeeck prayer follows. Note the close allegiance of economics, (God-given) political power, religion, and the reference to barbarians.
VAN RIEBEECK SE GEBED (1652)
Barmhartige, genadige God en hemelse Vader, volgens u goddelike wil is ons geroep om die sake van die Verenigde Nederlands Geoktrooieerde Oos- Indiese Kompanjie hier aan die Kaap die Goeie Hoop te bestuur. Met hierdie doel voor oë is ons met ons Raad in u heilige Naam vergader om met die Raad se advies sodanige besluite te neem waarmee ons die Kompanjie se belange die beste kan bevorder. Ons is hier om die wet te handhaaf en om, as dit moontlik is, onder hierdie wilde en onbeskaafde mense u ware gereformeerde Christelike leer voort te plant en bekend te maak tot lof van u heilige Naam en tot voordeel van die wat oor ons regeer. Hiertoe is ons sonder u genadige hulp allermins in staat. Daarom bid ons U, allerhoogste Vader, dat U met u vaderlike wysheid by ons sal bly. Ons bid dat U self leiding in ons vergadering sal gee en ons harte so verlig dat alle verkeerde hartstogte, tweedrag en ander dergelike gebreke van ons geweer sal word sodat ons harte van alle menslike hartstogte skoon sal wees. Laat ons gemoedere so ingestem wees dat ons in ons beraadslaging niks anders beplan of besluit nie as dit wat mag strek tot grootmaking en lof van u allerheiligste Naam en tot diens van die wat oor ons regeer. Laat ons nie in watter mate ook al op eie voordeel of winsbejag let nie, maar net op die uitvoering van ons opdragte en dit wat vir ons saligheid nodig is. Ons bid en vra dit in die Naam van u geliefde Seun, ons Heiland en Saligmaker, Jesus Christus … wat ons leer bid het: ‘Ons Vader wat in die hemel is, … Amen’
Die gebed van Jan van Riebeeck met sy landing aan die Kaap die Goeie Hoop, 6 April 1652
O Barmhertige Goedertieren Godt ende Hemelsche Vader, Nadien het uwe Goddelijcke Majesteit geliefft heefft ons te beroepen over’t bestier der saacken van de Generale Vereenighde g’octroijeerde Oost Indische Comp. Alhier aen Cabo de Boa Esperance ende wij ten dien einde met onsen bijhebbenden Raedt in uwen H. Name vergadert sijn: omme met advis van deselve sodanige besluijten te maecken, waermede den meesten dienst van de opgemelte Compe. Gevoirdert, de Justitie gehanthaefft, ende onder dese wilde brutale menschen (mogelijk sijnde) uwe ware gerefrmeerde Christelijcke Leere mettertijd mochte voortgeplant ende verbreijt worden, tot uwes H. Naemes loff ende Eere, ende welstant onser Hren. Principalen, waertoe wij sonder dijne genadige hulpe ‘t alderminste en vermogen. Soo bidden wij derhalve O aldergenadighste Vader, dat gij ons met uwe Vaderlijcke wijsheijt wilt bijwoonene, ende in dese onse vergaderinge presiderende, onse lijcke gebreecken van ons mogen geweert blijven, ten eijnde onse herten van alle raedslagen niet anders voornemen nochte besluijten, als ‘t gene mach strecken tot dienst van onse Heeren ende Meesters sonder in eeniger mate op eijgen baet off particulier proffijt acht te nemen, hetwelcke ende wes meer ons tot uijtvoeringe onser bevolen dienste ende zaligheijt nodigh sij. Wy bidden ende begeeren in den naeme uwes Wel lieven Zoons Heijlant ende Zaligmaker Jesu Christij, die ons heefft leeren bidden ‘Onse Vader…’
A footnote! This is about who sang or still sing Genevan psalms locally, and it explicates on the groupings of the Reformed Church bunch who have Dutch/Afrikaans connections.
SECTION ONE: The four ‘Afrikaans’ Reformed churches, today, are:
(1) Dutch Reformed Church (Nederduits Gereformeerde Kerk, DRC/ NGK) which came here with the Dutch (the largest part of my maternal and paternal wider family are ‘in’ this church). The Dutch Reformed Church (Nederduits Gereformeerde Kerk) is the church most closely linked to Apartheid condonation, and they were kicked out of the World Council of Churches, 1961, and World Alliance of Reformed Churches in 1982 (Ottawa) due to their continued alignment with Apartheid. The DRC are also the largest of the four reformed groupings.
(2) The Gereformeerde Kerk van Suid-Afrika (Reformed Church of South Africa), established 1859, who rebelled in the 19th century, musically, by claiming to only sing Psalms and Skrifberymings (texts directly from the Bible) and not happy-clappy songs about general spiritual motivation – the latter would be the Halleluja/revivialist/evangelical type songs that are and were common in the DRC/NGK.
(3) A third grouping are the Nederduits Hervormde Kerk – I have little knowledge of them. They were formed in the then-Transvaal.
(4) And then there is the 1987-formed APK – Afrikaanse Protestantse Kerk – they formed in rebellion to the 1987 Synod decision of the DRC/NGK to declare that Apartheid was (after all) wrong, and ‘a sin’ (1989), so they (APK) splintered off.
SECTION TWO: The second group of churches that may have sung and perhaps still sing Genevan psalms are a further racial splintering according to Apartheid lines. They are the three ‘daughter churches’ of the Dutch Reformed Church (born from so-called missionary work), who up until 1994 were grouped according to three racial groupings (Dutch Reformed Church is for ‘White’, ‘Sendingkerk’ (Dutch Reformed Mission Church) is for ‘Coloured’ people (established 1881), ‘Indian’ people are in the Indian Reformed Church in Africa, established 1947, and ‘Black’ people in the so-called Dutch Reformed Church in Africa (Nederduits Gereformeerde Kerk in Afrika, established 1859.)
I was ad hoc organist for a ‘Sendingkerk’ here, twenty years ago (the Vlottenburg Gemeente close to our neighbourhood), and they sing Genevan melodies, yes, but singing was always much more convincing and energetic when singing koortjies.
So as of 1996 the three ‘non-white’ (excuse my language) Reformed ‘daughter churches’ united and call themselves the Uniting Reformed Church (Verenigende Gereformeerde Kerk – VGK), with the hope that the Dutch Reformed (white) Church will join, but of course they aren’t joining – the riches of the DRC are too many to share, the perceptions of ‘cultures-too-different’. (I don’t know whether the Gereformeerde Kerk and the Hervormde Kerk have similar separate race-based church segregations.) See Leonard’s comments: https://mg.co.za/article/2012-04-05-the-slow-and-steady-death-of-dutch-reformed-church/ Also see: https://www.britannica.com/topic/Dutch-Reformed-Church and https://www.britannica.com/topic/Dutch-Reformed-Church-in-Africa
In our Khoi’npsalms venues, the Monday and Tuesday venues are in the VGK – Verenigende Gereformeerde Kerk; Wednesday is in one of the Roman Catholic Churches of Stellenbosch; and Thursday is in Moederkerk – a congregation of the Dutch Reformed Church. The Monday venue (Ryns) stems from Rhenish Missionary work, later taken over by the DRC, and finally, as Sendingkerk, became a rebellious congregation who refused to be evicted along with other Stellenbosch evictions in 1960-1970, so even though no congregation members live in the vicinity of the church, on Sundays the people flock to the ‘white’ town centre, to church. Many of the buildings in that vicinity used to belong to the church, or were lived-in by coloured families related to the church life. Excuse the fact, please, that this relaas still references ‘Coloured’ as if it is a thing to be referenced. For it isn’t, and it is. Depends on who gains what.
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Of Fictalopes and Jictology
Filed under: 2018 - OF FICTALOPES AND JICTOLOGY,stephanus muller — ABRAXAS @ 3:02 pm
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De Enge Knijperman en de Ondersteboven Vrouw
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first published here: https://dojomovie.com/movie/343298/oedipus-and-punishment-an-interview-with-edmund-emil-kemper-2005-hd-720p-full-movie
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on race as text
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on what philosophy is
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Filed under: 2018 - nege fragmente uit ses khoi'npsalms,Garth Erasmus,Marietjie Pauw — ABRAXAS @ 2:34 pm
Khoi-klanke op boog, saksofoon en blik’nsnaar (gespeel deur Garth Erasmus) verweef met 16de-eeuse Geneefse psalmwysies gespeel op dwarsfluit (Marietjie Pauw) en op orrel (Francois Blom).
Khoi-klanke wat in hierdie musiekproduksie gespeel word, word nuutgeskep en nuut-verbeel, met herinnering aan historiese oorlewering. Ses Geneefse psalmwysies word tydens hierdie produksie verklank, en u hoor ondermeer die melodieë soos deur Loys Bourgeois en Guillaume Franc geskryf. Die psalmwysies kom vanuit die Geneefse versameling wat sedert 1539 in Strasbourg ’n aanvang geneem het, en as voltooide versameling van 150 psalmwysies in 1562 in Genève uitgegee is onder die kuratorskap van Johannes Calvyn. Die psalmwysies het met die Hollanders na die Kaap gekom. Die ses psalmwysies wat u vanoggend hoor maak gebruik van die harmonisasies van Rosa Nepgen (1966), Boudewijn Scholten (Psalm 62, 2001) en maak van vrye improvisasie gebruik.
Die programnotas in hierdie musiekproduksie haal frases aan uit psalmtekste soos verwoord in die Afrikaanse psalmboek van Totuis (J.D. du Toit) van 1937. Totuis se tekste is steeds in gebruik ten spyte van bestaande nuwer berymings. Vóór Totius se tekste was die Nederlandse beryming van 1773, en daarvóór Petrus Dathenus se (Dateens-Hollandse) beryming (1568), in gebruik aan die Kaap, soos vertaal vanuit die Frans. Die herhaaldelike vertaling en aanpassing van liedtekste (wat hulself beroep op die ooreenstemmende Bybelse Psalmtekste van ongeveer 1000 jaar vC) dui op politieke en kultureel-sosiale besetting van grond, imperialisme, ideologiese invalshoeke en die berymer (‘Dawid’ en Totius) se eiesoortige konteks. Die Franse Geneefse psalms is byvoorbeeld gesing toe die Hugenote sedert 1685 aan hul eie onderdrukking uiting wou gee. Totius benut die tekste om in die 1930’s die onderdrukking van Afrikaanses (onder Britse imperialisme) te verwoord, maar wanneer dieselfde Totius-tekste in die hoog-Apartheid gesing word, is daar ’n ironiese verskui-wing van magsug, waar die Afrikaners self die onderdrukkers van ander ‘afgebakendes’ geword het.
Binne akoestiese ruimtes van ’n kerkgebou, hoor u kommentaar, klaaglied, protes en eietydse artistiese skepping. Hierdie musiekproduksie verklank perspektiewe op ontmoetings aan die Kaap.
Eerste ontmoetings aan die Kaap
Khoi, wind, water / Psalm 42
Khoi-klanke op boog en snaar herinner dat bewoners aan die Kaap sou aanskou dat skepe soms uit die noorde en ooste met die wind aangewaai kom. Psalm 42 (melodie van Bourgeois, 1551) herinner dat matrose dalk aan land sou kom, en dalk om water sou vra:
‘Soos ’n hert in dorre streke, skreeuend dors na die genot, van die helder waterbeke, skreeu my siel […]’
Land van God, vir die VOC / Psalm 8
Die versoek om water en kos raak ’n vergrype na land; grondbesit. Psalm 8 (Franc, 1542) herinner:
‘Daar is geen land so ver of woes geleë, geen strand, o Heer, of wilde waterweë, geen hemelsfeer in die oneindigheid – of orals blink u Naam en majesteit […] wat is die mens […] U laat hom heers. Tot aan die verste strande gebied hy […]’
VOC-triomflied / Psalm 47
Jan van Riebeeck se VOC-voorgeskrewe gebed, wat hy aan wal van die Kaap in 1652 bid, verwoord die Hollanders se oordeel oor andere, en imperialistiese sakebelange. Sy gebed noem die roeping om ‘onder hierdie wilde en onbeskaafde mense U ware gereformeerde Christelike leer voort te plant en bekend te maak tot lof van U heilige Naam en tot voordeel van dié wat oor ons regeer’.
Die VOC vestig sy mag aan die Kaap en verstrengel ’n verstaan van godsdiens, politieke mag en die onderwerping van ander mense. Psalm 47 (Bourgeois, 1551) sing van hierdie verstrengeling:
‘Juig, o volke, juig! Handklap en betuig […] voor die Heer jul vreugd […] Koning is Hy daar van die heidendyom. […] Hoog verhewe is Hy!’
Khoi-lied, vir hoogste reg / Psalm 45
Khoi-klanke word toenemend stiller. Vir oorlewing word nuwe tale en vaardighede aangeleer. Psalm 45 (Geneefse melodie, vry aangepas deur Nepgen) is oorspronklik ’n liefdespsalm vir ’n regverdige koning, soos ook deur Totius verwoord. Wanneer die psalmteks die digkuns van ’n Khoi-spreker word, verlang die spreker na ‘hoogste reg’ wat sal geskied:
‘My hart, ontroer deur mymering, sal lieflik van ’n Koning sing. My tong, deur digvuur aangedryf, is soos ’n pen wat vaardig skryf […] Gord aan u wapens tot die stryd, o Held, u glans en majesteit! Oorwinnend ry na die geveg vir waarheid, ootmoed, hoogste reg […] uit u ivore-koningshuis kom wonderskone snaargeruis.’
Klaaglied word skreeulied / Psalm 62
Ook nuwe musiek-instrumente word deur die Khoi-musikant aangeleer om aan te pas. Die saksofoon se klaaglied skreeu van die muur wat omgestoot is, in die woorde van Psalm 62 (Franc, 1542). Die saksofoon trek ook die fluit en orrel in om eietydse verset te verklank.
‘Hoe lank, o wreedaards, soek jul dan die onheil nog van so ’n man, ’n enige wat diep in nood is? […] ’n klipmuur wat al omgestoot is?’
Na somerdroogte kom reën / Psalm 65
Met hierdie klanke in ons ore is daar nie ’n kortpad deur ’n geskiedenis van kulturele onderwerping, verwerping en selfsugtige opheffing nie. Wanneer Psalm 65 (Franc, 1545) sing van reën en oeste, herinner die beelde ons aan bronne wat vir almal bedoel was.
‘Ná bange tyd van somerdroogte is daar die uitkoms weer! […] uit verste veld en kraal […] Die land […] milde reën […] kleinvee langs die hange wat juigend veld-toe gaan […] hooggehalmde graan’
Psalm 65 sing van ‘windgesange’: Die wind waai steeds; die Geneefse wysies word stiller, en die Khoi-kunstenaar het ’n nuwe instrument – die blik’nsnaar – gemaak en begin speel. Blik’nsnaar verklank ’n hartklop. Dit help ons onthou.
Francois Blom is vir die afgelope tien jaar die orrelis by N.G. Kerk Stellenbosch-Wes. Hy was lid van die Wêreld Jeugkoor in 1998, 1999 en 2000. Hy was ook in 1998-2002 ’n lid van die Stellenbosch Camerata onder koorleiding van Acáma Fick. Francois het reeds as kabaret-pianis, en as akteur, aan verskeie Woordfees-produksies deelgeneem.
Garth Erasmus is ’n visuele kunstenaar en musikant. Gedurende 1982-1997 het hy kunsonderrig aan die Zonnebloem Kunssentrum, Distrik Ses (Kaapstad) gegee, en in 2005 werk hy as Kunsonderrig-offisier by die Iziko SA Nasionale Gallery in Kaapstad. Hy is voormalige voorsitter van Africa South Artists Initiative (ASAI) en is betrokkke by kunsprojekte, ondermeer Vakalisa Artists Group; Community Reflections Arts and Performance Group; Greatmore Street Artists Studio, en die Thupelo Artists Workshop. Sy grootskaalse muurskilderwerk is sedert 2003 deel van die Artscape Teater se uitstalling wat handel oor die kulturele geskiedenis van die Weskaap. In 2009 word sy klank-installasie, ‘Autshomato’, opgeneem in die Robben-eiland museum-uitstalling by die Nelson Mandela Gateway in Kaapstad. Garth speel ondermeer in die digkuns en musiek aktivistiese trio, ‘Khoi Khonnexion’, asook in die groep ‘As Is’. Hy bou sy eie instrumente, soos ondermeer die boog, en blik’nsnaar, wat in hierdie produksie gehoor word. Hierdie is Garth se kunstenaars-début op die Woordfees.
Marietjie Pauw het in 2015 doktorale navorsing en -konserte aan Stellenbosch Universiteit voltooi. Haar artistieke navorsing het ondermeer op die kurering van Suid-Afrikaanse dwarsfluit-komposisies gefokus. Sy is tans verbonde aan Africa Open – Instituut vir Musiek, Navorsing en Innovasie by Stellenbosch Universiteit. Sy en Garth Erasmus het in 2015 ’n produksie oor die geskiedenis van Roesdorp, Stellenbosch, aangebied by die Rupertmuseum, soos verfilm deur Aryan Kaganof (met filmtitels ‘Kreun’, 2016; en ‘Khoisan ghost kreun’, 2016). Sedert 2006 het Marietjie as fluitspeler aan verskeie Woordfees-produksies deelgeneem.
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(the kwaito story)  (52)    2005 – giant steps  (81)    2007 – Unyazi of the Bushveld  (79)    2008 – click here to unsubscribe  (5)    2008 – sms sugar man  (135)    2009 – Civilization And Other Chimeras  (22)    2010 – the exhibition of vandalizim  (121)    2010 – The Uprising of Hangberg  (169)    2011 – G-String Blues  (33)    2012 – Interactions: A Strategy of Difference  (22)    2013 – An Inconsolable Memory  (132)    2014 – Black Skins Wits Masks  (30)    2014 – Marikana Symphony  (134)    2015 – Death and the Archive  (3)    2015 – Decolonising WITS  (102)    2015 – the flaw in love  (10)    2015- Lamentation/Klaaglied  (37)    2016 – abyss  (31)    2016 – Kreun Vir Roesdorp  (7)    2016 – Metalepsis in Black  (50)    2016 – Opening Stellenbosch  (101)    2017 – Say It With Flowers  (12)    2018 – nege fragmente uit ses khoi’npsalms  (7)    2018 – OF FICTALOPES AND JICTOLOGY  (11)    films edited by kaganof  (175)    kaganof short films  (449)    kerkhof short films  (152)    The Legend of Jiwe  (1)
luis on blog post today
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LANRE on TEBOGO AND URIAH HEEP
MALOME on TEBOGO AND URIAH HEEP
Daniel on TEBOGO AND URIAH HEEP