WO II, Die SAUK, FAK En Boeremusiek?

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WO II, Die SAUK, FAK En Boeremusiek? Plate & Politiek Populêre Afrikaanse musiek en die samelewing 1900‑2017 S.D. VAN DER MERWE Plate en Politiek – Populêre Afrikaanse Musiek en die Samelewing, 1900‑2017 Uitgegee deur AFRICAN SUN MeDIA onder die druknaam SUN PReSS Alle regte voorbehou Kopiereg © 2019 AFRICAN SUN MeDIA en die outeur. Hierdie publikasie is deur die uitgewer aan ’n onafhanklike dubbel-blinde portuurevaluering onderwerp. Die outeur en die uitgewer het alles moontlik gedoen om kopieregtoestemming te verkry vir die gebruik van derdepartyinhoud en om sodanige gebruik te erken. Rig alle navrae aan die uitgewer. Geen gedeelte van hierdie boek mag sonder die skriftelike verlof van die uitgewer gereproduseer of in enige vorm deur enige elektroniese, fotografiese of meganiese middel weergegee word nie, hetsy deur fotokopiëring, plaat-, band- of laserskyfopname, mikroverfilming, via die Internet of e-pos of enige ander stelsel van inligtingsbewaring of -ontsluiting. Menings in hierdie publikasie weerspieël nie noodwendig dié van die uitgewer nie. Eerste uitgawe 2019 ISBN 978-1-928357-68-1 ISBN 978-1-928357-69-8 (e-boek) https://doi.org/10.18830/9781928357698 Geset in Minion Pro 10/13 pt Bandontwerp en bladuitleg en produksie deur AFRICAN SUN MeDIA SUN PReSS is ’n gelisensieerde druknaam van AFRICAN SUN MeDIA. Vakkundige, professionele en navorsingswerke word onder hierdie druknaam in druk- en elektronieseformaat uitgegee. Hierdie publikasie kan direk bestel word by: www.sun-e-shop.co.za africansunmedia.snapplify.com (e-boeke) www.sotre.it.si (e-boeke) www.africansunmedia.co.za INHOUDSOPGAWE Erkennings ..................................................................................................... i Inleiding ........................................................................................................ 1 1 Grammofone, “warm patriotte” en radio-oorloë ............................................ 19 2 “Plaaslike geur”, spanning, en die opkoms van Afrikanernasionalisme .......... 41 3 WO II, die SAUK, FAK en Boeremusiek? .......................................................... 63 4 Die apartheid regime, rock ’n roll en die Afrikanerjeug .................................. 83 5 Nuwe stemme, veranderende politiek en toenemende ondermyning ........... 101 6 Alternatiewe Afrikaanse musiek teen die einde van apartheid ....................... 123 7 Nostalgie, vrees en wins in post-apartheid Afrikaanse musiek ...................... 139 Slot ................................................................................................................ 161 Bibliografie .................................................................................................... 171 Indeks ............................................................................................................ 185 erkennings Hierdie boek verteenwoordig die samekoms van die twee wêrelde waarin ek gelyktydig woon: die akademie en musiek. Ek is die dank verskuldig aan ’n aantal individue in beide. By Universiteit Stellenbosch: dankie aan veral Prof Albert Grundlingh vir intellektuele en logistiese ondersteuning; Prof Eugene Cloete, Vise- Rektor (Navorings, Innovering en Nagraadse Studies), vir sy ruim finansiële bydrae, en aan Prof Stephanus Muller van die Africa Open Institute, wat bydrae van onskatbare waarde gedurende die navorsingsfase gemaak het. ’n Spesiale woord van dank ook aan John Cowlin vir sy finansiële bydrae. Dankie aan die biblioteekstaf by Universiteit Stellenbosch se Biblioteekargief, die Universiteit van die Vrystaat se Insituut vir Eietydse Geskiedenis Argief, en die SABC Inligtingsbiblioteek, sowel as Justa Niemand, Emily Vosloo en Anina Joubert by African Sun Media, en aan Erna Compion vir die proeflees van ’n vroeër weergawe van hierdie teks. Op die musiekfront is daar ook ’n paar mense wat, deur te doen wat hulle doen, enorm baie bygedra het tot hierdie boek. Ek is veral dank verskuldig aan Tertius Louw, ’n onvervangbare bron (wat altyd beskikbaar was) van inligting oor die geskiedenies van populêre Suid-Afrikaanse musiek. Hierdie boek is grotendeels geskryf tussen toere met my musiekkollegas Karen Zoid, Tim Rankin, Henry Steel, Kyle Petersen, Darren Petersen en Jeandré Schultz. Dankie! Ek is ook dankbaar vir my ander broers en susters in musiek: Mike en Dave, Gerald, Valiant, die ander Schalk, Vernon, Carien, Simon, Parri, Guy, Albert, Melissa, Tony G, Piet, Mel, Pietman, die ontslape Ollie Viljoen, die oorlewende lede van Die Gereformeerde Blues Band, en nog baie meer. Op ’n meer persoonlike noot, aan die twee mense aan wie hierdie boek opgedra is, julle ondersteuning en liefde bly die belangrikste. i Aan Ilse en Valki Inleiding Kent gij dat volk vol heldenmoed en toch zo lank geknecht?1 Die bogenoemde is die welbekende eerste strofe van die volkslied van die eertydse Transvaalse Republiek. Die bedoeling met die aanhaling daarvan is nie om ’n aanprysing te wees van wat ander beskou as “een van die beste volksliedere van alle tye”2 of om ’n hagiografiese toon aan die Afrikanergeskiedenis3 te gee nie. Dit is eerder ’n blote aanhaling van die eerste twee reëls van die eerste opname ooit van ’n stuk musiek met Afrikanerwortels.4 In Januarie 1900 het drie Europese sangers, nie besonder beroemd nie, elk ’n opname van die lied gemaak – J.C. van den Berg in Den Haag, en Ewald Brückner en H. Cornelli in Berlyn. Op dieselfde dag waarop Van den Berg in die ateljee in Den Haag was, het E. Spieksma ook opgedaag om twee ander liedjies met ’n 1 Vert. “Ken jy die volk vol heldemoed en tog so lank gekneg?” 2 A. M. Swanepoel, “Music inspired by the Afrikaner cause (1852-1902), with special reference to the Transvaal Volkslied”, ongepubliseerde M. Tesis (Universiteit van Suid-Afrika, 1979). 3 Dit het gebruiklik geraak om die term “Afrikaner” te kwalifiseer. Dit word hier gebruik as ’n beskrywing van iemand wat wit is en Afrikaans praat. Alle wit Afrikaanssprekers self-identifiseer beslis nie as “Afrikaners” nie, maar voorkeur word gegee aan “Afrikaner” en nie “wit Afrikaanssprekers” nie, want die eersgenoemde het historiese strekking en het gedien as ’n kern waar rondom sulke konsepte soos “Afrikanernasionalisme” ontstaan het. Dit dui ook op rasse-eksklusiwiteit en ’n rasse-hierargie wat aan die spil is van Afrikaanse taalpolitiek en het direkte betrekking op die inhoud van hierdie boek. Dit is ook belangrik om uit te wys dat wit Afrikaanssprekers, ten spyte daarvan dat hulle histories kuratorskap oor die taal geëis het, ’n minderheid (omtrent 40%) van alle eerste-taal Afrikaanssprekers beslaan. 4 Ian Colquhoun het “We are marching to Pretoria” in 1899 opgeneem, wat sover as wat vasgestel kan word, die vroegste verwysing na Suid-Afrika in opgeneemde musiek is. In hierdie geval lê die wortels natuurlik by die Britte. 1 boere-oorsprong op te neem – “Transvaal en Nederland” en “Volkslied van den Oranje Vrijstaat”, die volkslied van die ander Boererepubliek, die Oranje Vrystaat. Dit was die eerste twee Africana-grammofoonopnames, meer Hollands as Afrikaans, maar tog ’n onbedoelde begin vir die Afrikaanse musiekbedryf. Hoekom het hulle die liedere opgeneem? Het hulle daarmee een of ander vorm van solidariteit of waardering vir die Boere uitgespreek wat teen die Britte geveg het op die slagvelde van die Anglo-Boereoorlog? Dit is welbekend dat die twee Boererepublieke minstens die morele ondersteuning van baie Europeërs gehad het tydens die oorlog. Meer as 100 jaar later, in Oktober 2006, is die debuut-album wat die vinnigste nog verkoop het in die geskiedenis van Afrikaanse musiek uitgereik.5 Die gewildheid daarvan was weens ’n trefferliedjie vernoem na ’n Boeregeneraal uit daardie selfde oorlog en wat merkwaardig ooreenstem met die sentiment van Van den Berg, Brückner, Cornelli en Spieksma. Die liedjie was “De la Rey” deur die sanger Bok van Blerk. Daar het natuurlik baie gebeur tussen 1900 en 2006. Enigiemand wat selfs net ’n bietjie kennis dra van Suid-Afrikaanse geskiedenis in die twintigste eeu sal weet van die rassistiese beleid van apartheid, die afskaffing daarvan en die gevolglike oorgang na ’n demokratiese bestel in 1994. Dit is daarom ’n merkwaardige kenmerk van die Afrikanergemeenskap in ’n post-apartheidkonteks dat die oproeping van – nie noodwendig letterlike nie, maar wel metaforiese – “volk vol heldenmoed en toch zo lang geknecht” so diep met die gemeenskap sou resoneer. Of dalk nie. Volk dui op Afrikanernasieskap en hegemonie – ’n gelaaide en onafgestorwe kenmerk van Suid-Afrikaanse geskiedenis. Die band tussen musiek en nasieskap is niks nuuts nie en was reeds in Antieke Griekeland ’n besprekingspunt. In Plato se Die Republiek IV eggo Sokrates in sy gesprek met Adeimantus, Damon se standpunt dat “wanneer die modes van musiek verander, verander die fundamentele wette van die Staat daarmee saam”.6 Of dit ’n effense oordrywing is of nie – hy het per slot van rekening ook tot min of meer dieselfde gevolgtrekking gekom oor gimnastiek – of ’n growwe oorvereenvoudiging, was daar wel al ’n hele aantal historiese periodes waartydens sosiale verandering geresoneer het met die musiek van die dag. Die sosiale bewegings van die 1960’s en hul bande met populêre musiek (soos Bob Dylan) is ’n goeie voorbeeld. As geskiedkundige en musikant is ek al lank geïnteresseerd in dié verband. As ’n eerstejaarstudent aan die Universiteit Stellenbosch in 1995, het ek by ’n eksperimentele prog rock-groep die Wild Possums aangesluit en my eerste optrede saam met hulle was om te open vir die legendariese Voëlvry 7– rocker/digter Koos Kombuis. Al het ons ’n allemintige klomp drank op sy
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