The Contribution of the Arts Association to Theatre
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THE CONTRIBUTION OF THE ARTS ASSOCIATION TO THEATRE IN THE THEN SOUTH WEST AFRICA, 1947 - 1967 A DISSERTATION SUBMITTED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF PHILOSOPHY OF THE UNIVERSITY OF NAMIBIA BY S.A. VAN DER SMIT 8451443 DECEMBER 2018 MAIN SUPERVISOR: PROF. CHRISTO BOTHA CO – SUPERVISOR: PROF. JAIROS KANGIRA ABSTRACT This dissertation offers a comprehensive account of the origin, nature and development of theatre under the auspices of the Arts Association as a cultural activity in South West Africa as it was called until 1968. In 1947 a branch of the South African Association of Arts, a Fine Arts organisation in South Africa was established in Windhoek, South West Africa. The association organised and developed the Performing Arts in addition to the Visual Arts. The Arts Association saw theatre as a neutral area where they could foster closer mutual relationships between the different European language groups. The biggest achievement of the Arts Association was undoubtedly the sustained development of theatre in Windhoek, which culminated in the erection of the Arts Theatre (1960) and the Art Centre and Gallery (1965). The research revealed that the Arts Association practiced theatre similar to that of South Africa, e.g., the South West Africa theatre practitioners relied heavily on South African playwrights for available texts. Data for this research was gathered from the available primary sources in the archives and newspapers. The significance of this investigative research lies in the fact that this study marks a beginning in the historiography of Namibian theatre, setting up an official database for a portion of Namibian theatre history. The dissertation is a first documentation of the early historical development of theatre in South West Africa. There is information on theatre arts that needs to be addressed urgently before vital information is lost. This study can be used by the theatre students in the Department of Visual and Performing Arts and elsewhere. This dissertation intends to increase understanding, appreciation and critical perception of theatre in South West Africa. The dissertation is not meant to be a complete recording of the Namibian theatre development, but an attempt to interest other researchers to continue with the documenting of Namibia’s theatre history. ii ACKNOWLEDGEMENTS This dissertation is the result of my love for the theatre and its history. It is an outcome of discovering that no written history exists for Namibian theatre. It was Prof. Aldo Behrens that planted the seed during my Honours Degree, when he spoke about the African Theatre history and made it come alive. My supervisors, Prof. Christo Botha and Prof. Jairos Kangira, were supportive and encouraging while supervising this dissertation. They deserve my deepest thanks. I am indebted to them for their assistance, knowledge, positive criticism, direction and patience during the course of this study. Without their careful attention to detail the completion of this work would not have been possible. My sisters, Rika Nel and Irene Strydom, did exactly what family should: they encouraged me, admonished me when I wanted to abandon the study, supplied tea and were simply there. I love you. Throughout this journey my colleague, Laurinda Olivier-Sampson, travelled with me. For most of the journey we had the wind in our faces, but we persisted. Thank you for your companionship. Listening to me ranting and raving helped more than you will ever know. You are a friend and my sister. I must acknowledge the stimulating interaction of ideas and support of my colleagues: Dolores Wolfaardt, Tanya Terblanche and Emmanuel Karamuzondo. You were supportive in practical and emotional ways. “Writing history is surely a hazardous undertaking. What to include, what to leave out, how to present facts are personal decisions that depend on one’s own historical perspectives and even on the world in which we live - and certainly also on the facts at one’s disposal” (Dommisse, 2001, p. ix). iii Dedicated to my amazing parents, Philip and Lenie Swart my wonderful children, Jacques and Lihandra iv DECLARATION I, Susanna Aletta van der Smit, declare hereby that this study is a true reflection of my own research, and that this work or part thereof, has not been submitted for a degree in any other institution of higher education. No part of this dissertation may be reproduced, stored in any retrieval system, or transmitted in any form, or by means (e.g. electronic, mechanical, photocopying, recording or otherwise) without the prior permission of the author, or the University of Namibia in that behalf. I, Susanna Aletta van der Smit, grant the University of Namibia the right to reproduce this dissertation in whole or in part, in any manner or format, which the University of Namibia might deem fit, for any person or institution requiring it for study and research; providing that the University of Namibia shall waive this right if the whole dissertation has been or is being publish in a manner satisfactory to the University. S.A. van der Smit ................................. Date: .............................. v LIST OF ABBREVIATIONS ESAT Encyclopedia of Southern Africa Theatre FATSSA Federation of Amateur Theatrical Societies of South Africa NTN National Theatre of Namibia NTO National Theatre Organisation S.W.A. South West African SWAA South West African Administration SWA/ Namibia South West Africa/ Namibia SWANU South West Africa National Union SWAPAC South West Africa Performing Arts Council SWAPO South West Africa People’s Organisation vi CONTENTS ABSTRACT ii ACKNOWLEDGEMENTS iii DEDICATION iv DECLARATION v LIST OF ABBREVIATIONS vi CHAPTER 1 INTRODUCTION 1 1.1 Background of the study 1 1.2 Statement of the problem 4 1.3 Objectives of the study 4 1.4 Significance of the study 5 1.5 Limitations of the study 6 1.6 Delimitation of the study 7 1.7 Methodology 8 1.7.1 Research design 8 vii 1.7.2 Research instruments 9 1.7.3 Data collection procedure 10 1.7.4 Data analysis 10 1.7.5 Research ethics 11 1.7.6. Conclusion 13 CHAPTER 2 LITERATURE REVIEW 14 2.1 Introduction 14 2.1.1 Key terminology 14 2.1.1.1 South West Africa 14 2.1.1.2 South African 14 2.1.1.3 European 15 2.1.1.4 Theatre 15 2.2. Literature on theatre history 18 2.2.1 Theatre history 18 2.2.2 World theatre history 19 viii 2.2.3 African theatre history 20 2.2.4 Namibian theatre history 24 2.3 Available sources 27 2.3.1 Archival documents 27 2.3.2 Newspapers 27 2.3.3 Booklet 29 2.4 Conclusion 29 CHAPTER 3 THE PIONEERING PHASE OF THEATRE IN NAMIBIA 30 3.1 Introduction 30 3.2 The nature of theatrical activities in South West Africa before 1947 31 3.2.1 The choices of plays 41 3.2.2 The theatre practitioners 43 3.3. South African cultural societies that promoted South West African theatre 45 3.4 Performances from visiting South African theatre companies 46 3.4.1 The Japie van Niekerk theatre company 49 3.4.2 The Norval theatre company 51 ix 3.4.3 The Johan Fourie theatre company 51 3.4.4 The Hankekom theatre company 52 3.5 Theatre companies from South African Tertiary Institutions 56 3.6 Conclusion 57 CHAPTER 4 THE ESTABLISHMENT OF THE SOUTH AFRICAN ASSOCIATION OF ARTS (S.W.A.) 60 4.1 Introduction 60 4.2 The incentive for the establishment of the Arts Association 62 4.3 The establishment of the Arts Association 63 4.4 The aims, aspirations and ambitions of the Arts Association 65 4.5 The Arts Association includes the performing arts 67 4.6 The structure of the Arts Association 68 4.6.1 The committee 68 4.7 Funding of the Arts Association 71 4.7.1 Membership fees 72 4.7.2 Grants 73 4.7.3 Arts Balls 74 x 4.7.4 Safaris 74 4.7.5 Donations 75 4.8 Conclusion 76 CHAPTER 5 THEATRE UNDER THE AUSPICES OF THE ARTS ASSOCIATION 1947 -1967 77 5.1 Introduction 77 5.2 The different theatre groups under the Arts Association 78 5.2.1 The German Theatre Group 81 5.2.2 The English Theatre Group 84 5.2.3 The Afrikaans Theatre Group 88 5.2.4 The Children’s and Puppet Theatre 89 5.3 The types of plays staged and sponsored by the Arts Association 94 5.3.1 Performances imported by the Arts Association 98 5.4 The quality and frequency of the performances of the theatre groups 102 5.5 The theatre practitioners 106 xi 5.6 The audiences 110 5.7 Two South African theatre organisations that influenced the South West African theatre under the Arts Association 119 5.7.1 Federation of Amateur Theatrical Societies of South Africa (FATSSA) 119 5.7.1.1 Festivals linked to FATSSA 122 5.7.1.2 Festivals organised by the Arts Association 133 5.7.2 The National Theatre Organisation (NTO) 135 5.8 The Arts Theatre – The Arts Association’s legacy 139 5.8.1 Venues before the erection of the Arts Theatre 139 5.8.2 The funding of the theatre building 140 5.8.3 The location of the theatre building 142 5.8.4 The architects of the theatre building 142 5.8.5 The theatre building itself 143 5.8.6 The opening of the theatre 144 5.8.7 The new theatre building inspires the Arts Association 145 5.9 Some influences on the Arts Association’s theatre 147 xii 5.9.1 Proclamation no. 54 of 1921 147 5.9.2 Entertainment tax 148 5.9.3 Censorship 150 5.9.4 Cultural Boycott 151 5.9.5 The bioscope 153 5.10 Conclusion 156 CHAPTER 6 THE SOUTH WEST AFRICA PERFORMING ARTS COUNCIL (SWAPAC) REPLACES THE ARTS ASSOCIATION 158 6.1 Introduction 158 6.2 The establishment of SWAPAC 160 6.3 The funding of SWAPAC 162 6.4 The structure of SWAPAC includes the Arts Association 163 6.5 The Arts Association and SWAPAC together continued with theatre activities promoting South African theatre 166 6.5.1 The Arts Association persisted with theatre 168 6.5.2 SWAPAC sponsors South West African amateur theatre 170 xiii 6.5.3 Differences emerge between the Arts Association and SWAPAC 172 6.5.4 The Arts Theatre replaces the Windhoek Theatre 176 6.6 The end of the Arts Association’s involvement in South West Africa’s theatre activities 181 6.7 Conclusion 185 CHAPTER 7 PERSONS WHO INFLUENCED THE THEATRE OF THE ARTS ASSOCIATION 189 7.1 Introduction 189 7.2 Founder members of the Arts Association 190 7.