DOCSLIB.ORG

Trad Ition Ition Tradi Tion

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Trad Ition Ition Tradi Tion South African Journal of Art History Volume 34 Number 2 2019 Art History Volume African Journal of South South African Journal of Art History A JOURNAL FOR THE VISUAL ARTS AND ARCHITECTURE Volume 34 Number 2 2019 tion i Trad Tradition formation formation trans trans ition Trad Tradition trans trans formation formation& & SAJAHcover34no2.indd 1 2019/12/20 23:50:20 The South African Journal of Art History is a peer reviewed journal publishing articles and review articles on the following subjects: Art and architectural history Art and architectural theory Aesthetics and philosophy of art Visual culture Art and the environment Film and photography History of craft History of design SAJAH does not publish the following: educational issues; student research; architectural designs; popular culture. ISSN 0258-3542 Available on Sabinet Website: www.sajah.co.za Archive: UP Space Indexed by Scopus and Clarivate Analytics i SAJAH South African Journal of Art History Volume 34, Number 2, 2019 Editor Estelle Alma Maré Editorial Board Arthur Barker, University of Pretoria (Regionalism and South African architecture) Monica di Ruvo, Peninsula University of Technology (craft, design pedagogy, interior design, sustainable design) Kobus du Preez, University of the Free State (indigenous architecture, conservation) Adrian Konik, Nelson Mandela University (philosophy, film theory and cultural studies) Estelle Liebenberg-Barkhuizen, University of KwaZulu-Natal (women artists, works on paper) Estelle Alma Maré, Tshwane University of Technology (art and architectural history) Phil Mashabane, Architect (architectural history, theory and conservation) Mauritz Naudé, University of Pretoria (South African architecture) Mbongiseni Nkambule, Tshwane University of Technology (architectural history and theory) Jonathan Noble, University of the Free State (architectural history, theory and criticism) Bert Olivier, University of the Free State (aesthetics and philosophy of art) Johann Opperman, University of South Africa (South African art) John Steele, Walter Sisulu University (ceramics, installation art, ephemeral art) Aletta Steenkamp, University of Cape Town (architecture) Ingrid Stevens, Tshwane University of Technology (art theory, contemporary art, craft) Gerald Steyn, Tshwane University of Technology (African and South African architecture) Ariana van Heerden, University of Pretoria (neuroscience of art making) C.J. van Vuuren, University of South Africa (indigenous architecture, anthropology) International Advisory Board Tsion Avital, Emeritus professor, Department of Design and Art, Holon Academic Institute of Technology, Israel Concha Diez-Pastor e Iribas, ESNE (University of Design), Madrid, Spain Maria Fernada Derntl, Faculdade de Arquitetuia e Urbanismo da Universidade de Sao Paulo, Brazil Pascal Dubourg-Glatigny, Centre National de la Recherche Scientifique, Paris, France Aleš Erjavec, Slovenian Academy of Sciences and Arts, Ljubljana, Slovenia Antoni S. Folkers, researcher, African Architecture Matters, Amsterdam, The Netherlands John Hendrix, Department of Architecture, Lincoln University, UK Mary Johnson, Department of Architecture, De Montford University, Leicester, UK Constantinos V. Proimos, Hellenic Open University and the Technical University of Crete, Greece Raymond Quek, Leeds School of Architecture, UK Tijen Roshko, Department of Architecture, University of Manitoba, Canada Leoni Schmidt, Director of Research, Otago Polytechnic, New Zealand Nikolaos-Ion Terzoglou, Department of Architecture, Technical University, Athens, Greece Gert van Tonder, Reki-An Pavilion, Kamigamo Minami Ojicho 5 Banchi, Kitaku, Kyoto City, Japan Alexander Tzonis, Emeritus professor, Delft University of Technology, The Netherlands The SAJAH is sponsored by the Art Historical Work Group of South Africa Chairperson: Gerald Steyn Treasurer and Publication Secretary: E.A. Maré Cover design: Johann Opperman Layout: Silverrocket Publications & Design Printed by: Procopyprint ii South African Journal of Art History Volume 34, number 2, 2019 Contents Research articles on the subject of “Tradition and transformation” Yolanda van der Vyver The role of sculptural tradition in (political) power transformations: the self-contradictoriness of psychosocial repetition 1 Gerald Steyn Designing apartments for changing demographics in South Africa 25 Michael Louw Transformation through reclamation and the repositioning of tradition 43 John Steele Ephemeropolis: urban design and performing land art at AfrikaBurn 2019 62 Estelle Alma Maré Representations of the sun before and after the Copernican revolution 84 iii The role of sculptural tradition in (political) power transformations: the self-contradictoriness of psychosocial repetition Yolanda van der Vyver University of the Free State E-mail: [email protected] The sculptural tradition of communicating power and ideology in marble and bronze is one that is copied from one civilisation to the next. In the fifth century BCE Greek sculptures idealised the human form in its youthful perfection and more than four hundred years later, Romans modelled sculptures of their political leaders on those of their Greek predecessors. In this way the Romans connected themselves in mythical fashion to the Golden Age of Classical Greece, which marked the height of Athens’s influence and power. The sculptural traditions of the ancient Greek and Roman civilisations were reinvented during the Renaissance and found global expression in nineteenth century monumentalism. But with each significant socio-political transformation, a new power strives to reformulate its predecessor’s memory practices, and when a new society lacks certain traditions, these are often invented or constructed in mythical fashion, based on selections and exclusions from its predecessor’s cultural and political traditions. The prevalence of “Western” statues in post- independence Africa illustrates this form of self-contradictory psychosocial repetition. Despite being alien to traditional African culture, monumental objects that grab back to ancient civilisations and mimic Western cultural and sculptural traditions, strive to express and exercise political power. They are self-contradictory, because they copy and create a mythical, cultural and political tradition on the one hand and simultaneously attempt to erase and replace the memories of their colonial predecessors. The aim of this article is to situate sculptural tradition in its wider historical context and to investigate the social-physical phenomenon of psychosocial repetition within its complex context. Key words: sculptural tradition, psychosocial repetition, political transformation, reformulation of memory practices Die rol van skulturele tradisie in (politiese) magstransformasies: die self-weersprekendheid van psigososiale repetisie Die skulpturele tradisie om mag en ideologie in marmer en brons te kommunikeer word van een beskawing na die volgende gekopieer. In die vyfde eeu vGJ het Griekse beelde die menslike vorm in sy jeugdige perfeksie geïdealiseer en meer as vierhonderd jaar later het die Romeine beelde van hul politieke leiers op dié van hul Griekse voorgangers gemodelleer. So het die Romeine hulself op mitiese wyse verbind tot die Goue Eeu van Klassieke Griekeland, wat as hoogtepunt van Athene se invloed en mag beskou word. Die skulpturele tradisies van die antieke Griekse en Romeinse beskawings is tydens die Renaissance herontdek en het globale uitdrukking in negentiende eeuse monumentalisme gevind. Maar met elke beduidende sosio-politieke transformasie, strewe ’n nuwe mag om sy voorganger se geheuegebruike te herformuleer, en as ’n nuwe gemeenskap sekere tradisies kort, word dit dikwels opnuut bedink of op mitiese wyse gekonstrueer, gebaseer op die seleksies en uitsluitings van sy voorganger se kulturele en politieke tradisies. Die voorkoms van “Westerse” standbeelde in Afrika na onafhanklikheid illustreer hierdie self-weersprekende psigososiale repetisie. Ten spyte daarvan dat dit vreemd is aan tradisionele Afrika kulture, strewe monumentale voorwerpe, wat teruggryp na antieke beskawings en wat Westerse kulturele en skulpturele tradisies naboots, om politieke mag uit te druk en uit te oefen. Hierdie monumente is self-weersprekend, omdat hulle aan die een kant ’n mitiese, kulturele en politieke tradisie kopieer en skep, en aan die ander kant gelyktydig poog om hul koloniale voorgangers se herinneringe uit te vee en te vervang. Die doel van hierdie artikel is om skulpturele tradisie in sy wyer historiese konteks te plaas en om die sosiale- fisiese fenomeen van psigososiale repetisie binne hierdie komplekse konteks te ondersoek. Sleutelwoorde: skulpturele tradisie, psigososiale repetisie, politieke transformasie, herformulering van geheuegebruike SAJAH, ISSN 0258-3542, volume 34, number 2, 2019: 1-24 ith every (political) power transformation, the new power adopts certain cultural traditions of the old power. These cultural traditions may be adapted and elaborated Wupon to suit the new power’s cultural requirements. It is also not unusual for the new power to perform a cultural reformulation ritual on the old power’s memory practices in an attempt to control what the transformed community remembers and what it forgets. The result is a cultural layering of the old with the new, which still bears visible evidence of the attempts to scratch off or alter some of the old layers. This article focuses on sculpture and specifically monumental sculpture as such a cultural tradition. It relates the cultural
Load more

Recommended publications
  • The Voortrekker Monument and Nature Reserve Educational Services
    The Voortrekker Monument and Nature Reserve Educational Services Voortrekker Monument (VTM) Visit the largest monument in Africa and a Grade 1 National Heritage Site. Learn more about the Great Trek, the Voortrekkers and the pioneers’ way of life. See the longest marble frieze in the world, tapestries with more than 3 million stitches, the cenotaph, historical flags, cultural historical objects, the Johanna van der Merwe centenary wagon and cannon “Grietjie”. Various CAPS-guided tours to choose from: art, design, SS, LS etc. Funda Discovery Centre (FDC) The Centre has various media, from museum items to archaeological artefacts to audiovisual devices and objects that are based on educational themes – in alignment with the national curriculum – for educators and learners. Therefore, the centre is a treasure trove of additional sources and is creatively presented through guided tours and interactive activities. Themes include national symbols, food, settlements and materials like wood, metal, leather, clay, ceramics, glass, grass and textiles. Curriculum-based programmes include: Then and Now (Gr. 1-3, LS and Maths) From Hunter-gatherer to modern human (Gr. 4-6, SS and NS) A variety of other activities such as traditional bread baking, send a post card, horse demonstrations, make a clay object, make a water filter, plant a bacon tree and much more. Heritage Centre (HC) The Heritage Centre complements the curriculum, especially for high school learners and students. The library and archive is ideal for doing research and focuses on topics of South African history and cultural history. The Afrikaner Beacons and Bridges exhibit (1902 – 2007) harvests heritage awareness, and focuses on an objective view of the Afrikaner’s role and contributions to South Africa in the 20th century.
    [Show full text]
  • Gauteng Gauteng
    Gauteng Gauteng Thousands of visitors to South Africa make Gauteng their first stop, but most don’t stay long enough to appreciate all it has in store. They’re missing out. With two vibrant cities, Johannesburg and Tshwane (Pretoria), and a hinterland stuffed with cultural treasures, there’s a great deal more to this province than Jo’burg Striking gold International Airport, says John Malathronas. “The golf course was created in 1974,” said in Pimville, Soweto, and the fact that ‘anyone’ the manager. “Eighteen holes, par 72.” could become a member of the previously black- It was a Monday afternoon and the tees only Soweto Country Club, was spoken with due were relatively quiet: fewer than a dozen people satisfaction. I looked around. Some fairways were in the heart of were swinging their clubs among the greens. overgrown and others so dried up it was difficult to “We now have 190 full-time members,” my host tell the bunkers from the greens. Still, the advent went on. “It costs 350 rand per year to join for of a fully-functioning golf course, an oasis of the first year and 250 rand per year afterwards. tranquillity in the noisy, bustling township, was, But day membership costs 60 rand only. Of indeed, an achievement of which to be proud. course, now anyone can become a member.” Thirty years after the Soweto schoolboys South Africa This last sentence hit home. I was, after all, rebelled against the apartheid regime and carved ll 40 Travel Africa Travel Africa 41 ERIC NATHAN / ALAMY NATHAN ERIC Gauteng Gauteng LERATO MADUNA / REUTERS LERATO its name into the annals of modern history, the The seeping transformation township’s predicament can be summed up by Tswaing the word I kept hearing during my time there: of Jo’burg is taking visitors by R511 Crater ‘upgraded’.
    [Show full text]
  • 'Bitter Hedge': Narrative, Nationalism, and the Construction of Afrikaner Identity In
    SPECIAL ISSUE ––– 2011 PERSPECTIVES ON POWER CONFERENCE VOLUME VI ISSUE 11 2013 ISSN: 1833-878X Pages 29-38 Sheilagh Ilona O’Brien The Construction of a ‘Bitter Hedge’: Narrative, Nationalism, and the Construction of Afrikaner Identity in the Voortrekker Monument ABSTRACT During the early settlement of South Africa, the governor, Jan Van Riebeeck, grew a hedge of Bitter Almond to divide the fledgling colony from the local population. The journey of the Voortrekkers who escaped British rule into the interior would become an important focal point of Afrikaner nationalism, and the single most important event in Afrikaner history and mythology. The construction of the Voortrekker Monument, and the narrative it presents, are important for understanding how the Afrikaners constructed and used their past. Afrikaners clung to their imagined past in a present where everything seemed doubtful, and in so doing they attempted once again to cut themselves off from the world around them. Through Afrikaner nationalism Jan Van Riebeeck’s ‘Bitter Almond hedge’ returned to South Africa in the twentieth-century. BIOGRAPHY Sheilagh Ilona O’Brien has a Bachelor of Arts (Hons), with a double-major in History and First Class Honours, and a Masters of International Studies both from The University of Queensland. She is currently a PhD Candidate in the School of History, Philosophy, Religion and Classics at The University of Queensland. Her major fields of interest are oppression and its causes, genocide and communal violence, and history as myth: how we tell narratives about the past. 29 THE CONSTRUCTION OF A ‘B ITTER HEDGE ’: NARRATIVE , NATIONALISM , AND THE CONSTRUCTION OF AFRIKANER IDENTITY IN THE VOORTREKKER MONUMENT This In 1938, centennial celebrations took place upon the site of a nineteenth-century battle at Bloedrivier , in commemoration of the conflict between the Dutch Voortrekkers – who in 1838 were moving north to escape British rule – and the Zulu impis .
    [Show full text]
  • Pretoria City Tour Rates Collections Morning
    PRETORIA CITY TOUR The city of Pretoria (aka The Jacaranda City) is South Africa’s administrative capital and we take you on an amazing cultural experience that includes tree lined avenues, inspiring architecture, historical monuments. TOUR ITINERARY RATES R900.00 per person sharing On this half day tour, you will learn a lot about the fascinating history of South R1550.00 per single traveller Africa during a Pretoria city experience. Pretoria is the capital of South Africa and therefore full of historic sites. We visit the Union Buildings, headquarters of the government. The buildings are beautifully situated in terraced gardens, COLLECTIONS through which you can enjoy an idyllic walk. Another major attraction on this Any hotel or address in Johannesburg tour is the Voortrekker Monument. This monument is of great significance to many Afrikaans speaking South Africans because it stands for Afrikaner MORNING/AFTERNOON Nationalism. The monument is in the shape of a big stone cube. The interior walls depict the story of the Great Trek, a mass movement of Afrikaner Boers TOURS who resented British rule. Next interesting site on our tour is the Paul Kruger 9H00 and 13H00 House Museum. Kruger National Park is named after Paul Kruger. Learn more about this fascinating man and his life. The house displays furniture and personal items of the Kruger family. Pretoria has character in its buildings and Paul Kruger House during this city architecture tour, you will be given ample opportunity to ask Paul Kruger was a resistance leader and key your guide about the history behind the buildings and culture.
    [Show full text]
  • The Afrikaans Language Monument
    THE AFRIKAANS LANGUAGE MONUMENT From Concept to Being ’n agentskap van die Departement van Kuns en Kultuur 2 The girl who kicked off her European shoes, pulled on Indonesian socks and tied her ”vellies” (rawhide shoes) here in Africa, she is that treasure that we call Afrikaans. – Chris Chameleon 3 WHERE FROM, AFRIKAANS? Khoi Indo-European Austronesian The Afrikaans Language Museum European and Language Germanic Romance Monument in Paarl celebrate the birth and West Gallo- Ibero- Malayo- Germanic Romance Romance Polynesian continuing existence Low of Afrikaans. High German Anglo-Frisian Franconian Malayic Everyone who can or German English Dutch French Portuguese wants to speak Afrikaans, Malayo- or who is interested in Portuguese the language, should visit this unique museum and Malay monument to learn more about Afrikaans, the third most spoken language in South Africa. Afrikaans is the mother tongue of more than seven million speakers and is spoken by just as many people as a second or third language. Afrikaans *Statistics South Africa 2011 4 Contents 1 Inception of the monument p 5 2 Inspiration for the design p 10 The written word at the monument p 12 3 Building process p 16 Sculpture rather than architecture p 20 4 Symbolism p 22 5 The architect Jan van Wijk p 24 6 The environment p 26 7 Other language monuments p 28 8 The institution p 30 5 1 Inception of the monument The idea of constructing a monument to the Afrikaans language was raised on 14 August 1942 on the farm Kleinbosch in Dal Josaphat near Paarl. The event was the unveiling of a memorial plaque at the cemetery, in honour of SJ du Toit, DF du Toit and PJ Malherbe, three founder members of the Genootskap van Regte Afrikaners (GRA) or ‘Society of True Afrikaners’, who are buried there.
    [Show full text]
  • Groups and Conferences FACT SHEET
    Groups and Conferences FACT SHEET About the Destination Located in the heart of the city, Southern Sun Pretoria is a popular business and conference hotel for politicians, diplomats and local embassies. For delegates wanting to experience the city during their stay, a host of attractions are only a short drive away. The Pretoria Botanical Gardens, National Zoological Gardens, Wonderboom Nature Reserve, Voortrekker Monument, Transvaal Museum and many other landmarks can easily be explored whilst staying at the hotel. Southern Sun Pretoria has 240 beautifully appointed bedrooms, 5 conference venues plus an executive boardroom, restaurant, fitness centre, outdoor pool and a popular bar area. The Conference Experience Exceptional service, location and style are what event planners and delegates can expect from Southern Sun Pretoria. The hotel prides itself in offering uncompromised conferencing solutions and facilities - from themed events, specialised menus to detailed event planning. A team of dedicated banqueting co-ordinators will assist in planning the perfect meeting, conference or private function. At this hotel, you can truly think “out of the box” when you plan your next event – be it high tea on the terrace overlooking the landscaped gardens; enjoying an African sunset whilst having a cocktail party or even a braai around the pool. 5 REASONS to have your next event at Southern Sun Spaces Pretoria The largest venue, the Cullinan is over 400m2 and is perfect for exhibitions and large conferences 1 LOCATION with a seating capacity of up to 520 people cinema style. There are also additional venues for smaller Southern Sun Pretoria is ideally located groups of between 20 and 240 people.
    [Show full text]
  • The Women at Winburg's Voortrekker Monument
    The Women at Winburg’s Voortrekker Monument Walter Peters Department of Architecture, University of the Free State, Bloemfontein E-mail: [email protected] The Voortrekker Monument at Winburg resulted from an open architectural competition held in 1964. This monument followed the national Voortrekker Monument depicting a shrine surrounded by a literal ox-wagon laager by Gerard Moerdijk at Pretoria, 1938-49, and its procurement, architecture and architect could hardly have been more different. Entries were to symbolize, the ordeliewende gemeenskap as well as die vrou in die Groot Trek, and, to everyone’s surprise the English-speaking, Durban-based, liberal, young modernist architect, Hans Hallen, won the competition from 36 entries. His was an abstract design that acknowledged each of the five leaders of the trek parties in an orderly assembly of towering, chamfered half-pipes of off-shutter reinforced concrete in a circular arrangement. These were turned to open outward while their backs symbolically defined a laager, and the submission proposed that a statue of a woman be the focus of the enclosed space for which one half-pipe was misaligned and the roof cut back that the figure would bask in natural daylight. But, the statue was never commissioned. This neglect left the monument itself - the body - to communicate the role of the women, the focus of this research. Key words: Hans Hallen, Voortrekkers, abstract monuments of commemoration. Die Frauen am Voortrekker-Denkmal in Winburg Das Voortrekker-Denkmal in Winburg ist auf Grundlage eines offenen Architekturwettbewerbs entstanden, der im Jahre 1964 ausgeschrieben wurde. Dieses Denkmal steht in der Nachfolge des 1938-49 vom Architekten Gerard Moerdijk geschaffenen Schreins in Pretoria, der buchstäblich im Zentrum einer Wagenburg positioniert ist, doch sind seine Beschaffenheit, Gestalt und Architekt kaum unterschiedlicher denkbar.
    [Show full text]
  • 22 Building the Church of the Vow (1840–43) A3
    22 Building the Church of the Vow (1840–43) A3 B2 C2 D N 22 Church of the Vow 26 27 1 25 2 West wall (panel 26/31) 24 3 h. 2.3 × 2.19 m 4 23 Restored fractures on the vertical and horizontal edges Sculptor of the clay maquette: Peter Kirchhoff 22 5 Stages of production 21 A1 W.H. Coetzer, pencil drawing, retained only in A2 (April–June 1937) 6 A2 Reproduction of A1 (June 1937) 20 A3 W.H. Coetzer, revised pencil drawing A1, h. 13.4 × 15.4 cm 7 (after September 1937) 19 Annotations: ‘nog nie klaar’ (not yet finished) / ‘Bou van Gelofte Kerkie’ 8 18 (Building of the Church of the Vow) 17 9 B1 One-third-scale clay maquette, not extant but replicated in B2 (1942–43) 16 10 B2 One-third-scale plaster maquette, h. 77.2 × w. 76.2 × d. 8 cm (1942–43) 15 14 13 12 11 C1 Full-scale wooden armature, not extant (1943–46) C2 Full-scale clay relief, not extant but photographed; replicated in C3 0 5 10 m (1943–46) C3 Full-scale plaster relief (1943–46), not extant but illustrated in undated newspaper, UP Art Archives, Moerdyk files (shortly after 4 June 1948); copied in D (1948–49) D Marble as installed in the Monument (1949) Early records SVK minutes (4.9.1937) ― item 4r (see below, ‘Developing the design’) Voorstelle (5.12.1934?) ― item 19 ‘Pietermaritzburg. Geloftekerkie. Volksraadsitting, of die aanvang van boerdery: watervore, manne op die land besig met saai ens.’ (Pietermaritzburg.
    [Show full text]
  • What to Do Information
    MASILONYANA LOCAL MUNICIPALITY WHAT TO DO THEUNISSEN Erfenis Dam Nature Reserve The Erfenis Dam Nature Reserve lies in the grassveld and vlei (marsh) region of the Free State about 18 km east of Theunissen. Beautiful karee and wild olive trees grow along the ridges of the reserve. The turn-off to the reserve lies just off the Theunissen-Winburg Road. Animals such as mountain reedbuck, red hartebeest and zebra can be easily spotted in the open grass savannah. The reserve also has many different species of terrestrial and aquatic birds and waterfowl, such as South African shellduck and Egyptian geese. Accommodation consists of a caravan park with power points for some of the sites, as well as a bush camp with five tents (2 beds per tent). All the tents have power points and lights. Both the caravan park and the bush camp have adequate ablution facilities. The dam in the reserve is home to several species of fish, such as yellowfish, carp, barbel and Orange River mudfish. Angling is one of the most popular activities in the reserve but visitors can also participate in other water sports, such as skiing, canoeing, paragliding and windsurfing. Tweefontein Nature Reserve and Game Farm The farm is situated approximately 7 km from the town. It is the location of the first Cheetah breeding and research project in the Free State where you can have the opportunity to see the rare and endangered Cheetah, with specific feeding-times which you will be allowed to watch closely. Game viewing and hunting, as well as birdwatching are offered.
    [Show full text]
  • Johannesburg and Surroundings
    johannesburg and surroundings HOTEL, VILLAS AND SPA SOUTH AFRICA Index Johannesburg City, Soweto and Pretoria Tours Shopping Experiences Museums, Culture and Science Nature and Wildlife Johannesburg City Tour Hyde Park, Melrose Arch, Rosebank Mall, Maropeng – Cradle of Humankind Montecasino Bird Park Johannesburg and Soweto Tour Sandton City, Nelson Mandela Square, Origins Centre Elephant Sanctuary The Pivot at Montecasino Soweto Tour Apartheid Museum Bushbabies Monkey Sanctuary Nelson Mandela Museum and Desmond Tutu House Constitution Hill Ann van Dyk Cheetah Centre Dining Footsteps of Mandela Lion Park Qunu Restaurant and Luke Dale Roberts X the Saxon Mining Tours Gold Reef City Pilanesberg Game Reserve Gold Reef City Apartheid Museum Johannesburg Zoo Theatre Cullinan Diamond Mine Pretoria City Tours Pretoria Zoo Auto & General Theatre On The Square Jewel Africa at The Pivot at Montecasino Union Buildings and Pretoria Botanical Gardens Joburg Theatre Outdoor and Adventure Wonderboom Nature Reserve Peter Toerien’s Montecasino Theatre and Studio Natural History Hot Air Ballooning Victory Theatre Maropeng – Cradle of Humankind Art and Craft Galleries Gold Reef City Theme Park Lyric Theatre at Gold Reef City Origins Centre Art Eye Gallery Orlando Towers Market Theatre in Newtown Everard Read Gallery and Circa Gallery Goodman Gallery Golf Kim Sacks Gallery Steyn City Golf Course Stevenson Gallery tog’una African Artefacts Collection African Craft Market of Rosebank Johannesburg Welcome to Johannesburg, one of the world’s largest urban forests. Aside from the Hotel’s own excellent culinary offerings and The Gauteng region is an all-year-round destination that enjoys business facilities, there is a range of world class restaurants in excellent weather throughout the seasons, with moderately cool, and around the city to play host to business lunches or dinners, dry winters and hot summers with the cooling relief of sporadic providing a palate range of culinary experiences.
    [Show full text]
  • Monument(Al) Meaning Making in the “New” South Africa: Freedom Park As a Symbol of a New Identity and Freedom?
    Monument(al) meaning making in the “new” South Africa: Freedom Park as a symbol of a new identity and freedom? Pieter Labuschagne Political Sciences, University of South Africa E-mail: [email protected] Freedom Park was established as part of a postcolonial reconstruction of monuments to honour those who sacrificed their lives for freedom, as well as to enhance reconciliation and nation building in South Africa. The aim of the article is to investigate the geographical location, spatial positioning and skyline of Freedom Park in an effort to establish its goal and the new identity that it wishes to convey. A de- scription of the Park from outside and inside will be given in an effort to unlock its symbolic meaning. The underpinning research question is whether Freedom Park reflects a united identity which could contribute to reconciliation and nation building in South Africa. Key words: Freedom Park, Postcolonial reconstruction, Salvokop, Voortrekker Monument, Pretoria Monument(ale) skepping van betekenis in die “nuwe” Suid-Afrika: Vryheidspark, ʼn simbool van ʼn nuwe identiteit en vryheid? Vryheidspark is as deel van die post-koloniale rekonstruksie van monumente in Suid-Afrika opgerig om eer aan diegene te betoon wat hul lewe vir vryheid opgeoffer het, maar ook om versoening en nasiebou te bevorder. Die doel van die artikel is om die oogmerk met die geografiese ligging en die ruimtelike posisionering van dié vredespark te ondersoek, asook die uitleg en die identiteit wat dit ver- teenwoordig. ʼn Beskrywing van die Park van buite en binne sal gedoen word ten einde die simboliese betekenis te verstaan.
    [Show full text]
  • Memorial Complexity and Political Change: Paul Kruger's Statue's Political Travels Through Space and Time
    Memorial complexity and political change: Paul Kruger’s statue’s political travels through space and time Pieter Labuschagne Department of Political Sciences, Unisa Email: [email protected] For more than a century the statue of Paul Kruger has served as a focal point of political uncertainty and change in South Africa. Since Paul Kruger’s statue was first brought to Pretoria after its completion just before the Anglo-Boer War it has been moved from location to location in a process of political manipulation until its eventual positioning on Church Square in the city centre. However, in post-apartheid South Africa it seems the political process of forced relocation is to be perpetuated, but this time as part of the post-colonial reconstruction process. The article aims to investigate the aspect of memorial complexity and its relationship with the underpinning political change in South Africa and the prospect of the statue’s relocation sometime in the future. The importance and effect of a nexus between a statue and its location on the possible relocation of Paul Kruger’s statue, is also highlighted. Keywords: Paul Kruger, Paul Kruger’s statue, Church Square, Prince’s Park, Station Park Gedenkkompleksiteit en politieke verandering: die politieke migrasie van Paul Kruger se standbeeld deur ruimte en tyd Die standbeeld van Paul Kruger het vir meer as ‘n eeu as die ‘opvanger’ van politieke onsekerheid en verandering in Suid-Afrika gedien. Sedert die standbeeld voor die Anglo-Boere-oorlog na sy voltooing na Suid-Afrika gebring is, is dit as deel van ‘n proses van politieke manipulasie van standplaas na standplaas verskuif.
    [Show full text]