DOCSLIB.ORG

The Dynamics of the Interaction Between Music and Society in Recorded Popular Afrikaans Music, 1900 – 2015

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Dynamics of the Interaction Between Music and Society in Recorded Popular Afrikaans Music, 1900 – 2015 The dynamics of the interaction between music and society in recorded popular Afrikaans music, 1900 – 2015. by Schalk Daniël van der Merwe Dissertation presented for the degree of Doctor of Philosophy (History) in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Prof. Albert Mauritz Grundlingh Co-supervisor: Prof. Stephanus Muller December 2015 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this dissertation, I declare that the entirety of the work contained therein is my own, original work, that I am the owner of the copyright thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted it for obtaining any qualification. December 2015 Copyright © 2015 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za Acknowledgements Firstly, I would like to extend my gratitude to my two supervisors, Professors Albert Grundlingh and Stephanus Muller – I cannot think of a more suitable combination of minds for guiding me through the specific challenges of writing on this subject. I am also grateful for the History Department of Stellenbosch University for financial support, and to my colleagues Professors Sandra Swart, Bill Nasson, Wessel Visser, Dr. Anton Ehlers, (soon-to- be Dr.) Chet Fransch, Melvyn Daniels and Leschelle Morkel, and former colleague Dr. Sarah Duff – all of whom contributed in their own ways. Thank you to Mimi Seyffert, Marina Brink and Lynne Fourie at the University of Stellenbosch’s Library Archive for their help and guidance with archival material. Thank you also to Ernéne Verster and Huibre Lombard at the University of the Free State’s Institute for Contemporary History Archives, and to Monica van Deventer at the SABC Information Library for their help and correspondence. Thank you to Anton Goosen, who was always quick to reply to my many enquiries, and to the late Ollie Viljoen – an extraordinary person and a wealth of information. So many stories passed on with you. To Tertius Louw, the “Rosetta Stone” of South African vinyls, whose unselfish sharing of information was, quite simply, irreplaceable. I am truly indebted to you. I would also like to thank all my brothers and sisters in the music world – too many to mention by name – for being a second family and providing an excellent soundtrack to my life. To my first family - my mother Carin, and sister Carine - thank you so much for your support. Finally, I’d like to reserve the most special mention for my wife, Ilse, for her unwavering love and support, and to my daughter, Valki, whose arrival in this world coincided with the start of this project. Seeing her grow while I was writing this thesis was a constant inspiration and source of immense pride. In memory of my father, “Black” Dan van der Merwe, who instilled in me a love of reading. Stellenbosch University https://scholar.sun.ac.za Abstract This thesis provides an analytical account of the interaction between political events and popular music culture with specific reference to recorded Afrikaans music of the last 115 years. It starts with the first recordings of Boer national anthems during the Anglo-Boer War in 1900, and concludes with expressions of racial exclusivity in post-apartheid Afrikaans pop music. It reveals cases of compliance with, as well as resistance to, the master narrative of Afrikaner nationalism as it existed for most of the twentieth century, and gives examples of how these values persist in the present. By employing popular Afrikaans music as a lens, a clearer image of the agency of ordinary individuals (artists and listeners) emerges against a background of fundamental societal and political change. Furthermore, by looking at popular Afrikaans music over a wide historical period, salient themes (for example class tension and the ubiquitous efforts by cultural nationalist entrepreneurs to co-opt popular Afrikaans music into the Afrikaner nationalist project) in the development of Afrikaner culture over this period are highlighted, which helps to historicise the invocation of Afrikaner nostalgia in post- apartheid Afrikaans pop. Stellenbosch University https://scholar.sun.ac.za Opsomming Hierdie tesis bied ‘n analitiese verhaling van die interaksie tussen politieke gebeure en populêre musiekkultuur met spesifieke verwysing na opgeneemde Afrikaanse musiek oor die laaste 115 jaar. Dit begin met die eerste opnames van die nasionale volksliedere van die Boererepublieke tydens die Anglo-Boereoorlog, en sluit af met uitdrukkings van rasse- eksklusiwiteit in post-apartheid Afrikaanse popmusiek. Die tesis verskaf voorbeelde van die onderstuening van, en verset teen, die meesternarratief van Afrikanernasionalisme soos dit bestaan het vir groot gedeeltes van die twintigste eeu, en gee ook voorbeelde van hoe hierdie waardes nog manifesteer in die hede. Deur populêre musiek in te span as ‘n lens, word ‘n duideliker idee verkry van die lewens van gewone mense (kunstenaars en luisteraars), gesien teen ‘n agtergrond van fundamentele sosiale en politieke verandering. Deur 'n oorsig te skep van populêre musiek oor ‘n lang historiese tydperk, word sekere opvallende temas in die ontwikkeling van Afrikanerkultuur oor hierdie periode (byvoorbeeld klassespanning en die herhaalde pogings deur kulturele nasionalistiese entrepreneurs om populêre Afrikaanse musiek te ko-opteer vir die Afrikanernasionalistiese projek) blootgelê. Dit dra by daartoe om die tematiese gebruik van Afrikaner nostalgie in post-apartheid Afrikaanse popmusiek te historiseer. Stellenbosch University https://scholar.sun.ac.za i Contents List of Abbreviations iii Table of Figures vi Introduction 1 Chapter One: “Kruger’s lost voice”: Nation, religion and race in pre-WWI Afrikaans music records 39 Chapter Two: Mythology, class division and establishing “authority” 68 Chapter Tree: After the Trek: War, Radio, Apartheid and Boeremusiek 103 Chapter Four: “Radio apartheid”: Compliance and resistance in Afrikaans popular music, 1960 – 1979 130 Chapter Five: No longer “Omo-Afrikaans”, no longer “whiter than white”: 159 1979 – 1989 Chapter Six: Explicit politics: Voëlvry, Houtstok and beyond 195 Chapter Seven: Performing whiteness in post-apartheid South Africa: Aggressive identity politics in Afrikaans pop 227 Conclusion 255 Stellenbosch University https://scholar.sun.ac.za ii Bibliography 260 Addendum A: 296 Addendum B: 299 Stellenbosch University https://scholar.sun.ac.za iii List of abbreviations: ABC – African Broadcasting Corporation AHRC – Arts and Humanities Research Council ATKV – Afrikaanse Taal-en-Kultuurvereniging BBC – British Broadcasting Corporation CHARM – Centre for the History and Analysis of Recorded Music DRC – Dutch Reformed Church ECC – End Conscription Campaign FAK – Federasie van Afrikaanse Kultuurvereniginge GNP – Gesuiwerde Nasionale Party INCH – University of the Free State Institute for Contemporary History KKNK - Klein Karoo Nasionale Kunstefees LAM – Ligte Afrikaanse Musiek NP – National Party SABC – South African Broadcasting Corporation SAME – Suid-Afrikaanse Musiek Ensiklopedie TBK – Tradisionele Boeremusiekklub van Suid-Afrika VP - Volksparty WAT – Woordeboek vir die Afrikaanse Taal Stellenbosch University https://scholar.sun.ac.za iv Table of figures: Figure 1: An early advertisement for Afrikaans gramophone records, November 1910. p. 51 Figure 2 a,b,d,e: Early Afrikaans records recorded in London, 1910. p. 54 Figure 3: Annie Visser – “Een bekwame vrijstaatse zangeres en een warm patriot”. p. 56 Figure 4: Joey Bosman – Patriotic Afrikaans singer. p. 57 Figure 5: Kate Opperman. p. 57 Figure 6: Paul Kruger – The first recorded Afrikaans voice? p. 58 Figure 7: Afrikaner national anthems, folk songs and hymns. p. 62 Figure 8: Chris Smit's Pennie Fluitjie, 1962. p.140 Figure 9: Rock Party with the Vikings at the Club Pepsi, 1958 - the first South African rock album? p.143 Figure 10: “Kwela” with Duffy. p.144 Figure 11: “Party” with Duffy. p.145 Figure 12: Coetzee en Ceronio's Die Ghitaar Pluk, c. 1965. p.146 Figure 13: Anton Goosen's debut 1979 album, Boy van die Suburbs. p.163 Figure 14: Bernoldus Niemand's 1983 singel “Hou my vas Korporaal”. p.183 Figure 15: Wildebeest's 1983 EP Horings op die Stoep. p.183 Figure 16: Shifty Records' Forces Favourites, in support of the ECC, 1985. p.209 Figure 17: Shifty Records’ Voëlvry compilation of various alternative Afrikaans artists, 1986. p.209 Figure 18: Houtstok live album. p.224 Figure 19: Houtstok live album tracklisting. p.224 Stellenbosch University https://scholar.sun.ac.za 1 Introduction Music, and discourses on music, contribute to imagining memories that re-organise the history of a group in order to make it meaningful and useful for the present.1 The Gallo Record Company archivist Rob Allingham provided a concise, yet remarkably insightful, summary of the history of popular2 Afrikaans music in his contribution to the African, European and Middle Eastern section in World Music: The Rough Guide.3 On one page, he highlighted many of the most important historical themes in the development of popular Afrikaans music in the twentieth century. These included the influence of imported American music on the “concertina-led brand of dance-music” of the 1930s (and later country music), the role of Afrikaner nationalism, the post-war imitation of middle-of-the-road European light music styles, the emergence of alternative Afrikaans music during the 1980s and 1990s, and the link between music revivalists and right-wing politics after 1994. This is a commendable feat. Were it published ten years later, it would undoubtedly also have included the success story of Afrikaans pop music after 2000 in what remains a period of political uncertainty for white Afrikaans speakers. Of course, the story of popular Afrikaans music is much more complicated than Allingham’s commendable potted version allows for. Part of the complication derives from the truism that to disentangle the history of this music’s development from its socio-political context, is to remove it from an essential part of that history. In this thesis, it is the story of change in society, rather than changes in musical genres, that is of primary interest.
Load more

Recommended publications
  • Transnational Resistance Strategies and Subnational Concessions in Namibia's Police Zone, 1919-1962
    Graduate Theses, Dissertations, and Problem Reports 2021 “Remov[e] Us From the Bondage of South Africa:” Transnational Resistance Strategies and Subnational Concessions in Namibia's Police Zone, 1919-1962 Michael R. Hogan West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the African History Commons Recommended Citation Hogan, Michael R., "“Remov[e] Us From the Bondage of South Africa:” Transnational Resistance Strategies and Subnational Concessions in Namibia's Police Zone, 1919-1962" (2021). Graduate Theses, Dissertations, and Problem Reports. 8264. https://researchrepository.wvu.edu/etd/8264 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. “Remov[e] Us From the Bondage of South Africa:” Transnational Resistance Strategies and Subnational Concessions in Namibia's Police Zone, 1919-1962 Michael Robert Hogan Dissertation submitted to the Eberly College of Arts and Sciences at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Philosophy In History Robert M.
    [Show full text]
  • Constitutional Authority and Its Limitations: the Politics of Sexuality in South Africa
    South Africa Constitutional Authority and its Limitations: The Politics of Sexuality in South Africa Belinda Beresford Helen Schneider Robert Sember Vagner Almeida “While the newly enfranchised have much to gain by supporting their government, they also have much to lose.” Adebe Zegeye (2001) A history of the future: Constitutional rights South Africa’s Constitutional Court is housed in an architecturally innovative complex on Constitution Hill, a 100-acre site in central Johannesburg. The site is adjacent to Hillbrow, a neighborhood of high-rise apartment buildings into which are crowded thousands of mi- grants from across the country and the continent. This is one of the country’s most densely populated, cosmopolitan and severely blighted urban areas. From its position atop Constitu- tion Hill, the Court offers views of Hillbrow’s high-rises and the distant northern suburbs where the established white elite and increasing numbers of newly affluent non-white South Africans live. Thus, while the light-filled, colorful and contemporary Constitutional Court buildings reflect the progressive and optimistic vision of post-apartheid South Africa the lo- cation is a reminder of the deeply entrenched inequalities that continue to define the rights of the majority of people in the country and the continent. CONSTITUTIONAL AUTHORITY AND ITS LIMITATIONS: THE POLITICS OF SEXUALITY IN SOUTH AFRICA 197 From the late 1800s to 1983 Constitution Hill was the location of Johannesburg’s central prison, the remains of which now lie in the shadow of the new court buildings. Former prison buildings include a fort built by the Boers (descendents of Dutch settlers) in the late 1800s to defend themselves against the thousands of men and women who arrived following the discovery of the area’s expansive gold deposits.
    [Show full text]
  • Developing a Potential Youth Festival Model to Aid and Develop the Theatre for Young People Industry in South Africa
    Developing a Potential Youth Festival Model to Aid and Develop the Theatre for Young People Industry in South Africa Pierre Le Fras Mouton Thesis presented in fulfillment for the degree Masters of Drama and Theatre Studies in the Faculty of Drama at Stellenbosch University Supervisor: Dr. Petrus du Preez December 2014 Stellenbosch University http://scholar.sun.ac.za DECLARATION By submitting this dissertation electronically, I declare that the entirety of the work contained therein is my own, that I am the owner of the copyright thereof (unless to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification Date: 15 October 2014 Signed: Pierre Le Fras Mouton Copyright © 2014 Stellenbosch University All rights reserved i Stellenbosch University http://scholar.sun.ac.za ABSTRACT This study aims to investigate the phenomena of theatrical events and festivalisations, specifically aimed at young people. Various methodologies on theatrical events and festivalisation are integrated into a devised model. The devised model offers a clear and comprehensive understanding of the numerous processes and structures that play significant roles in the production and experience of a theatrical event or festival. The devised model is utilised to investigate and analyse the trends and practices of Theatre for Young People internationally (specifically Australia) and locally. The devised model allows the study to highlight certain strengths, opportunities, challenges and shortcomings of the different industries. Through comparing the local trends and practices with those of the international Theatre for Young People industries, areas of development are identified.
    [Show full text]
  • Southern African Law Teachers Conference 2020 Skukuza, Kruger National Park a Conference of the Society of Law Teachers of Southern Africa 20 – 24 January 2020
    Southern African Law Teachers Conference 2020 Skukuza, Kruger National Park A conference of the Society of Law Teachers of Southern Africa 20 – 24 January 2020 ‘Law, Nature and Sustainable Development' #SALTC2020 “Ihloka liyakhohlwa kodwa isihlahla asikhohlwa” (an axe forgets but the tree doesn’t forget) – Ndebele proverb “Isihlahla asinyelelwa” (a tree is not defecated upon) – Zulu proverb “Inkomo kayisengwa ngokwehlisa” (do not continuously milk a cow until there is nothing to milk) – Ndebele proverb AND COMPANY (PTY) LTD “Aiva madziva ava mazambuko” (what used to be rivers are now crossings) – Shona proverb Monday 20 January 2020 14:00 – 17:00 Check in: Reception – Skukuza Rest Camp Registration: Nombolo Mdhluli Conference Centre 19:00 – Till late LexisNexis Cocktail Function: Next to the Sabie River (Directions to be provided during registration) Tuesday 21 January 2020 07:00 – 09:00 Breakfast: Cattle Baron Restaurant 08:00 – 09:00 Council Meeting: Ingwe Venue – Nombolo Mdhluli Conference Centre 09:00 – 10:00 Opening Ceremony: Ndlopfu Venue – Nombolo Mdhluli Conference Centre Prof Letlhokwa Mpedi (Chair) – Executive Dean, Faculty of Law, University of Johannesburg Prof Puseletso Letete – President, Society for Law Teachers of Southern Africa Prof Saurabh Sinha – Deputy Vice-Chancellor for Research and Internationalisation, University of Johannesburg Judge Boissie Mbha – Judge of Appeal at the Supreme Court of Appeal, South Africa 10:00 – 11:00 Plenary Session 1: Ndlopfu Venue – Nombolo Mdhluli Conference Centre Sustainable development,
    [Show full text]
  • Re-Membering Queer Africa in Literature and Film Matthew Ap Trick Durkin
    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Spring 1-1-2017 "Unorthodox Conduct": Re-membering Queer Africa in Literature and Film Matthew aP trick Durkin Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Durkin, M. P. (2017). "Unorthodox Conduct": Re-membering Queer Africa in Literature and Film (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/126 This One-year Embargo is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. "UNORTHODOX CONDUCT": RE-MEMBERING QUEER AFRICA IN LITERATURE AND FILM A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Matthew Durkin May 2017 Copyright by Matthew P. Durkin 2017 "UNORTHODOX CONDUCT": RE-MEMBERING QUEER AFRICA IN LITERATURE AND FILM By Matthew P. Durkin Approved April 7, 2017 ________________________________ ________________________________ Emad Mirmotahari, Ph.D. Laura Engel, Ph.D. Associate Professor of English Professor of English (Committee Chair) (Committee Member) ________________________________ James Holstun, Ph.D. Professor of English, University at Buffalo (Committee Member) ________________________________ ________________________________
    [Show full text]
  • Verby Komatipoort? Rasseproblematiek in Die Portugees-Afrikaanse Reisverhale Van Elsa Joubert
    VERBY KOMATIPOORT? RASSEPROBLEMATIEK IN DIE PORTUGEES-AFRIKAANSE REISVERHALE VAN ELSA JOUBERT. LIZETTE GROBLER Tesis ingelewer ter gedeeltelike voldoening aan die vereistes vir die graad van Magister in die Lettere en Wysbegeerte aan die Universiteit van Stellenbosch. Studieleier Prof. Siegfried Huigen Desember 2005 Ek, die ondergetekende, verklaar hiermee dat die werk in hierdie tesis vervat, my eie oorspronklike werk is en dat ek dit nie vantevore in die geheel of gedeeltelik by enige universiteit ter verkryging van ’n graad voorgelê het nie. Handtekening: Datum: 1 September 2005 Bedankings My opregte dank aan: • My promotor, professor Siegfried Huigen, vir sy lankmoedigheid en skerpsinnige kommentaar • My eksaminatore, professor Louise Viljoen en professor Ena Jansen, vir hul insiggewende terugvoer • My eggenoot, Kobus Grobler, vir sy geduld, liefde, aanmoediging en ondersteuning • My ouers Albé en Suzie Bakker, vir hul gebede, taktvolle onderskraging en liefde • My skoonouers, Kobus en Jessie Grobler, my familie en ander pleitbesorgers vir hul ondersteuning, liefde en gebede • My vriendinne Retha Schoeman, Naomi Bruwer en Jihie Moon vir hul inspirasie en aanmoediging • My oupa, Freddie Bakker, wat my voorgraadse studie moontlik gemaak het • Al die dosente van die Departement Afrikaans en Nederlands, veral dr. Ronel Foster, vir hul hulp en belangstelling. • Mev. Hannie van der Merwe en mnr. Trevor Crowley wat gehelp het met die manuskrip se voorbereiding • My Hemelse Vader vir sy ruim oorskulp en groot genade. Erkennings Hiermee word
    [Show full text]
  • Download PDF Van Tekst
    Voortgang. Jaargang 18 bron Voortgang. Jaargang 18. 1999 Zie voor verantwoording: http://www.dbnl.org/tekst/_voo004199901_01/colofon.php © 2011 dbnl i.s.m. 7 Die navolging van Guido Gezelle se ‘Twee horsen’ deur Jan F.E. Celliers Etienne Britz Abstract - In a previous issue of this journal (Voortgang XVI, 1996: 91-113), J.D.F. van Halsema traced the argument which evolved in 1913 and 1914 between the Dutch literary critic Albert Verwey on the one side, and South African supporters of the advancement of Afrikaans as a cultural language on the other. The argument involved the alleged merits of the Afrikaans poet C. Louis Leipoldt and the corresponding demerits of Leipoldt's contemporaries Jan F.E. Celliers and Totius. In his periodical De Beweging, Verwey lauded Leipoldt's so-called ‘spraak’ (literally: - ‘speech’), by which he meant Leipoldt's lack of contrivance; his natural talent and originality as a poet. Leipoldt was clearly well-read, according to Verwey, but his erudition did not have a conspicuous regulatory effect on his writing. Celliers and Totius, however, produced ‘schriftuur’ (writing according to set rules), because they employed the well-known rhetorical devices of nineteenth century European poetry and their poems were often recognizable imitations of English, Dutch, French or German originals. They reiterated the European register, whereas Leipoldt deviated from this register with his uniquely South African ‘speech’. The denunciation of Celliers and Totius alarmed the ‘taalstryders’ (language fighters) of the so-called Second Afrikaans Language Movement in South Africa because it denied Afrikaans two artists who seemed to lend new refinement, dignity and depth to its advance as a civilized language.
    [Show full text]
  • Ireland and the South African War, 1899-1902 by Luke Diver, M.A
    Ireland and the South African War, 1899-1902 By Luke Diver, M.A. THESIS FOR THE DEGREE OF PH.D. DEPARTMENT OF HISTORY NATIONAL UNIVERSITY OF IRELAND MAYNOOTH Head of Department: Professor Marian Lyons Supervisors of Research: Dr David Murphy Dr Ian Speller 2014 i Table of Contents Page No. Title page i Table of contents ii Acknowledgements iv List of maps and illustrations v List of tables in main text vii Glossary viii Maps ix Personalities of the South African War xx 'A loyal Irish soldier' xxiv Cover page: Ireland and the South African War xxv Introduction 1 Chapter 1: Irish soldiers’ experiences in South Africa (October - December 1899) 19 Chapter 2: Irish soldiers’ experiences in South Africa (January - March 1900) 76 Chapter 3: The ‘Irish’ Imperial Yeomanry and the battle of Lindley 109 Chapter 4: The Home Front 152 Chapter 5: Commemoration 198 Conclusion 227 Appendix 1: List of Irish units 240 Appendix 2: Irish Victoria Cross winners 243 Appendix 3: Men from Irish battalions especially mentioned from General Buller for their conspicuous gallantry in the field throughout the Tugela Operations 247 ii Appendix 4: General White’s commendations of officers and men that were Irish or who were attached to Irish units who served during the period prior and during the siege of Ladysmith 248 Appendix 5: Return of casualties which occurred in Natal, 1899-1902 249 Appendix 6: Return of casualties which occurred in the Cape, Orange River, and Transvaal Colonies, 1899-1902 250 Appendix 7: List of Irish officers and officers who were attached
    [Show full text]
  • 41129 22-9 Legala
    Government Gazette Staatskoerant REPUBLIC OF SOUTH AFRICA REPUBLIEK VAN SUID-AFRIKA September Vol. 627 Pretoria, 22 2017 September No. 41129 PART 1 OF 2 LEGAL NOTICES A WETLIKE KENNISGEWINGS ISSN 1682-5843 N.B. The Government Printing Works will 41129 not be held responsible for the quality of “Hard Copies” or “Electronic Files” submitted for publication purposes 9 771682 584003 AIDS HELPLINE: 0800-0123-22 Prevention is the cure 2 No. 41129 GOVERNMENT GAZETTE, 22 SEPTEMBER 2017 IMPORTANT NOTICE: THE GOVERNMENT PRINTING WORKS WILL NOT BE HELD RESPONSIBLE FOR ANY ERRORS THAT MIGHT OCCUR DUE TO THE SUBMISSION OF INCOMPLETE / INCORRECT / ILLEGIBLE COPY. NO FUTURE QUERIES WILL BE HANDLED IN CONNECTION WITH THE ABOVE. Table of Contents LEGAL NOTICES BUSINESS NOTICES • BESIGHEIDSKENNISGEWINGS Gauteng ....................................................................................................................................... 13 Eastern Cape / Oos-Kaap ................................................................................................................. 14 Free State / Vrystaat ........................................................................................................................ 15 KwaZulu-Natal ................................................................................................................................ 15 Mpumalanga .................................................................................................................................. 15 North West / Noordwes ....................................................................................................................
    [Show full text]
  • Music Through the Lens: the Changing Position of Photographers in the South African Music Scene
    Music through the Lens: The changing position of photographers in the South African music scene Fig i.1: Fokofpolisiekar with music photographers in the first few rows. Oppikoppi [Northam], 2016 © Lourens Smit Photography. by: Lionel Potgieter u12006816 Supervisor: Dr. Jimmy Pieterse October 2019 A dissertation submitted in fulfilment of the requirements for the degree MSocSci Anthropology in the Department of Anthropology and Archaeology University of Pretoria Faculty of Humanities Declaration of originality University of Pretoria The Department of Anthropology and Archaeology places great emphasis upon integrity and ethical conduct in the preparation of all written work submitted for academic evaluation. While academic staff teach you about referencing techniques and how to avoid plagiarism, you too have a responsibility in this regard. If you are at any stage uncertain as to what is required, you should speak to your lecturer before any written work is submitted. You are guilty of plagiarism if you copy something from another author’s work (e.g. a book, an article or a website) without acknowledging the source and pass it off as your own. In effect you are stealing something that belongs to someone else. This is not only the case when you copy work word-for-word (verbatim), but also when you submit someone else’s work in a slightly altered form (paraphrase) or use a line of argument without acknowledging it. You are not allowed to use work previously produced by another student. You are also not allowed to let anybody copy your work with the intention of passing if off as his/her work.
    [Show full text]
  • 2020 Annual Report Testifies to Much Resilience and Innovation, Yielding Improvement in 18 Key Performance Indicators of at Least 5% When Compared to 2019 (Table Xx)
    ANNUAL REPORT ANNUAL REPORT 1 2 2 Scope and Boundary of the Report and Report Content OVERVIEW, SCOPE AND BOUNDARY OF THE REPORT The scope and boundary of the University of Johannesburg’s Annual Report is reflected in this section and is, firstly, guided by the Department of Higher Education and Training Regulations for Annual Reporting (compliance report) by Public Higher Education Institutions. Secondly, the principles of integrated and sustainability reporting are taken into consideration for the portfolio and divisional sections of this report. The Annual Report covers the period of 1 January 2020 to 31 December 2020 and highlights development and performance for the calendar year. The report is available at www.uj.ac.za. Any questions, queries and comments regarding this report should be directed to the Registrar, whose contact details are available on the University of Johannesburg’s website. The report is an overview of the core business of the University of Johannesburg (UJ), which is offered on the four campuses in Gauteng: the Auckland Park Kingsway Campus (APK), the Auckland Park Bunting Road Campus (APB), the Doornfontein Campus (DFC), and the Soweto Campus (SWC). The following processes and guidelines were followed for determining the content of the report: ¾ The Regulations for Reporting by Public Higher Education Institutions. ¾ The Institutional Strategic Plan 2025 and predetermined objectives, as approved by Council and reflected in the Annual Performance Plan (APP). ¾ The Institutional Risk Register approved by Council. The Annual Report is presented in sections largely determined by the structure of the institution; however, the important cross-over themes of risk management, sustainability, and transformation, as well as the six strategic objectives of the institution, are addressed both in dedicated sections and across the Annual Report.
    [Show full text]
  • Sounds of Young Afrikaners
    Sounds of young Afrikaners Popular music and processes of social identification in and around Pretoria, South Africa Maike Lolkema Research Master Thesis in African Studies African Studies Centre / Leiden University Sounds of young Afrikaners Popular music and processes of social identification in and around Pretoria, South Africa Name Maike Reinate Lolkema Supervisor Dr. W.M.J. (Ineke) van Kessel Second Reader Dr. H. (Harry) Wels Date July 2014 Pictures used at the cover: Picture at the top: Audience at the performance of Fokofpolisiekar at Oppikoppi Festival at August 10th 2012. Picture at the bottom: Audience at the performance of Steve Hofmeyr at the Pretoria Musiekfees on November 17th 2012. The writer made both pictures. 2 ‘We understand it still that there is no easy road to freedom. We know it well that none of us acting alone can achieve success. We must therefore act together as a united people, for national reconciliation, for nation building, for the birth of a new world.’ - Nelson Mandela in his inaugural address May 10th 1994 ‘Een ding het intussen vir my duidelik geword: Dis nie ’n land vir sissies nie.’ - Fred de Vries in Rigting Bedonnerd ‘Revoluties worden op schepen uitgeroepen, utopieën op eilanden geleefd. Dat er nog iets anders moet zijn dan het hier en nu, is een troostende gedachte.’ - Judith Schalansky in De atlas van afgelegen eilanden ‘Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness, that most frightens us. Your playing small does not serve the world.
    [Show full text]