Musiekblyspel Beauty and the Beast Bekoor Gehore

Total Page:16

File Type:pdf, Size:1020Kb

Musiekblyspel Beauty and the Beast Bekoor Gehore DAG nag & Foto: PAT BROMILOW-DOWNING KUNS EN VERMAAK • ARTS AND ENTERTAINMENT Striking minor acc(h)ords MOVIEREVIEW Another group is hosted by Dina’s brother, Itzik. The awkwardness be- comes tangible for the audience when Sony Pictures the uninvited Egyptians sit in uneasy JoThe Wessels Band’s Visit silence around the dinner table with their Israeli hosts, conveniently cele- brating their wedding anniversary. “ONCE, not Awkwardness is a central theme of long ago, a the film. Viewers will find themselves small Egyptian fidgeting in their seats as if they share police band ar- in these uncomfortable situations. rived in Israel. Balace is, however, struck by the Not many re- many lighter comedic nuances. member this. It The true beauty of the film unfolds was not that im- as the evening progresses and cul- portant.” Thus tural barriers are broken. Opposing opens the highly characters form connections based on acclaimed inde- universal themes which have no lan- pendent film from Sony Pictures,The guage barrier. The Egyptians and Is- Band’s Visit, currently showing at the raelis share silent stories of lost love, Eikestad Mall. broken dreams and the burden of age- The film follows the visit of the ing. A romance is also kindled. Music eight piece Alexandria Ceremonial inevitably plays a role as a catalyst, Police Orchestra to Israel where they gradually overcoming the awkward are to play at the opening of an Arab hush. cultural centre. With existing burdens The film culminates with the WIL JY DANS? Broadway-glans word in die Moederstad herskep danksy die bekende Beauty and the Beast such as the tense Arab-Israeli rela- band’s departure from the desolate met Talia Kodesh as die skoonheid en Anton Luintingh as die ondier. tions and friction between the band’s town the next morning, silence once Foto: PAT BROMILOW-DOWNING members, their visit is further dis- again abundant. This time it conveys rupted after they are left abandoned at the feeling of sadness and loneliness Kunstekaap speel gasheer vir musiekblyspel the airport. Faced with aversion from caused by the band’s departure. the Israeli authorities, they attempt to The film was submitted to the 80th fend for themselves and mistakenly Academy Awards for best foreign end up in a rural town in the middle film, but was rejected on the grounds Broadway- of the desert. With no transport and of its containing over 50% English Musiekblyspel Beauty and little Israeli money, they have to rely dialogue. This is ironic, as this film on the reluctant goodwill of the locals proves that there is nothing foreign for food and accommodation. What about human connections. follows is an evening which pushes The Band’s Visit is not a lively all the characters to face the music of film. There is minimal dialogue and the Beast bekoor gehore awkward situations. almost no climax. Yet what the film The band’s leader, the enigmatic achieves spectacularly is to show the ADÉL GROENEWALD en word gevangene geneem in die die gehoor toe om hierdie “dooie” Colonel Tawfiq, together with the re- tender voiceless connections between ondier (Anton Luitingh) se kasteel. items se unieke persoonlikhede te bellious young trumpeter, Khaled, is people, bringing meaning to the seem- Belle gaan ruil haarself in om haar leer ken. hosted by a charismatic restaurateur ingly mundane. It is daringly simplis- TOE DIE Disney-fliek Beauty and pa vryheid te bied. Só bevind sy Babette is byvoorbeeld ’n vere- named Dina. She does her best to en- tic, yet complexly themed. Think As the Beast vir die eerste keer in haarself lewenslank vasgekeer in stoffer met vere vir vingers en ’n tertain her guests, taking the colonel It Is In Heaven meets Crash. 1994 as Broadway-musiekblyspel dié waarlik betowerende wêreld. swiepende, speelse romp wat haar out for a night on the town, yet the Get a good dose of caffeine before geopen het, het min mense verwag Daar rus egter ’n skrikwekkende geaardheid volkome weerspieël. evening is characterised by her failed watching the film, but be prepared to dat dit binne ’n tydperk van agt jaar vloek op die kasteel, maar te midde Die voormalige verhoogaktrise attempts at small talk. be astounded by the sound of silence. ’n rekordgetal van 5 464 optredes van die deurgaande spanning hou Madame de la Grande Bouche is agter die blad sal hê. die kleurvolle karakters die atmos- weer ’n snobistiese klerekas en bieg Dit is hierdie veelbekroonde per geleentheid dat sy nie meer in produksie wat tans, met ’n eg Suid- haar elegante kostuums pas nie. Enjoy February bliss @ Bohemia Afrikaanse rolverdeling, gehore in “Kleure en ligte word Die pitorkes lewer ’n voortref- die Kunstekaap-Teater in Kaapstad onbeskaamd ingespan en like vertoning van bekende liedjies FEBRUARY has tickled us with emo- of wine, good company and first-rate betower. uit die oorspronklike fliek, byvoor- tions in all its colourful dimensions. music every Tuesday, Thursday and Pieter Toerien, knap vervaardi- alle stelveranderings geskiet beeld die temalied en die feestelike The reasons vary from that annoy- Sunday in February can do wonders. ger van produksies soos The Lion ... geruisloos” “Be our guest” en “If I can’t love ing CNA jingle (“back to school, back We jammed to Bed on Bricks’ King, Phantom of the Opera en her” wat oorspronklik vir die ver- to reality”), to roasting temperatures, energetic funk rock, swayed to Side Cats, het saamgewerk met Hazel hoog gekomponeer is. to Valentine’s bliss (or puke), and Effect, rocked out with New Holland Feldman (Chicago en We Will Rock feer oorwegend vrolik. Die stel het natuurlik ook ’n even penniless confusion as to why and embraced the sounds of guitar You) om hierdie Broadway-skou- Die verhaal het, soos dit feëver- reuseaandeel in die blyspel se RAKA, Ramfest and Up the Creek guru Albert Frost. We can still ex- spel op eie bodem te herskep. hale betaam, ’n gelukkige einde sukses. Kleure en ligte word onbe- were stationed in one month. But pect to experience Zinkplaat’s return Die storie handel oor die vrees- wanneer Belle diep in die oë staar skaamd ingespan en alle stelveran- thanks to our “local watering hole”, to Bohemia for the first time in four lose Belle, gespeel deur Talia van haar nou aantreklike, menslike, derings geskiet geruis- en foutloos. Bohemia, some of our problems are years, be proud Afrikaners with Ryno Kodesh, wat hunker na iets meer as prins. Die SR verkoop vandag kaartjies solved. Velvet, swing to the blues of Dan haar eentonige dorpslewe. Die self- Die humor en sprankelende teen die afslag-prys van R180 (ver- The heartache of leaving summer- Patlansky and last, but definitely not gesentreerde dog baie vermaak- oomblikke kan toegeskryf word voer ingesluit) vir die vertoning loving holidays behind is lightened by least, sing along with our Tuesday fa- like karakter van Gaston (Jonathan aan die komiese bykarakters soos van 3 Maart. Hou in gedagte dat die the fact that Beyerskloof has proudly vourite, Jo Martin. Roxmouth) “eer” Belle met ’n hu- die moederlike teepot genaamd Mrs goedkoopste kaartjies normaalweg sponsored DPK February @ Bohe- The best part about it all is that weliksaanbod, maar sy het net oë Potts, ’n Franse kandelaar genaamd R200 beloop. Kaartjies is tydens mia. This ensures not only magical Beyerskloof’s DPK February @ Bo- vir storieboeke waar sy verlore kan Lumière en selfs Cogsworth, die middagete beskikbaar by die SR- gigs, but also R7 a glass of Beyers- hemia has lived up to the saying that raak in die fantasie en romanse. mismoedige staanhorlosie. kantoor, maar daar is ongelukkig kloof Pinotage for those usual Bohe- “the best things in life are free” and Belle se verstrooide pa, Maurice, Asemrowende kostuums en net 15 beskikbaar, so spring vinnig mia wine lovers. have ensured that all the thrilling ’n uitvinder, verdwaal in die woud uitstekende karakterisering laat om in die pret te deel. As for the scorching heat and Val- gigs mentioned are free of any cover entine’s love or hate, a soothing glass charge. – Lesia Smith SIMON SWERWER maak sy de- JAK de PRIesTER stel sy nuwe Die internasionaal-bekende T.I.T.E.S. wil die electro-scene CLAUde BOUscHARAIN se uit- K buutvertoning in Dorpstraat-Tea- album, Groen Mamba, op 20 Feb- violis ILYA GRINGOLTS toer meer toeganklik maak vir al- stalling Strange Enchantments is ter op 19 Februarie om 20:30. Dit ruarie by Die Boer-restaurant in binnekort na SA saam met die mal. Hierdie gebeurtenis vind op tans te sien by SMAC-kunsgalery kos R60, maar indien jy iets bestel Durbanville bekend. Dit gaan jou vooraanstaande Suid-Afrikaanse 27 Februarie by The Assembly in Kerkstraat. Die uitstalling bring om te eet gaan dit jou slegs R30 R110 uit die sak jaag, maar be- pianis Francois du Toit. Dié op- in Kaapstad plaas en waarborg ’n versameling skilderye van 1948 kos. Skakel die teater by 021 886 loof om iets spesiaal te wees. Die windende duo kan op Vrydag 20 ’n bymekaarkoms van uitste- tot 2005 bymekaar en dit onder- 6107 vir besprekings. nuwe album bevat 11 oorspronk- Februarie om 20:00 in die Endler- kende electro-dj’s, byvoorbeeld soek Bouscharain se gebruik van like snitte met temas wat wissel saal gesien word as deel van die HAEZER, DJ Lapse, Phil Kra- esoteriese simbolisme in haar RMAA van drome, liefde, aspirasies en Konservatorium se Konsertreeks. mer, Codec, The Sound en Alex. droomagtige uitdrukkings. Die struggles met finansies, tot ons Kaartjies is bekombaar by Com- Kaartjies is slegs R20 mits jy voor uitstalling is tot 15 Maart te sien. land. Kontak 021 979 1911 vir be- puticket, Shoprite en MTN en 22:00 gaan.
Recommended publications
  • 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]
  • 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]
  • 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]
  • Deconstructing Popular Afrikaans Music In
    Music, Dance, and Identity: Deconstructing Popular Afrikaans Music in Pretoria, South Africa by Cornelius A. Holtzhausen A dissertation submitted in fulfilment of the requirements for a degree M.Soc.Sci: Social Anthropology in the Department Anthropology and Archaeology University of Pretoria Faculty of Humanities Supervisors: Dr. Fraser McNeill & Mr. Jimmy Pieterse © University of Pretoria Table of Contents Introduction ................................................................................................................................ 1 Chapter Outline ...................................................................................................................... 3 Chapter 1 - Methods, Theories and Tools .................................................................................. 7 Dual-sited Ethnography.......................................................................................................... 7 Musical Biographies ............................................................................................................... 9 Music Theory and Identity ................................................................................................... 10 Space and Place .................................................................................................................... 15 Conclusion ............................................................................................................................ 17 Chapter 2 - History, Music, and Industry ...............................................................................
    [Show full text]
  • Annie Tesis Finaal Geredigeer Foster
    DIE OPKOMS VAN AFRIKAANSE ROCK EN DIE LITERÊRE STATUS VAN LIRIEKE, MET SPESIFIEKE VERWYSING NA FOKOFPOLISIEKAR ANNIE ELIZABETH KLOPPER Tesis ingelewer ter gedeeltelike voldoening aan die vereistes vir die graad van Magister in die Lettere en Sosiale Wetenskappe aan die Universiteit van Stellenbosch Studieleier: PROF PH FOSTER (Departement Afrikaans en Nederlands) Medestudieleier: PROF AM GRUNDLINGH (Departement Geskiedenis) MAART 2009 ii VERKLARING Deur hierdie tesis elektronies in te lewer, verklaar ek dat die geheel van die werk hierin vervat, my eie, oorspronklike werk is, dat ek die outeursregeienaar daarvan is (behalwe tot die mate uitdruklik anders aangedui) en dat ek dit nie vantevore, in die geheel of gedeeltelik, ter verkryging van enige kwalifikasie aangebied het nie . Datum: 4 Maart 2009 Kopiereg © 2009 Universiteit Stellenbosch Alle regte voorbehou iii OPSOMMING Die doel van hierdie studie is om die opkoms van Afrikaanse rock en die literêre status van Afrikaanse rocklirieke te ondersoek, met Fokofpolisiekar as voorbeeld. Daar word nagespoor hoe die spesifieke sosiopolitieke konteks waarbinne Afrikaanse rock ontwikkel, die lirieke en styl daarvan beïnvloed. Afleidings word gemaak oor die implikasies wat Afrikaanse rock inhou ten opsigte van die Afrikanerjeug se identiteit in die nuwe millennium. Ter demonstrasie van hierdie interdissiplinêre en kon- tekstuele ondersoek, word ’n gevallestudie onderneem van die Afrikaanse punkrock- groep Fokofpolisiekar. Nie net word gekyk na die ontstaan en invloed van die groep nie, maar 'n beduidende deel van die tesis word bestee aan hul lirieke, wat vanuit ’n literêre oogpunt beskou en ondersoek word. In die proses kom sekere vrae met betrekking tot die posisie van lirieke in die Afrikaanse literêre sisteem onder die loep.
    [Show full text]
  • How Ninja from Die Antwoord Performs South African White Masculinities Through the Digital Archive
    ZEF AS PERFORMANCE ART ON THE ‘INTERWEB’: How Ninja from Die Antwoord performs South African white masculinities through the digital archive by Esther Alet Rossouw Submitted in fulfilment of the requirements of the degree MAGISTER ARTIUM in the Department of Drama Faculty of Humanities University of Pretoria Supervisor: Dr M Taub AUGUST 2015 1 ABSTRACT The experience of South African rap-rave group Die Antwoord’s digital archive of online videos is one that, in this study, is interpreted as performance art. This interpretation provides a reading of the character Ninja as a performance of South African white masculinities, which places Die Antwoord’s work within identity discourse. The resurgence of the discussion and practice of performance art in the past thirty years has led some observers to suggest that Die Antwoord’s questionable work may be performance art. This study investigates a reconfiguration of the notion of performance art in online video. This is done through an interrogation of notions of risk, a conceptual dimension of ideas, audience participation and digital liveness. The character Ninja performs notions of South African white masculinities in their music videos, interviews and short film Umshini Wam which raises questions of representation. Based on the critical reading of Die Antwoord’s online video performance art, this dissertation explores notions of Zef, freakery, the abject, new ethnicities, and racechanges, as related to the research field of whiteness, to interpret Ninja’s performance of whiteness. A gendered reading of Die Antwoord’s digital archive is used to determine how hegemonic masculinities are performed by Ninja. It is determined that through their parodic performance art, Die Antwoord creates a transformative intervention through which stagnant notions of South African white masculinity may be reconfigured.
    [Show full text]
  • Die Liedtekste Van Bok Van Blerk, Fokofpolisiekar, the Buckfever Underground En Karen Zoid
    AFRIKAANSE LIEDTEKSTE IN KONTEKS: DIE LIEDTEKSTE VAN BOK VAN BLERK, FOKOFPOLISIEKAR, THE BUCKFEVER UNDERGROUND EN KAREN ZOID deur WENDY DESRÉ NELL voorgelê luidens die vereistes vir die graad MAGISTER ARTIUM in die vak AFRIKAANS aan die UNIVERSITEIT VAN SUID-AFRIKA STUDIELEIER: PROF A G VISAGIE MEDESTUDIELEIER: PROF J L COETSER FEBRUARIE 2014 1 OPSOMMING Die doel van hierdie studie is om op die liedtekste van die kunstenaars, Bok van Blerk, Fokofpolisiekar, The Buckfever Underground (en Toast Coetzer) en Karen Zoid te fokus en om te bepaal wat hulle funksie in die eietydse Afrikaanse kultuurlandskap is, en wat hulle rol in die definiëring van kulturele identiteit is. In hierdie studie sal daar ook klem gelê word op die sosiopolitieke faktore wat tot die opbloei van die Afrikaanse musiekbedryf gelei het. Deur die analise van dié kunstenaars se lirieke, sal ek vasstel of hulle wel betekenisvolle werk van literêre gehalte lewer. Ek het spesifiek hierdie musikante gekies omdat hulle jong eietydse musikante is. 2 ABSTRACT The purpose of this study is to focus on the song texts of artists, Karen Zoid, Fokofpolisiekar, The Buckfever Underground (and Toast Coetzer) and Bok van Blerk and to determine their function in today’s cultural reality, and whether these musicians and their music have an influence on today’s youth and their search for a Cultural Identity. This study will also focus on the socio-political factors that led to the rise of the Afrikaans Music Industry. By analyzing these artists’ lyrics, I want to determine whether they are significant works of literary quality. These musicians were chosen because they are regarded as young contemporary musicians.
    [Show 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.
    [Show full text]
  • DWR Partners with South African Drummer Jason Oosthuizen | 1
    DWR partners with South African drummer Jason Oosthuizen | 1 Jason Oosthuizen and South Africa band Oooth As far as South African drummers are concerned, there are few who can compete with Jason Oosthuizen’s incredible skill and expansive CV. Jason started drumming at the age of four and is a deeply passionate and committed musician, but also understands what it takes to make a successful living as an artist in South Africa. Jason has served as a drummer for some of South Africa’s most successful bands, including One Day Remains, who wrote the theme song for the rugby tri-nations entitled ‘Never say die’. He has recorded two albums with the Van Coke Kartel and has worked with some of the biggest names in South African music including Jack Parow, Fokofpolisiekar, The Black Cat Bones, The Narrow and Die Heuwels Fantasties, among others. In 2018, Jason stepped out from behind his drum-kit and took the frontman position for his own band, Oooth. He has successfully launched a range of enterprises around the brand, including a clothing line, boutique coffee, fine wine and, most importantly, music. In addition to Oooth, Jason has established seven tribute bands, including Guns ‘n Roses & Friends Tribute, Led Zeppelin Tribute, AC/DC vs Deep Purple Tribute and Bob Marley & Lenny Kravitz Tribute, among others. In DWR partners with South African drummer Jason Oosthuizen | 2 addition, Jason has established a signature snare drum range, entitled J.O Drums, which are the first to be made on-site from start to finish in Africa, using African materials.
    [Show full text]
  • Afrikaner and Countercultural Discourse
    The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University Myths of Rebellion: Afrikaner and Countercultural Discourse by ROSSOUW NEL Thesis presented for the Degree of MASTER OF ARTS in MEDIA STUDIES Centre for Film and Media Studies UNIVERSITY OF CAPE TOWN Town June, 2010 Cape of UniversitySupervisor: Prof. Martin Botha COMPULSORY DECLARATION This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of others people has been attributed, and has been cited and referenced. Signature:_____________________________________Date:______________________ Town Cape of University Contents ________________ Abstract Acknowledgements Reader’s Note Introduction Background and objective 1 Literature review 3 Key interests 5 The creation of myths 5 The function of rebellion 7 Methodology Town 9 Chapter synopsis 13 Chapter One: Principles of Afrikanerdom Foundations Cape 15 Against the British of 19 Religion as distinction 21 The need for self-representation 23 Mythmaking 25 Communism and apartheid 26 Strategies of reinvention 29 Racially inclusive Afrikanerdom 29 Victimised Afrikanerdom 31 BourgeoisUniversity Afrikanerdom 33 Chapter Two: Principles of counterculture Foundations 36 A post-war shift 38 The rise of countercultural thinking 41 The rise of punk 46 Subversion and recuperation 50 Taste and rebellion 55 The cultural significance of rebellion 66 Chapter Three: A tradition of Afrikaner rebellion N.P.
    [Show full text]
  • Remains of the Social
    REMAINS OF THE SOCIAL REMAINS OF THE SOCIAL DESIRING THE POSTAPARTHEID Edited by Maurits van Bever Donker, Ross Truscott, Gary Minkley & Premesh Lalu Published in South Africa by: Wits University Press 1 Jan Smuts Avenue Johannesburg, 2001 www.witspress.co.za Compilation © Editors 2017 Chapters © Individual contributors 2017 Published edition © Wits University Press 2017 Artworks and Photographs © Copyright holders. See image captions. Music lyrics © Copyright holders. First published 2017 978-1-77614-030-5 (print) 978-1-77614-031-2 (PDF) 978-1-77614-032-9 (EPUB North & South America, China) 978-1-77614-033-6 (EPUB Rest of World) This book is licensed under a Creative Commons CC-BY-NC License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/2.0/. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-1-77614-038-1. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of the publisher, except in accordance with the provisions of the Copyright Act, Act 98 of 1978. All images and music lyrics remain the property of the copyright holders.
    [Show full text]
  • Reshaping Remembrance
    Reshaping Remembrance Critical Essays on Afrikaans Places of Memory Reshaping Remembrance Critical Essays on Afrikaans Places of Memory Albert Grundlingh and Siegfried Huigen Editors 2011 Rozenberg Publishers Amsterdam This is Volume 3 in the SAVUSA series Series Editor: Harry Wels, VU University Amsterdam © Albert Grundlingh and Siegfried Huigen, 2011 Editing: Sabine Plantevin Layout: Saskia Stehouwer Cover design: Ton Hartog - Haveka Cover photograph: 'Katrina en ons nov. 1953' [Katrina and us, November 1953]. Photo by J.C. Jansen or Ena Jansen-Myburgh (Ena Jansen's parents), kept in family album 'Photographs' (April 1953 – 11 March 1956; made by P.G. Myburgh and Tibbie Myburgh-Broeksma, grandparents of Ena Jansen). All rights reserved. Save exceptions stated by the law, no part of this publication may be reproduced, stored in a retrieval system of any nature, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, including a complete or partial transcription, without the prior written permission of the publishers, application for which should be addressed to the publishers: Rozenberg Publishers, Lindengracht 302 d+e, 1015 KN Amsterdam, the Netherlands. Tel.: (+) 31(0) 20 625 54 29 Fax: (+) 31 (0) 20 620 33 95 [email protected] www.rozenbergps.com ISBN: 978 90 3610 230 8 Contents 1. Koos Kombuis and Collective Memory 1 Siegfried Huigen and Albert Grundlingh 2. The ‘Volksmoeder’ – A Figurine as Figurehead 5 Elsabé Brink 3. The Location 15 Gerrit Olivier 4. A Coloured Expert’s Coloured 23 Hein Willemse 5. Bantu: From Abantu to Ubuntu 33 Kees van der Waal 6. Thandi, Katrina, Meisie, Maria, ou-Johanna, Christina, ou-Lina, Jane and Cecilia 43 Ena Jansen 7.
    [Show full text]