Unmasking Violations Against Human Dignity

UNMASKING VIOLATIONS AGAINST HUMAN DIGNITY IN SELECTED AFRIKAANS FILMS IN SOUTH AFRICA 1960-1976: A PRACTICAL THEOLOGICAL INVESTIGATION Elmarie van Huyssteen Research Assignment presented as partial fulfilment of the requirements for the degree of Master of Philosophy in the Faculty of Theology at Stellenbosch University. Supervisor: Prof Johan Cilliers Co-supervisor: Prof Juliana Claassens December 2017 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the author thereof (save to the extent explicitly otherwise stated), that the 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. December 2017 Copyright © 2017 Stellenbosch University All rights reserved i Stellenbosch University https://scholar.sun.ac.za Abstract Three Afrikaans films were released in South Africa during the tumultuous apartheid years (1960-1976) with the focus on the Afrikaner identity, the policy of apartheid and the injustices suffered by its people as a result, specifically focussing on the so-called Coloured community. These films were received with enthusiasm by the mostly Afrikaans viewers, but a dissonance became clear between the “message” delivered by these films and the perception of the content of the films by the public. Human dignity, and its relation to human rights, is offered as a theoretical tool in understanding this discrepancy between message and audience. It seems as if the filmmakers understood that the social injustices they portrayed in the narratives touched on the very fibre of a person’s humanity. In uncovering these injustices, the violations that were done against the human dignity of persons and groups were clinically unmasked as the realities of the current social circumstances were offered as background. The assumption of this study is that human beings are created as imago Dei, in the image of God, to His glory. Violations done to the identity, relationships and the indwelling of God, to a person, violate not only the other, but also the own self as perpetrator, and most importantly, God (the Other) as the grantor and origin of the dignity of each person on earth. Four different “movements” are applied as framework for analysis in order to unmask the manifestation of violations as perpetrated against human dignity, namely observation, interpretation, anticipation and transformation. The material is analysed against the context of the historical background. The dissonance between message and perception by audiences was found to be a consequence of the difference in perceptions of humanity and intent because of the different lenses used. The filmmaker, as artist, portrayed persons as valuable because of their “being human beings”, whereas the audiences accepted the films through the various filters that were operative in society at the time, and which acted together in preserving the value of group interest. The divergence between the view offered by the films and the filters through which they were received was too deep to offer integration, and resulted in dissonance instead. Within any culture the artist may act as a prophet, and this role is investigated by analysing the message brought to the audiences by these artists. The impact of the artist on society may differ, depending on the lenses and filters present as a result of the openness or closeness of a society. Future studies may hopefully shed light on the way in which murky filters may become enlightening lenses in changing societies. It seems as if the dissonance may only disappear when the human glance at our reality, through the eyes of faith, becomes one with the vision of God for His Kingdom. ii Stellenbosch University https://scholar.sun.ac.za Opsomming Drie films is tussen 1960 en 1976 vanuit Afrikaner-geledere vervaardig wat indringende kommentaar en kritiek op die onregverdige poitieke bestel van apartheid gelewer het, en wat veral op die gevolge hiervan vir die sogenaamde Kleurlinge of Bruin Afrikaners gefokus het. Hierdie films is entoesiasties deur veral Afrikaanssprekende kykers ontvang, maar ‘n duidelike dissonansie kan waargeneem word tussen die “boodskap” van die films en die ontvangs en verstaan daarvan deur die samelewing. Menswaardigheid en die rol van menseregte word aangewend as ‘n instrument in ‘n poging om hierdie diskrepansie tussen boodskap en gehoor te verstaan. Dit lyk asof die filmvervaardiger begryp het dat die sosiale ongeregtighede wat hy in die verhale uitgebeeld het die eintlike wese van menslikheid aangeraak het. In die ontmaskering van onreg in die films word die klem op die direkte handelings in die samelewing geplaas waardeur mense se regte en menslikheid geskend en vernietig word. Die uitgangpunt vir hierdie studie is dat die mens geskape is as imago Dei, na die beeld van God, met menswaardigheid as ‘n onvervreembare, onvernietigbare essensie van elke persoon se menswees, van syn. Hierdie menswaardigheid word geskaad wanneer die identiteit en verhoudings van mense geskaad word en ook wanneer die mens se verhouding met God deur andere verkrag word. Enige vernietiging teenoor die ander is essensieël ook die vernietiging van die menswaardigheid van die self en die Ander. Verskeie metodes word in die studie gebruik om die waarneming, interpretasie, afwagting en transformasie deur die filmmakers toe te pas op die realiteite van die samelewing waaroor hulle kommentaarr lewer. Die analise vind teen die konteks van die geskiedkundige agtergrond plaas. Die dissonansie wat gevind is tussen die boodskap van die films en die interpretasie daarvan deur die gehore kan beskryf word as die resultaat van verskillende persepsies omtrent die menslike natuur en gevolglik die toepassing van verskillende lense en filters. Die filmmaker het, as kunstenaar, mense uitgebeeld as waardevol omdat hulle deur God geskape is, terwyl die gehore die films deur die filters van die tydsgees ontvang het. Die aanwesige filters het gesamentlik die belang van groepsbelang voorop gestel. Die verskille tussen die lens van die filmmaker en die filters van die samelewing was te wyd en diep om integrasie teweeg te bring en het inteendeel ‘n diepliggende dissonansie ontbloot. Kunstenaars mag in enige kultuur aangetref word as profete en hierdie rol van die filmmaker word ondersoek in die boodskap van hierdie films. Die impak van ‘n kunstenaar wissel en hang onder andere af van die openheid of geslotenheid van die samelewing waarin hy/sy werk. Toekomstige studies mag hopelik lig werp op die proses waardeur troebel filters verhelderende lense mag word in veranderende samelewings. Dit wil voorkom asof die dissonansie slegs verdwyn wanneer of indien die menslike blik op die realiteite van ons bestaan in geloof belyn word met God se visie vir sy koninkryk. iii Stellenbosch University https://scholar.sun.ac.za Acknowledgements I am deeply grateful towards the people in my life who have been a blessing to me on my journey. My gratitude goes to my family, all my friends and colleagues, my tutors at the Stellenbosch Theological Faculty, especially to Proff Johan Cilliers and Juliana Claassens, for sharing their wisdom and enthusiasm, to Heila Maré for assisting me with her skills through the difficult technical minefield, to Trevor Moses from the National Film, Video and Sound Archives for the time and knowledge he shared and to Dr Ria Smit without whose professional help I could not have finished. My special appreciation too for Jans Rautenbach (posthumously) and Almeri Rautenbach for their time, kindness and wonderful hospitality. My deepest gratitude goes to my beloved family, my daughter Bernice and my son Martin Botha, and to my most beloved husband Johan. Thank you for all the support and love throughout all my endeavours, and especially to Johan for his lifelong love, companionship, care and support; for selflessly sharing your enthusiasm and skills with me. It is a blessing beyond my wildest hopes. To God, Creator and Truth, I owe my life and gratitude. iv Stellenbosch University https://scholar.sun.ac.za Dedication I dedicate this research to my parents, Otto du Plessis and Bernice Steyl du Plessis, who taught me to look at life through the eyes of wonder. Who taught me that every person on earth is a dignified human being, simply because God has created us and loves us. Who taught me the wonder of God’s love and the ability to accept Him through their example of living the Truth, always within the gift of gratitude. Words will never be enough to express my gratitude for the privilege it was to have been raised, taught and loved by them. v Stellenbosch University https://scholar.sun.ac.za List of Abbreviations ANC African Nationalist Congress AB ` Afrikaner Broederbond BPC Black People’s Convention CI Christian Institute DRC Dutch Reformed Church Ds Dominee FAK Federasie van Afrikaanse Kultuurverenigings IOC International Olympic Committee NT New Testament OAU Organisation of African Unity OT Old Testament RCC Roman Catholic Church PAC Pan Africanist Congress PCB Publications Control Board PM Prime Minister Rev Reverend SA South Africa SABRA Suid-Afrikaanse Buro vir Rasse-Aangeleenthede SABC South African Broadcasting Corporation SACC South African Communist Party SAN-ROC South African Non-Racial Olympic Committee SAP Suid-Afrikaanse Party SASO South African Students’ Organisation SWA South West Africa SWAPO South West African People’s Organisation vi Stellenbosch University https://scholar.sun.ac.za UK United Kingdom UN United Nations UP United Party UWC University of the Western Cape vii Stellenbosch University https://scholar.sun.ac.za Glossary Apartheid The policy of separateness between races that became the official policy of the National Party in South Africa. Coloureds People of mixed race in South Africa, mostly living in the Western and Northern Cape. Commonwealth The body of former British Colonies, together with the United Kingdom.

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