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8 Negotiation with Moroka (October/November 1836) A2/A3 8 Negotiation with Moroka (October/November 1836) A2/A3 B2 C2 D N 8 Negotiation 26 27 1 25 2 East wall (10/31) 24 3 h. 2.3 × w. 2.73 m 4 23 Restored fractures on vertical edge Sculptor of the clay maquette: Frikkie Kruger 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 × w. 15.4 cm 7 (after September 1937) 19 Annotations: ‘Onderhandeling met Morokko’ (Negotiations with Moroka) / 8 18 ‘Archbell sonder hoed’ (Archbell without hat) 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 × w. 77 × d. 8.5 cm (1942–43) 15 14 13 12 11 C1 Full-scale wooden armature, not extant (1943–45) C2 Full-scale clay relief, not extant but recorded in photograph; replicated 0 5 10 m in C3 (1943–45) C3 Full-scale plaster relief (1943–45), not extant but illustrated (Die Vader- land, 26.2.1945 / 10.9.1947); copied in D (1948–49) D Marble as installed in the Monument (1949) Early records SVK minutes (4.9.1937) ― item 4f (see below, ‘Developing the design’) Wenke (c. 1934–36) ― item II. Dr. L. Steenkamp, mnre. A.J. du Plessis en M. Basson, A. ‘MAATSKAPLIK’ (SOCIAL), 3. ‘Verhouding met ander volksgroepe’ (Relationship with other ethnic groups), a. ‘Verdrag met Moroko’ (Treaty with Moroka) / item VI. SEN. F.S. MALAN, 5. ‘Ander toneel: Onderhoud tussen Voortrekkers en Moroko te Thabantsjoe’ (Other scene: Negotiations between Voortrekkers and Moroka at Thaba Nchu) Moerdyk Layout (5.10.1936–15.1.1937 ― scene 6 on panel 9/31 ‘Thaban Chu’ (Thaba Nchu). Jansen Memorandum (19.1.1937) ― item 7.6 ‘The Voortrekkers at Thaba Nchu with Moroka and Archbell who rendered them assistance’ Open Access. © 2020 Elizabeth Rankin and Rolf Michael Schneider, published by De Gruyter and African Minds. This work is licensed under a Creative Commons Attribution 4.0 International License. https://doi.org/10.1515/9783110668797-013 142 8 Negotiation Figure 8.1: D. Negotiation. 1949. Marble, 2.3 × 2.73 m (courtesy of VTM; photo Russell Scott) Description 143 Description There are two unequal parties facing each other: on the left three black men are crowded together whereas the rest of the panel is given to three stereotypically dressed Voortrekkers with wide- brimmed hats (fig. 8.1). The first of them has a beard, Voortrekker-style around his chin; a powder horn hangs at his waist and he holds a muzzleloader, its butt resting on the ground in front of him. His gesturing right hand suggests that he addresses the black man in front of him, who faces him silently, his hands resting on a staff. It is Moroka, the leader of the Rolong.265 Portrayed in a more mature way than his companions, the bearded Rolong chief wears a pouch covering his genitals, and a cape of buck skin with the legs knotted and the hooves dangling decoratively over his right shoulder. His two companions behind him wear similar garb, although their capes are draped less formally, and they lack ceremonial staffs. All three African figures with their distinctive profile por- traits are shown in three-quarter view, and the one furthest left, holding a traditional knobkierie, stands with his weight on his left leg, the only figure in the frieze that is depicted in a classicising contrapposto stance. The large lidded container standing between them is possibly a milk pail. A well-trained dog sits behind the first Voortrekker, looking up at the young Boer, perhaps its master, who stands facing the animal, a muzzleloader slung over his shoulder. Behind him in the background, a bearded Voortrekker sits observantly on a statue-like horse, which is poised curi- ously above the grass, its hooves not touching firm ground. Still further away, in the gap between the rider and Potgieter, a herd of cattle grazes. The massive mountain behind is a compressed depic- tion of the Black Mountain (in Tswana ‘Thaba Nchu’; known to the Boers as Blesberg, ‘meaning blazed or bald mountain’266), a landmark of the Highveld in this area and closely associated with Moroka’s Rolong.267 265 In accord with modern scholarship (e.g. Etherington 2001; The Cambridge History of South Africa, vol. 1, 2010) we use the simple form ‘Rolong’, without the prefix ‘ba/Ba’ meaning ‘people of’; see Landau 2010, 1 n 1. 266 Raper, Möller and Du Plessis 2014, 37. 267 Landau 2010, 112; Raper, Möller and Du Plessis 2014, 492. 144 8 Negotiation Figure 8.2: A2. W.H. Coetzer. Reproduction of first sketch for Negotiation. June 1937 (courtesy of ARCA PV94 1/75/5/1; photo the authors) Figure 8.3: A3. W.H. Coetzer. ‘Onderhandeling met Morokko’. After September 1937. Pencil, 13.4 × 15.4 cm. Revised first sketch (photo courtesy of Museum Africa, no. 66/2194C) Developing the design 145 Developing the design The reproduction shows us Coetzer’s first pencil drawing that represents the negotiations between the Voortrekkers and the Rolong (fig. 8.2). A Boer, who as we will argue must be Jacobus Johannes Potgieter, with broad-brimmed hat, jacket, belt and knapsack, is placed prominently in the centre, seen almost from the back as he addresses Moroka with open mouth and flourishing hands. The chief is depicted frontally, not half-naked but in full garb, his hands resting calmly on a staff with spiral decoration. He is framed by two figures standing behind him, a young Rolong on the left, and on the right the Rev. Archbell, distinguished by a clerical collar and a book in his left hand, presumably the Bible. On the left, cut off by the frame, is a table with a calabash on top and a large urn-like container underneath. Another Rolong brings water to a bridled horse, its head visible on the right, being held by a second Boer with a satchel. In front of him on the ground is a bundle of hay for this horse and another whose cocked ears appear behind the first. In the background are oxen, and further away a range of rather nondescript mountains. In the Historiese Komitee meeting on 4.9.1937 the following changes were required: Boers negotiate with Maroka. The skin around the middle of his body should be fastened. There should be a skin hanging from his shoulders; the little bag behind the man’s back should be altered to a satchel at his side.268 There are minor differences between the first composition and the revised pencil drawing (fig. 8.3), which respond in part to the criticism made by members of the committee. The corrected pencil drawing shows Moroka with a belt (as also the two Voortrekkers) and a fringed skin hanging down behind his right shoulder and over his left arm. Potgieter has a satchel as required, although faint traces of the obliterated knapsack can still be seen. Coetzer’s drawing provides the basic composition for the relief sculpture: the Rolong with Moroka on the left, the Voortrekkers with a horse on the right and oxen behind, with a very sketchy indication of a mountainous backdrop. The small plaster maquette rearranges and separates the two parties dis- tinctly (fig. 8.4). Moroka and another Rolong, faintly indicated in the background, stand compressed on the extreme left while most of the panel is given to three bearded Voortrekkers. None of the Boers is now cut off by the frame; two of them are armed, and the third, further back, is mounted, with the horse more fully in view. Rev. Archbell has been omitted in favour of a dog in the foreground. The main Boer and Moroka face each other closely. The Boer, however, has a more active pose than Moro- ka’s passive stance, striding forward and addressing him with a gesture of his right hand, although his mouth is no longer open. He has a knapsack on his back as in Coetzer’s first sketch, but also has a powder horn like that depicted in the revised drawing. Moroka now wears a loincloth of skin tassels on a plaited cord, and an irregularly edged back apron, his status suggested by a headdress, upper body decoration and a staff, although he has a rather unprepossessing stocky build. The full-scale clay relief follows the maquette quite closely in overall design (fig. 8.5), as does the marble, but they endow it with greater gravitas. A wider format means that there is a more balanced allocation of space between the two parties, so that Moroka is now supported by two of his men, and the horse is fully represented, standing in profile parallel to the picture plane. Other small details are also modified: the main Boer no longer has a knapsack, the trekker on the right is now a youthful, unbearded figure, and the seated dog was apparently bred by Moerdyk to represent an appropriate Voortrekker animal. Moroka, with simpler clothing, is made far more impressive and the semi-naked bodies of all three Rolong men have a distinctly classical presence. Yet they are still given a lesser role, because the Boers are privileged by more space, and only they command firearms, a horse and a dog. Although Moroka’s cattle are pictured, they are shown further away in much smaller scale. 268 ‘Boere onderhandel met Marokko. Die velle om die middel van sy lyf moet vas wees; daar moet ’n vel skuins oor sy skouer hang; die tassie agter die man se rug moet in ’n bladsak aan sy sy veran[der] word’ (Historiese Komitee 4.9.1937: 4f).
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