IP: 66.249.64.241 Maarten Rens Filmt De African Jazz Pioneers

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IP: 66.249.64.241 Maarten Rens Filmt De African Jazz Pioneers 64 Maarten Rens filmt de African Jazz Pioneers tijdens het slotfeest van de Anti-Apartheids Beweging Nederland (oktober 1994). Bron: Pieter Boersma © Guest (guest) IP: 170.106.34.90 On: Sun, 03 Oct 2021 11:36:31 65 Getuigen van (anti-)Apartheid. De camera als verbindend element tussen Nederland en Zuid-Afrika Barbara Henkes In dit artikel wordt onderzocht hoe de politiek van Apart- de, samen met nog zo’n 23.000 Nederlanders die tussen 1946-1955 naar Zuid-Afrika ver- heid zich manifesteerde in de netwerken die Nederland met trokken.2 Eén van hun drie dochters en haar man volgden enkele jaren later. Hun kinde- Zuid-Afrika verbonden. Het gaat over de overdracht van ren groeiden op in Pretoria, terwijl de kinde- ren van de twee achtergebleven dochters in verhalen, beelden, ideeën en politieke praktijken binnen een Nederland volwassen werden. Beide neven kenden elkaar al van geregelde familiereü- transnationaal verwantschapsnetwerk. Om deze dynamiek nies in Nederland voordat Maarten in 1967 voor het eerst een bezoek bracht aan zijn ver- te traceren, maak ik gebruik van filmmateriaal van een Ne- wanten in Zuid-Afrika. Nadien volgde hij de filmacademie in Amsterdam en werkte als derlandse documentairemaker, in het bijzonder de opnames freelance documentairemaker, voordat hij in 1981 voor de tweede keer naar Zuid-Afrika waarin zijn goed ingeburgerde verwanten uit Zuid-Afrika afreisde om een film te maken over zijn fa- milie in het land van Apartheid. Geert:‘Wij een rol spelen. Dan wordt duidelijk op welke uiteenlopende dachten dat het een hele leuke film zou worden, maar hij heeft ons eigenlijk gebruikt. In die manieren de verwanten in Zuid-Afrika hun bevoorrechte film heeft hij een heel verwrongen beeld neerge- zet van onze familie en hoe wij leefden… “Het positie als blanken onder Apartheid als ‘normaal’ presen- leuke van Afrika” heet die film, of zoiets.’3 ‘“Ik ben er geweest” heb ik die film genoemd’, vertelt teerden en hoe hun filmende neef hun optredens binnen Maarten niet lang daarna.4 Als hij een film- blik van zolder haalt waarin ongemonteerde een andere politieke context tot een kritisch narratief her- beeld- en geluidsopnames bewaard zijn, staat er op het etiket ‘Je moet er geweest zijn’. Deze formuleerde. De politiek-morele dilemma’s die zich daarbij werktitel refereert aan het standaardargu- ment dat men er ‘geweest moet zijn’ voordat openbaarden spelen door tot op de dag van vandaag. mensen van buiten Zuid-Afrika kritiek op 1 De Zuid-Afrikaanse familieleden worden aangeduid met een pseudo- niem. 2 J.K. Loedolff, Neder land se immigran te. ‘n socio logiese onder soek van hul ins kake ling in die ge meens kapslewe van Preto ria (Kaap stad/Pretoria 1960) vraagt mijn gastheer in 13. Voor meer informatie over de naoorlogse emigratie naar Zuid-Afrika ‘Ken je mijn neef?’ zie oa. Erica Meijers, Blanke broeders-zwarte vreemden. De Nederlandse Tshwane (Pretoria), terwijl ik in april 2008 Hervormde Kerk, de Gereformeerde Kerken in Nederland en de apartheid in geniet van een goed glas Zuid-Afrikaanse wijn Zuid-Afrika 1948-1972 (Hilversum 2008) 20-63. 3 Gesprek met Geert en Elsa Huisman op 22 april 2008. Op dit punt haalt en flinterdunne plakjes biltong die geserveerd Geert twee projecten van Maarten Rens door elkaar. In 1997 was hij een worden door zijn vrouw Elsa. Ik ben nog geen van de initiatiefnemers van de AfricaServer, een platform voor de com- half uur binnen of Geert Huisman brengt municatie tussen Nederland en Afrika op het Internet, met als ondertitel ‘het leuke van Afrika’. Sinds 2006 is de website omgevormd tot een zijn verre neef Maarten Rens in Nederland online magazine. ter sprake.1 Beiden zijn kleinzoons van een 4 African Skies nr. 13e: ‘Ik ben er geweest’ / ‘I was there’, 1981,Tape 161. De ruw gemonteerde familiefilm uit 1981 is nooit tot een afgeronde pro- vooraanstaand bedrijfseconoom die in 1949 ductie uitgewerkt. Het onverwerkte beeld- en geluidsmateriaal is in het met zijn vrouw vanuit Nederland emigreer- bezit van de filmer (Voortaan: Particuliere collectie M. Rens). Tijdschrift voor Geschiedenis - 124e jaargang, nummer 1, p. 64-83 Guest (guest) IP: 170.106.34.90 On: Sun, 03 Oct 2021 11:36:31 66 Barbara Henkes het toenmalige Apartheidsregime mochten Before Dawn (1988). 8 De documentaires en hebben. Hij ìs er geweest, samen met zijn het onverwerkte filmmateriaal – de zoge- eenjarige dochter, de buggy, zijn super-8 ca- naamde footage – zijn sinds 2004 gearchi- mera en geluidsapparatuur. veerd in zowel Nederland als Zuid-Afrika.9 Dat was in een tijd dat de kritiek op de Door een ‘close-reading’ van het beeld en raciale uitsluitingpolitiek van het Zuid- geluid, waarbij ook de montage en de footage Afrikaanse Apartheidsregime in Nederland worden betrokken, onderzoek ik de posities en wereldwijd zijn hoogtepunt bereikte, die de betrokken ‘acteurs’ of actoren, inclu- waardoor ook de persoonlijke contacten sief de (onzichtbare maar wel hoorbare) film- tussen de migranten in Zuid-Afrika en hun maker zelf, innamen tijdens de opnames en verwanten in Nederland onder druk kwa- welke politiek-morele dilemma’s zich daarbij men te staan.5 De vraag waar dit artikel om openbaren. Hoe probeerde de filmer met zijn draait is hoe de politiek van Apartheid zich camera vat te krijgen op de doorwerking van manifesteerde in de persoonlijke contacten Apartheid in het dagelijkse doen en laten tussen de verwanten in beide landen – en van zijn verwanten – en hoe werd het resul- omgekeerd hoe hun onderlinge contacten taat daarvan ontvangen binnen de familie? van invloed waren op de houding die zij in- Hoe werkte het verblijf van de filmmaker in namen tegenover Apartheid. Het gaat over Zuid-Afrika door in zijn filmische oeuvre de overdracht van verhalen, beelden, ideeën, over Zuidelijk Afrika en was daarbij nog een en politieke praktijken binnen een transna- rol weggelegd voor zijn verwanten? Bij het tionaal familienetwerk, zonder overigens de zoeken naar antwoorden op die vragen be- betekenis van nationale afbakeningen te mis- perk ik mij niet tot het filmmateriaal uit de kennen.6 Om deze transnationale dynamiek jaren 1980. Voor de betekenisgeving achteraf te traceren maak ik gebruik van filmmateri- wordt ook gebruik gemaakt van gesprekken aal van de Nederlandse documentairemaker met de filmer en met enkele van zijn verwan- Maarten Rens (1949) over Zuidelijk Afrika, ten in Nederland en Zuid-Afrika waarin zij in het bijzonder de opnames waarin zijn goed terugblikken op de posities die zij destijds in- ingeburgerde verwanten een rol spelen. Het namen ten aanzien van elkaar en ten aanzien betreft twee soorten materiaal: opnames uit van het Apartheidsregime.10 1981 voor een onvoltooide film over zijn fa- Het oproepen van dergelijke herinnerin- milie in Pretoria en opnames uit 1987 van gen biedt de mogelijkheid na te gaan met wel- het optreden van zijn nicht Sylvia tijdens een ke motieven en verwachtingen de actoren zich anti-Apartheidsmanifestatie in Amsterdam. bloot stelden aan het oog en het oor van de Fragmenten uit die opnames zou Rens later camera en welke gevolgen de interventies van verwerken in zijn documentaires Wittness de filmer hadden voor de onderlinge verhou- Apartheid Agression (1984)7 respectievelijk dingen binnen het verwantschapsnetwerk dat Nederland en Zuid-Afrika met elkaar ver- 5 De politicoloog Adrian Guelke biedt een kritische historiografische bond. Daarnaast stimuleert het persoonlijke analyse van de plaats van Apartheid in een wereldwijde context met zijn contact met de actoren van destijds een re- Rethinking the Rise and Fall of Apartheid. South Africa and World Politics flectie op de vraag hoe wij achteraf de vanzelf- (New York 2005). Vgl. S.de Boer, ‘Nederland en de apartheidskwestie, 1948-1990’, in: M. Kuitenbrouwer en M. Leenders eds., Geschiedenis van sprekendheid of ‘normaliteit’ van Apartheid de mensenrechten. Bouwstenen voor een interdisciplinaire benadering. tegelijkertijd inzichtelijk kunnen maken en (Hilversum 1996) 259-280. 6 Vgl. Peggy Levitt en B. Nadya Jaworsky, ‘Transnational Migration Studies: als ‘abnormaal’ kunnen verwerpen. Past Developments and Future Trends’, Annual Review of Sociology 33( 2007) 129-56. 7 http://www.africaserver.nl/africanskies [19-11-2010]: Catalogue African Living apart together Skies (voortaan: African Skies) nr 2: South African Aggression in the Region, tape 16. Deze documentaire rouleerde binnen het circuit van de Apartheid verwijst naar de politieke, juridi- Anti-Apartheidsbeweging in Nederland. 8 African Skies: nr. 7, Tape 71, Deze documentaire werd uitgezonden door sche en culturele praktijken waarmee in de de VARA-televisie. periode 1948-1994 verschillende bevolkings- 9 Het onderzochte filmmateriaal maakt deel uit van een collectie filmop- groepen in Zuid-Afrika op basis van uiter- names van de Anti-Apartheidsbeweging Nederland (AABN), die door de stichting African Skies is gecatalogiseerd en sinds 2004 berust bij het lijke kenmerken gecategoriseerd en syste- Nederlands Instituut voor Beeld en Geluid in Hilversum en het Nationaal matisch van elkaar gescheiden werden. Deze Archief in Pretoria. 10 Geluidsopnames en transcripties van deze gesprekken berusten bij de zogenaamde ‘rassensegregatie’ was mede auteur. gebaseerd op een diep gewortelde overtui- Guest (guest) IP: 170.106.34.90 On: Sun, 03 Oct 2021 11:36:31 Getuigen van (anti-)Apartheid 67 ging over een superieure blanke, christelijke Congress (ANC) en het Pan Africanist beschaving die ‘onvermengd’ gehandhaafd Congress (PAC) – maar ook daarbuiten. In moest blijven.11 Zij was niet nieuw, noch in de Nederlandse
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