DOCSLIB.ORG

Afrikaaps: a Celebratory Protest Against

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

AFRIKAAPS: A CELEBRATORY PROTEST AGAINST THE RACIALISED HEGEMONY OF ‘PURE’ AFRIKAANS by Menán van Heerden Thesis presented in fulfilment of the requirements for the degree of Master of Social Anthropology in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Prof. C.S. van der Waal December 2016 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 sole author thereof (save 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: December 2016 Copyright © 2016 Stellenbosch University All rights reserved ii Stellenbosch University https://scholar.sun.ac.za ABSTRACT Afrikaaps is a multi-media (Becker and Oliphant, 2014) protest theatre production that has been performed locally and internationally between 2010 and 2015. Afrikaaps, also termed ‘Vernacular Spectacular’, is performed in Kaaps, a vernacular subvariety of Afrikaans. This approximately hour- and-a-half production, directed by Catherine Henegan, involved eight mainly hip-hop artists from the Cape Flats. Through artistic means of expression such as hip-hop, performance poetry, jazz, dialogues, etc., Afrikaaps foregrounds issues pertaining to marginalised and stigmatised Kaaps in response to the racialised hegemony of standard/‘pure’ Afrikaans. Central to this response is the celebration of (an ethnified) Kaaps ‘coloured’ identification. This multi-sited ethnography has various foci: The 2010 South African and 2011 Dutch versions of the production, the 2010 documentary film with the same title, and a description and analysis of the various ways in which members of the Afrikaaps collective experience the hegemony, ideology, and fiction of ‘suiwer’ (pure) Afrikaans. Three sites are foregrounded: A performance poetry event in Amsterdam, the Netherlands, as part of the 2011 Dutch tour; the 2015 matinee performance, part of the annual Suidoosterfees in Cape Town; and the 2015 screening of the Afrikaaps documentary by student collective Open Stellenbosch at Stellenbosch University. I discuss the ways in which each site aims to subvert the hegemony. I show that Afrikaaps is a case study of the heterogeneity of Afrikaans. I argue that the celebration of Kaaps by the production and the positive identification with Kaaps by members of the Afrikaaps collective are extremely relevant within the current climate. In the wake of the nationwide #AfrikaansMustFall protests, this climate encompasses the deliberate, renewed recognition and celebration of Afrikaans varieties other than standard Afrikaans in the public sphere. The conceptualisation of Afrikaans as an indigenous, ‘creole’ language relates to current, opposing views of the Afrikaans language as a ‘colonial’ language and an African language. Afrikaaps aims to subvert the general perception of Afrikaans as a ‘white’ language of the ‘white’ Afrikaner oppressor. I concurrently argue that the production endeavours to connect the Afrikaans language to an ethnicity other than ‘white Afrikaners’, namely ‘coloured’ Kaaps-speakers. I demonstrate that the use of Kaaps is a decolonising political tool (Erasmus, 2006) in response to the general perception of Afrikaans as a ‘colonial’ language. A concurrent aim of the production includes the encouragement of ‘coloured’ Kaaps-speakers from the Cape Flats to be proud of their mother-tongue and their claimed indigenous (Khoi and San) and slave (‘Malay’) cultural heritage. I regard the emphasis on the symbolic value of Kaaps by the production as imperative to the reclaiming of a positive identification with Kaaps. I accordingly argue that Afrikaaps iii Stellenbosch University https://scholar.sun.ac.za ‘re-imagines’ negative notions of ‘coloured’ by celebrating ‘creolised’ ‘coloured’ identification (Erasmus, 2001). I emphasise that the encouragement by Afrikaaps to ‘reclaim’ Afrikaans ‘for all who speak it’ links with the topical debate ‘to whom does Afrikaans belong’. The production encourages all Afrikaans-speakers to ‘reclaim’ the ‘creole’ language formed in the early, cosmopolitan Cape in response to the hegemony. Afrikaans is thereby conceptualised as inclusive and ‘liberated’; the racialised divide within the Afrikaans speech community can therefore be bridged. I argue that these claims express a current hope for Afrikaans to be viewed as a language of ‘transformation’. iv Stellenbosch University https://scholar.sun.ac.za OPSOMMING Afrikaaps is ’n multi-media (Becker en Oliphant, 2014) protes-teaterproduksie wat plaaslik en internasionaal tussen 2010 en 2015 opgevoer is. Afrikaaps, wat ook ‘Vernacular Spectacular’ (Omgangstaalskouspel) genoem word, word in Kaaps, ’n vernakulêre variëteit van Afrikaans, opgevoer. Hierdie ongeveer uur-en-’n-half-lange produksie onder regie van Catherine Henegan betrek agt hoofsaaklik hip-hop kunstenaars van die Kaapse Vlakte. Deur artistieke vorme van uitdrukking soos hip-hop, die gesproke woord, jazz, dialoog, ens., laat val Afrikaaps lig op kwessies in verband met gemarginaliseerde en gestigmatiseerde Kaaps in reaksie op die rasse-hegemonie van standaard/‘suiwer’ Afrikaans. Sentraal tot hierdie reaksie is die viering van ʼn (‘ge-etnifiseerde’) ‘bruin’ Kaaps-identifikasie. Hierdie multi-terrein etnografie het verskeie fokuspunte: die 2010 Suid-Afrikaanse en 2011 Nederlandse weergawes van die produksie; die 2010 dokumentêre film met dieselfde titel; en ’n beskrywing en analise van die verskeie maniere waarop lede van die Afrikaaps-geselskap die hegemonie, ideologie, en fiksie van ‘suiwer’ Afrikaans ervaar. Drie terreine word op die voorgrond gestel: ’n aanbieding in die gesproke woord in Amsterdam, Nederland, as deel van die Nederlandse toer in 2011; die 2015 matinee-opvoering, as deel van die jaarlikse Suidoosterfees in Kaapstad; en die vertoning van die Afrikaaps-dokumentêr deur die Open Stellenbosch studentegroep by die Universiteit Stellenbosch in 2015. Ek bespreek die maniere waarop elke terrein beoog om die hegemonie te ondermyn. Ek toon aan dat Afrikaaps ’n gevallestudie van die heterogeniteit van Afrikaans is. Ek argumenteer dat die viering van Kaaps deur die produksie en die positiewe identifikasie met Kaaps deur lede van Afrikaaps-geselskap uiters relevant is binne die huidige klimaat. Na aanleiding van die landwye ‘#AfrikaansMustFall’ opstande, sluit hierdie klimaat die doelbewuste, hernude erkenning en viering van Afrikaans-variëteite anders as standaard Afrikaans in die openbare sfeer in. Die konseptualisering van Afrikaans as ’n inheemse, ‘kreoolse’ taal hou verband met die huidige, opponerende sienings van die Afrikaanse taal as ’n ‘koloniale’ taal en as ’n Afrikataal. Afrikaaps poog om die algemene siening van Afrikaans as ʼn ‘wit’ taal van die ‘wit’ Afrikaner-onderdrukker te ondermyn. Terselftertyd argumenteer ek dat die produksie dus poog om die Afrikaanse taal met ’n etnisiteit anders as ‘wit Afrikaners’ te assosieer, naamlik ‘bruin’ Kaaps-sprekers. Ek demonstreer dat die gebruik van Kaaps as ʼn dekoloniserende politieke strategie is (Erasmus, 2006) as reaksie op die algemene persepsie van Afrikaans as ʼn ‘koloniale’ taal. ’n Gepaardgaande doel van die produksie sluit in die aanmoediging van ‘bruin’ Kaaps-sprekers van die Kaapse Vlakte om trots op hul moedertaal en hul beweerde inheemse (Khoi en San) en slawe (‘Maleise’) kulturele erfenis te wees. Ek beskou die klem op die simboliese waarde van Kaaps deur die v Stellenbosch University https://scholar.sun.ac.za produksie as noodsaaklik ten einde positiewe identifikasie met Kaaps te herwin. Daarvolgens argumenteer ek dat Afrikaaps negatiewe opvattings van ‘bruin’ ‘her-verbeel’ deur ‘gekreoliseerde’ ‘bruin’ identifikasie te vier (Erasmus, 2001). Ek wys daarop dat die aanmoediging om Afrikaans te ‘herwin’ ‘vir almal wat dit praat’ skakel met die aktuele debat ‘aan wie behoort Afrikaans’. Die produksie moedig alle Afrikaanssprekendes aan om die ‘kreoolse’ taal, wat aan die vroeë, kosmopolitiese Kaap gevorm is, te herwin in reaksie op die hegemonie. Afrikaans word dus gekonseptualiseer as inklusief en ‘bevry’; die rasse-kloof binne die Afrikaanse taalgemeenskap kan dus oorbrug word. Ek argumenteer dat hierdie eise spreek tot ’n huidige hoopvolle siening van Afrikaans as ’n taal van ‘transformasie’. vi Stellenbosch University https://scholar.sun.ac.za ACKNOWLEDGEMENTS I thank my supervisor, Prof. Kees van der Waal, as well as the Department of Sociology and Social Anthropology at Stellenbosch University for their valuable guidance and financial support. I am also grateful to the entire Afrikaaps team for their generosity, friendliness, time, and assistance. This study would not have been possible without the love and support of my family and friends. vii Stellenbosch University https://scholar.sun.ac.za TABLE OF CONTENTS DECLARATION .................................................................................................................................... ii ABSTRACT ........................................................................................................................................... iii OPSOMMING ........................................................................................................................................ v ACKNOWLEDGEMENTS .................................................................................................................
Recommended publications
  • Syntactic Variations of African-American Vernacular English (Aave) Employed by the Main Character in Hustle & Flow

    Syntactic Variations of African-American Vernacular English (Aave) Employed by the Main Character in Hustle & Flow

    SYNTACTIC VARIATIONS OF AFRICAN-AMERICAN VERNACULAR ENGLISH (AAVE) EMPLOYED BY THE MAIN CHARACTER IN HUSTLE & FLOW A THESIS Presented as a Partial Fulfillment of the Requirements for the Attainment of a Sarjana Sastra Degree in English Language & Literature By: DESTYANA PRASTITASARI 07211144026 ENGLISH LANGUAGE AND LITERATURE STUDY PROGRAM ENGLISH EDUCATION DEPARTMENT FACULTY OF LANGUAGES AND ARTS YOGYAKARTA STATE UNIVERSITY 2013 MOTTOS Stay focus, work very hard, and do your best. (Farah Quinn) There’s no reason to say ‘I cannot do it’ because ‘I can do it’ I can get the tired and desperate feelings but they cannot occur in more than 24 hours Always smile, greet for everyone, and everything gonna be alright (Mottos of my life) Everybody gotta have a dream (Hustle & Flow) v DEDICATIONS I dedicate this thesis to: My beloved mama (Mrs.Bingartin), My papa (Mr.Sumarno) who always give me love , pray, support and deep understanding, My beloved sweetheart, who always gives me spirit and patience, and My younger brother Ardhi ‘Hwang Kichu’ who always supports and accompanies me in writing this thesis. vi ACKNOWLEDGEMENTS Alhamdulillah, all praise be to Allah SWT, the Almighty, the Most Gracious and the Most Merciful, without which I would never have finished this thesis. In accomplishing this thesis, I owe to many people for the support, guidance, assistance, and help. I would like to express my deepest gratitude and thanks to RA Rahmi Dipayanti Andayani, M.Pd., my first consultant and Titik Sudartinah, M.A., my second consultant, for their endless support, advice, patience and great guidance in helping me throughout this thesis.
  • Remember the Luxurama at the Baxter 12 JAN 2016

    Remember the Luxurama at the Baxter 12 JAN 2016

    GET YOUR COPY with your MR DELIVERY order from FREE Thurs-Sat each week YOUR FREE GUIDE TO YOUR FREE TIME ÷ 04 December - 10 December 2015 ÷ Issue 600 The legacy of Rocky lives on in ‘Creed’– page 10 Oceanic enchantment awaits this Festive Season – page 11 - Page 6 Remember the Luxurama Unwind at the Willowbridge at the Baxter Beers & Gears Festival – page 12 Follow us online: @48hrsincapetown • www.facebook.com/next48hours • www.48hours.co.za Ratanga Junction Theme Park OPEN Daily until 12 JAN 2016 For School Holidays *Closed Christmas Day Don’t forget to join the Ratanga CLUB! Info line: 0861 200 300 It’s FREE www.ratanga.co.za *Terms and conditions apply SUMMER 2015/16 OVER 27 ATTRACTIONS FOR THE WHOLE FAMILY! The Next 48hOURS • What’s Hot The Next 48hOURS hosted its official Cape Town Summer launch at Quaglinos While angry students destroy corridors of learning… because of the memorabilia on dis- dation to become who we eventually have shared so indelibly in this day, that our resistance was not only an play, I was acutely reminded of my became. knowing that however small it may anti-apartheid struggle, but also an past – mostly the happy parts of it, Our ex-principal, Dr Victor Ritch- have been, my contribution also anti-capitalist, anti-imperialist and Encore but there were many hardships and ie was there, as lucid and sharp as added to what is now known as my anti-neo-colonialist struggle. ‘Edu- deeply emotional moments that per- ever, as was my Latin and English Alma Mater’s heritage… cation before Liberation’ was the By Rafiek Mammon haps are not depicted in those pho- teacher, Helen Kies, and my Biology Then, recently, I heard from my dictum that guided her practice as a [email protected] tographs.
  • A Multidimensional Model for the Vernacular: Linking Disciplines and Connecting the Vernacular Landscape to Sustainability Challenges

    A Multidimensional Model for the Vernacular: Linking Disciplines and Connecting the Vernacular Landscape to Sustainability Challenges

    sustainability Article A Multidimensional Model for the Vernacular: Linking Disciplines and Connecting the Vernacular Landscape to Sustainability Challenges Juanjo Galan 1,* , Felix Bourgeau 1 and Bas Pedroli 2 1 Department of Architecture, Aalto University, 02150 Espoo, Finland; felix.bourgeau@aalto.fi 2 Department of Environmental Sciences, Wageningen University, 6708 Wageningen, The Netherlands; [email protected] * Correspondence: [email protected] Received: 16 June 2020; Accepted: 3 August 2020; Published: 6 August 2020 Abstract: After developing a systematic analysis of the vernacular phenomenon in different disciplines, this paper presents a flexible model to understand the multiple factors and the different degrees of vernacularity behind the many processes that lead to the generation of material culture. The conceptual model offers an open, polythetic and integrative approach to the vernacular by assuming that it operates in different dimensions (temporal, socio-political, sociological, locational, epistemological, procedural, economic and functional), and that the many attributes or characteristics included in those dimensions are all relevant but not strictly necessary. The model is intended to facilitate a more methodical and rigorous connection between the vernacular concept and contemporary discourses on sustainability, resilience, globalization, governance, and rural-urban development. In addition, and due to its transdisciplinary character, the model will enable the development of comparative studies within and between a wide range of fields (architecture, landscape studies, design, planning and geography). A prospective analysis of the use of the model in rural landscapes reveals its potential to mediate between the protective approach that has characterized official planning during the last decades and emergent approaches that advocate the reinterpretation of the vernacular as a new form to generate new collective identities and to reconnect people and place.
  • The Vernacular in Christian Worship Walter E

    The Vernacular in Christian Worship Walter E

    ella The Vernacular In Christian Worship Walter E. Buslin VOL.. 91, N'O. 4 WINTER, 1965 CAECILIA Published four times a year, Spring, Summer, Autumn and Winter. Second-Class Postage Paid at Omaha, Nebraska Subscription Price--~3.00 per year All articles for publication must be in the hands of the editor, 3558 Cass St., Omaha 31, Nebraska, 30 days before month of publication. Business Manager: Norbert Letter Change of address should be sent to the circulation manager: Paul Sing, 3558 Cass St., Omaha 31, Nebraska Postmaster: Fonn 3579 to Caecilia, 3558 Cass St., Omaha 31, Nebr. caeci la fllUmiJHJJ nt tJ11JwliL t1whdL rrt.uAiL TABLE OF CONTENTS Editorials ,->-- __ • • •• _•• _. -_"_ ••• • __ •• •. __ •• -_ •. .' '. __ . _. __ 135 The Vernacular in Christian Worship-Walter E. Buszin ~ . .. _ 141 'Johannes de Tinetoris-Richard J. Schuler .-. .__ . ._. 143 Review Books .__ ._. ._. _.. _..... __ .. __ .. __ ... ._. ._.. .. .. '_. __ "_.__ - --_---__ 148 Music .. ._._. _., __ _. .. ._ __ ._ .. _ __ .__ ._._ .. .__ .__ -_.. -- .__ ---. __ -_- ._ 151 News-Litter 156 VOL. 91, NO. 4 WINTER, 1965 CAECILIA A Quarterly Review devoted to the liturgical music apostolate. Published with ecclesiastical approval by· the Society of Saint Caecilia in Spring, Summer, Autumn and Winter. Established in 1874 by John B. Singenberger, K.C.S.G., K.C.S.S. (1849-1924). Editor ---------------- Very Rev. Msgr. Francis P. Schmitt CONTRIBUTING EDITORS Francis A. Brunner, C.Ss.R. Elmer Pfeil Louise Cuyler Richard Schuler David Greenwood Lavern Wagner Paul Koch Roger Wagner Paul Manz Abbot Rembert Weakland, O.S.B.
  • Afrikaans (Pdf)

    Afrikaans (Pdf)

    Historia, 64, 2, November 2019, pp156‐177 Koos Kombuis: Ikonoklas na ikoon Wouter de Wet Opsomming Die Afrikaanse skrywer en musikant Koos Kombuis word vandag wyd as ’n ikoon beskou. In die 1980’s was hy egter ’n randfiguur van die Afrikaner‐establishment. Hoe het hierdie transformasie van ikonoklas na ikoon oor tyd plaasgevind? Kombuis het sy loopbaan as digter en skrywer in die 1980’s begin. Hy het homself aan die spits van die sogenaamde Tagtigerbeweging in die letterkunde bevind, en in 1989 het hy aan die berugte Voëlvry‐toer deelgeneem wat sy status as dwarstrekker verskans het. Sy letterkunde en musiek van dié dekade het gepoog om die waardes en norme van die heersende Afrikaner‐establishment omver te gooi. Die vroeë 1990’s het bepaalde veranderinge in sowel die breër sosio‐politieke konteks van Suid‐Afrika as Kombuis persoonlik gesien. Sy beeld onder Afrikaners het stelselmatig begin verander, en soos sy loopbaan in die jare sedertdien ontwikkel het, het hy algaande ikoonstatus bekom. Hierdie artikel stel ondersoek in na Koos Kombuis se transformasie van ikonoklas na ikoon binne Afrikaner geledere. Sleutelwoorde: Koos Kombuis; ikoon; ikonoklas; Tagtigers; Voëlvry; Afrikaners; Suid‐Afrika. Abstract The Afrikaans author and musician, Koos Kombuis, is widely regarded as an icon today. In the 1980s, however, he was a fringe figure, arguably even an iconoclast of the Afrikaner establishment. How did this transformation from iconoclast to icon happen over time? Kombuis began his career as poet and author in the 1980s. He found himself as a leading figure of the so‐called Tagtiger movement in Afrikaans literature, and in 1989 he participated in the Voëlvry tour which entrenched his image as an Afrikaner iconoclast.
  • Mirror, Mediator, and Prophet: the Music Indaba of Late-Apartheid South Africa

    Mirror, Mediator, and Prophet: the Music Indaba of Late-Apartheid South Africa

    VOL. 42, NO. 1 ETHNOMUSICOLOGY WINTER 1998 Mirror, Mediator, and Prophet: The Music Indaba of Late-Apartheid South Africa INGRID BIANCA BYERLY DUKE UNIVERSITY his article explores a movement of creative initiative, from 1960 to T 1990, that greatly influenced the course of history in South Africa.1 It is a movement which holds a deep affiliation for me, not merely through an extended submersion and profound interest in it, but also because of the co-incidence of its timing with my life in South Africa. On the fateful day of the bloody Sharpeville march on 21 March 1960, I was celebrating my first birthday in a peaceful coastal town in the Cape Province. Three decades later, on the weekend of Nelson Mandela’s release from prison in February 1990, I was preparing to leave for the United States to further my studies in the social theories that lay at the base of the remarkable musical movement that had long engaged me. This musical phenomenon therefore spans exactly the three decades of my early life in South Africa. I feel privi- leged to have experienced its development—not only through growing up in the center of this musical moment, but particularly through a deepen- ing interest, and consequently, an active participation in its peak during the mid-1980s. I call this movement the Music Indaba, for it involved all sec- tors of the complex South African society, and provided a leading site within which the dilemmas of the late-apartheid era could be explored and re- solved, particularly issues concerning identity, communication and social change.
  • Flaws of Modern-Day Love Set to Song

    Flaws of Modern-Day Love Set to Song

    GET YOUR COPY with your MR DELIVERY order from THE NEXT FREE Thurs-Sat each week 4YOUR FREE8 GUIDE TOh YOUR FREEO TIME U 15 RJuly - 21 July S2016 Issue 632 Your free guide to your free time Ard Matthews and co. unplugged – page 6 ‘Tarzan’ gets a big screen makeover – page 8 - Page 4 Flaws of modern-day love set to song Ways to spend your 67 minutes on Mandela Day – page 9 Follow us online: @48hrsincapetown • www.facebook.com/next48hours • www.48hours.co.za Ratanga Junction Theme Park JOIN US FOR A 10 DAY JOL: 8 - 17 JULY Due to popular demand we are turning the clock back to 2006 Full Adventurer @ R95 Ticket sales also available Mini Adventurer & RJ/48Hours/2016-06/03 online via our website Fun Pass @ R45 Info line: 0861 200 300 • www.ratanga.co.za *Terms and conditions apply The Next 48hOURS • Social An evening with John Barnes at Hanover street, GrandWest Pictures by Steven booth Seen at the launch of “Stop Hunger Now SA” and packing food parcels for hungry children at Grandwest Casino and Entertainment World Pictures by abdurahman Khan The Next 48hOURS is published by EDITORIaL STaFF EditoriaL Address EditoriaL COnTRIbutors Rani Communications. Every effort has Managing Editor: Naushad Khan Postal: P.O. Box 830, Jenny Morris Maitland, 7404 been made to ensure the accuracy of Production Editor: Peter Tromp Rafiek Mammon the information provided. Editorial Assistant: Aisha Sieed RoxyK Actual: 12 Main Rd. The Next 48hOURS will not be held Senior Designer: Dane Torode Imran Khan Three Anchor Bay responsible for the views and opinions National Sales: Godfrey Lancellas Martin Myers Tel: 021 8024848 expressed by writers and contributors.
  • THE ANALYSIS of LANGUAGE VARIATION USED in FAST and FURIOUS 8 MOVIE a Sociolinguistics Study By: Arkin Haris, S.Pd., M.Hum

    THE ANALYSIS of LANGUAGE VARIATION USED in FAST and FURIOUS 8 MOVIE a Sociolinguistics Study By: Arkin Haris, S.Pd., M.Hum

    THE ANALYSIS OF LANGUAGE VARIATION USED IN FAST AND FURIOUS 8 MOVIE A Sociolinguistics Study By: Arkin Haris, S.Pd., M.Hum. Email: [email protected] Website: arkinharis.com A. Background of Study As human beings, people can not be separated from the process of communication. In their lives, people need to interact with others since they can’t live by themselves. Through communication process, people can change their minds, ideas, thoughts, and intentions. They can also deliver messages to others. In conducting communication, people need a medium to express their intentions and messages. The most appropriate medium is language since language can carry a message by symbols. This is in line with what has been suggested by Wardaugh (1992: 8) who states that ―Language allows people to say things to each other and expresses communicate needs‖. In short, language is constantly used by humans in their daily life as a means of communication. Language is very important in social interaction. In interlace good relation, people will use appropriate language that can be understood by others in particular event. Some communities have their own language that is used in daily activity which different with other communities. Every community have different characteristic from their culture which determined the variety of language that they use. Some of them make uncommon languages that only can be understood by the member of communities in order to keeping their attribute or keeping a secret. Family relation, work place, friendship, and social class also can be causes of language varieties. Beside language varieties, changed or mix a language to another can be the way to establish a communication depend on who is the partner and the context.
  • Department of Cultural Affairs and Sport (DCAS) Annual Report 2018/19

    Department of Cultural Affairs and Sport (DCAS) Annual Report 2018/19

    Annual Report 2018/2019 Department of Cultural Affairs and Sport Western Cape Government Vote 13 Annual Report 2018/2019 ISBN: 978-0-621-47425-1 1 Contents Part A ........................................................................................................................................................ 4 1. Departmental General Information ............................................................................................. 5 2. List of abbreviations/acronyms ..................................................................................................... 6 3. Foreword ........................................................................................................................................... 9 4. Report of the Accounting Officer .............................................................................................. 10 5. Statement of Responsibility and Confirmation of Accuracy of the Annual Report ......... 15 6. Strategic overview ........................................................................................................................ 16 6.1. Vision ................................................................................................................................................ 16 6.2. Mission .............................................................................................................................................. 16 6.3. Values .............................................................................................................................................
  • Gereformeerde’ Musiek in Die Jare 1980 En 1990 in Suid-Afrika

    Gereformeerde’ Musiek in Die Jare 1980 En 1990 in Suid-Afrika

    Page 1 of 8 Original Research Wat maak ‘n kerkorrel gereformeerd? ‘n Verkenning van Afrikaanse ‘gereformeerde’ musiek in die jare 1980 en 1990 in Suid-Afrika Author: In this article, the meaning of a combination of the adjective ‘reformed’ and the noun ‘music’ 1 Cas J. Wepener is explored. The main question is: What can be termed ‘reformed music’? In order to answer Affiliation: this question, some of the work on liturgy by the theologians Smit, Old and McKee will be 1Department of Practical explored, specifically their understanding of ‘reformed liturgy’. Throughout, the article takes Theology, University of the form of a historical reflexive autoethnographic journey into the life and experiences of Pretoria, South Africa the author of this article in the period roughly stretching from 1986 to 1996. In particular, it Correspondence to: focuses on the way in which the author appropriated two different kinds of music genres. Cas Wepener His exposure to both reformed church music and the alternative Afrikaans music movement, which included rock bands such as Johannes Kerkorrel en die Gereformeerde Blues Band will Email: be scrutinised. Ultimately, the aim of this journey is to establish which one of these two [email protected] music genres from this specific period in the history of South Africa is worthy of the name Postal address: ’reformed music’. Private Bag X20, Hatfield, Pretoria 0028, South Africa Dates: Inleiding Received: 11 Jan. 2012 In hierdie artikel wil ek deels hand in eie boesem steek. Ek onderneem hier ‘n soort terugskouende Accepted: 03 Mar. 2012 outo-etnografiese verkenning wat gekomplimenteer word met relevante literatuur.
  • Yesterday • Today • Tomorrow

    Yesterday • Today • Tomorrow

    YESTERDAY • TODAY • TOMORROW ARTSCAPE THEATRE CENTRE | 1 OUR THEME: YESTERDAY, TODAY & TOMORROW “… in order to celebrate the achievements over the past 50 years, we need to be mindful of how it came about, build on the work of those that came before us, and lead the way to a future that is even more inclusive, more equitable and more just – a constant strife.” – Marlene le Roux Yesterday, Today and Tomorrow Rajesh Jock CHAIRPERSON Artscape Theatre Centre Artscape Theatre Centre (formally the Nico Malan Theatre) has made major advances since its inception in 1971. Relying on a strong commitment from the National Department of Sport, Arts and Culture, the theatre now celebrates its Golden Anniversary! Entertainment, arts and culture contributes to the vibrancy, heritage and activation of the Cape Town Metropolitan City as well as the Western Cape Province, and plays an important role in tourism and economic growth. Since being renamed circa 1999, Artscape has provided a modern, contemporary and world-class regional venue supporting arts and culture, and especially local talent. Artscape represents a very special organisation, comprising committed professionals, who are dedicated to the advancement of many different local and international productions in the City of Cape Town and many other parts of the Western Cape Province. Combined with the passion and commitment of major stakeholders both nationally and provincially, Artscape has become a home for all in the arts and will continue to embrace the diverse communities of the Western Cape through performers and patrons. I thank and congratulate everyone who has, over many years, dedicated their expertise, time, effort and passion to continually building this wonderful organisation and making it what it is today.
  • Part 2 Performance

    Part 2 Performance

    PROGRAMME PART 2 PERFORMANCE The services rendered by the Cultural Commission are aligned with the duties and powers of the Commission as set out in the Western Cape Cultural Commission and Cultural Councils Act, 1998 (Act 14 of 1998). G o a l K ey Perf orm an ce Ta rg e t Perf o rman c e Re s ul ts Rea s on f or Va r i a n c e I n d i c a t o r Letting cultural facili- Optimal use of Facilities in use for at least Facilities used for appro x i- N o n e ties placed under the facilities by org a n i- 45 000 people-days mately 67 479 people-days supervision of the sations for the Commission by the p reservation, pro- Minister for the motion and devel- p res erv a tio n , p ro m o- opment of culture tion and develop- in t h e We s t e r n ment of culture in the C a p e We s t e r n C ape I n c re as ed u se of A ff o rdable facilities Accessibility to seven cul- 7,3% increase in number N o n e f ac i lit ies b y g ro u p s for all communities tural facilities of groups and 2,7% f rom previously dis- in t h e We s t e r n i n c rease in number of peo- advantaged commu- C a p e ple making use of facilities nities.