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Liminality, Transformation and Communitas Afrikaans Identities As Viewed Through the Lens of South African Arts Festivals: 1995 – 2006

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Liminality, Transformation and Communitas Afrikaans Identities As Viewed Through the Lens of South African Arts Festivals: 1995 – 2006 LIMINALITY, TRANSFORMATION AND COMMUNITAS AFRIKAANS IDENTITIES AS VIEWED THROUGH THE LENS OF SOUTH AFRICAN ARTS FESTIVALS: 1995 – 2006 ESTHER VAN HEERDEN Dissertation presented for the degree of Doctor of Philosophy (History) at Stellenbosch University PROMOTER: PROF AM GRUNDLINGH CO-PROMOTER: PROF CS VAN DER WAAL MARCH 2009 DECLARATION By submitting this dissertation electronically, 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. Date: ______________________ Copyright © 2008 Stellenbosch University All rights reserved i ABSTRACT The study analyzes the reconfiguration of Afrikaans identities in post-apartheid South Africa as mediated by two prominent Afrikaans-orientated arts festivals, namely the Klein Karoo National Arts Festival and Aardklop. Fieldwork was conducted in the two host towns – Oudtshoorn and Potchefstroom. A variety of research methods such as archival research, participant observation, semi-structured interviews and informal conversations were employed. The arts festivals emerged during a time of perceived crisis for particularly Afrikaans communities in the 1990s, when Afrikaans and the arts were in need of being renewed. The study compares and contrasts the Afrikaans-oriented arts festivals to the former Afrikaner volksfeeste in order to illustrate the marked contrasts between them. Whereas the volksfeeste were designed to advance Afrikaner nationalism in a narrow sense, the newly established Afrikaans-oriented arts festivals were envisioned as inclusive celebrations. Both festivals were established to advance the arts in Afrikaans, to redeem Afrikaans, given its tainted reputation as the language of apartheid, and to help bring about national reconciliation. The study traces the historical development of the two festivals in relation to these aims. The literature indicates that festivals as liminal events facilitate conditions during which festival- goers are united in celebration and experience a sense of community or social communitas. The study utilizes the notion of liminality – the process by which the ordinary is rendered extra- ordinary during festivals. Six conditions of liminality are distinguished: extensive planning and preparation, different senses of time, the alteration of everyday routines, re-discovery and re- appropriation of private and public spaces, the activation of festival spaces and the reworking of rules. It shows how liminality, rather than being self-evident, was carefully constructed. The study assesses the festivals’ potential ‘to bring people together’ against this background by looking at three possible means of social transformation: through the experience of the arts, through the use of public space and through encountering Afrikaans. The assessment reveals the discrepancy between official festival policy and practice. The tensions that existed – between ‘high culture’ and ‘popular culture’, centre and periphery, and inclusion and exclusion – hindered social transformation. The festivals nevertheless contributed to the establishment of a temporary sense of belonging or communitas amongst some festival-goers. Although Afrikaans was central to most manifestations of social communitas, festival-goers celebrated ‘being Afrikaans’ in diverse ways. The study concludes that these festivals were characterized just as much by the presence as the absence of social communitas. Key words: festivals; celebration; language; the arts; liminality; social transformation; communitas; identity. ii OPSOMMING Die studie analiseer Afrikaanse identiteit en wat dit beteken om Afrikaans te wees in post- apartheid Suid-Afrika binne die konteks van twee prominente Afrikaanse kunstefeeste, naamlik die Klein Karoo Nasionale Kunstefees en Aardklop. Veldwerk is in die twee gasheerdorpe – Oudtshoorn en Potchefstroom – onderneem. ’n Verskeidenheid van navorsingsmetodes soos argiefwerk, deelnemende waarneming, semi-formele onderhoude en informele gesprekke is ingespan. Die kunstefeeste het tydens ’n krisistyd vir spesifiek Afrikaanse gemeenskappe in die 1990s ontstaan toe beide Afrikaans en die kunste vernuwe moes word. ’n Vergelyking word tussen die Afrikaans-georiënteerde kunstefeeste en die voormalige volksfeeste getref om die duidelike kontraste tussen die feeste aan te dui. Die oogmerk van die volksfeeste was om Afrikanernasionalisme te bevorder, terwyl die nuut gestigde Afrikaanse kunstefeeste inklusief moes wees. Beide feeste het tot stand gekom om die kunste in Afrikaans te bevorder, Afrikaans te herskep (gegewe die taal se negatiewe reputasie as die taal van die onderdrukker tydens apartheid) en om nasionale versoening teweeg te bring. Die studie verken die historiese ontwikkeling van die feeste in terme van die doelwitte. Die literatuur voer aan dat feeste, as liminale gebeurtenisse, omgewings skep waarbinne feesgangers met mekaar verenig kan word en ‘n gevoel van gemeenskap of communitas ervaar. Die studie wend die begrip liminaliteit aan – die proses waardeur die alledaagse ongewoon gemaak word tydens feeste. Ses voorwaardes van liminaliteit word onderskei: beplanning en voorbereiding, verskillende gewaarwordings van tyd, die aanpassing van alledaagse roetines, die herontdekking en herbenutting van private en openbare ruimtes, die aktivering van feesruimtes en die verandering van reëls. Dit wys hoedat liminaliteit, eerder as om vanselfsprekend te wees, versigtig gekonstrueer word. Die studie, gegewe hierdie agtergrond, takseer die feeste se vermoë om ‘mense bymekaar te bring’ deur te kyk na drie moontlike metodes: deur die ervaring van die kunste, deur die gebruik van openbare ruimtes en deur die belewing van Afrikaans. Die studie lê die diskrepansie tussen amptelike feesbeleid en praktyk bloot. Die spanninge wat bestaan binne die feeste – tussen ‘hoë kultuur’ en ‘populêre kultuur’, sentrum en periferie en inklusiwiteit en eksklusiwiteit – het sosiale transformasie belemmer. Sommiges het nietemin ’n kortstondige gevoel van communitas ervaar. Alhoewel die viering van Afrikaans sentraal tot die meeste manifestasies van sosiale communitas was, het die feesgangers ‘Afrikaans wees’ op diverse maniere gevier. Die studie kom tot die gevolgtrekking dat die feeste gekenmerk is deur beide die teenwoordigheid en die afwesigheid van communitas. Sleutelwoorde: feeste; taal; die kunste; liminaliteit; sosiale transformasie; sosiale communitas; identiteit. iii ACKNOWLEDGEMENTS I give all credit to God who gave me the opportunity to commence with the project, the ability to enjoy it and the courage to complete it. I would like to thank my parents, Iaan and Bettie van Heerden, my brother Jacobus van Heerden, George Strydom and Delie Floors. This project would never have been possible without your unstinting support. Every day is festive in your company. Equally importantly, I would like to thank my promoter and co-promoter, Professors Albert Grundlingh and Kees van der Waal. Your belief in this project, sustained interest and carefully considered and pointed feedback were invaluable. The expression ‘cast your bread onto the water’ encourages one to assist other people without expecting anything in return, and one will eventually be richly rewarded. I hope this has proven true in the case of my respondents, all of whom generously devoted their time and energy to speak to me, without any concrete incentive to do so. I am especially grateful to the members of the festival committees, who have generally been cooperative. I want to single out Winnifred Petersen at the KKNK festival, Linette Marais and Kate Axe-Davies at the National Arts Festival and Haddad Viljoen, Bertie de Villiers, Antoinette van der Merwe, Simon Radebe, Giep de Villiers and Fanie Buys at the Aardklop festival. From the municipal councils’ Gavin Juthe, Steve Cridland and Pieter Labuschagne deserve a special mention. I furthermore want to thank Professor Fiona Ross, who offered constructive critiques during the first two years that I worked on this project. I am grateful for the two research grants awarded to me by the University of Cape Town’s scholarship office, a grant from Stellenbosch University’s History Department and a grant from the NRF. I also want to thank my friends Margie Wakeford and Cornelia McEnery for being willing sounding boards; Liezel du Preez for sharing her insights as urban designer with me, introducing me to literature on the built environment and the use of space, and accompanying me on a field trip; André Vivier for allowing me to ‘hang out’ with him in Oudtshoorn and Sovita Wagner for her friendship and introducing me to her network of friends in Grahamstown when I stayed there. iv Others whom I want to mention by name are Robin and Hendriëtte Collins for providing me with lodging in Oudtshoorn; the personnel at the PJ Oliver school hostel in Grahamstown, particularly Joubert Retief and his wife Anna and Peet van Rooyen, who made me feel at home in what was initially a very cold and forlorn host town; tannie Kiets Gouws from whom I rented a room in Potchefstroom and the wonderful Jonker family in Oudtshoorn for housing me for a period of time. All of you contributed to a very pleasant and fruitful period of fieldwork. It is difficult to further single out certain people, because there were so many helpful contributions, but I especially appreciate the courtesy and general assistance
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