Afrikaner Identity in the Born-Free Generation
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The Suppression of Communism, the Dutch Reformed Church, and the Instrumentality of Fear During Apartheid
THE SUPPRESSION OF COMMUNISM, THE DUTCH REFORMED CHURCH, AND THE INSTRUMENTALITY OF FEAR DURING APARTHEID. SAMUEL LONGFORD: 3419365 SUPERVISOR: PROFESSOR PARTICIA HAYES i A mini-thesis submitted for the degree of MA in History University of the Western Cape November 2016. Supervisor: Professor Patricia Hayes DECLARATION I declare that The Suppression of Communism, the Dutch Reformed Church, and the Instrumentality of Fear during apartheid is my own work and has not been submitted for any degree or examination in any other university. All the sources I have used or quoted have been indicated and acknowledged by complete references. NAME: Samuel Longford: 3419365 DATE: 11/11/2016. Signed: ii ACKNOWLEDGEMENTS. This mini-thesis has been carried out in concurrence with a M.A. Fellowship at the Centre for Humanities Research (CHR), University of the Western Cape (UWC). I acknowledge and thank the CHR for providing the funding that made this research possible. Opinions expressed and conclusions arrived at are those of the author and are not necessarily to be attributed to the CHR. Great thanks and acknowledgement also goes to my supervisor, Prof Patricia Hayes, who guided me through the complicated issues surrounding this subject matter, my partner Charlene, who put up with the late nights and uneventful weekends, and various others who contributed to the workings and re-workings of this mini-thesis. iii The experience of what we have of our lives from within, the story that we tell ourselves about ourselves in order to account for what we are doing, is fundamentally a lie – the truth lies outside, in what we do.1 1 Slavoj Zizek¸ Violence: Six Sideways Reflections (London: Profile Books, 2008): 40. -
Callie Human Bloemfontein Campus
PROGRAMME CALLIE HUMAN BLOEMFONTEIN CAMPUS CONSTITUTION OF THE CONGREGATION Chancellor Dr K Mokhele OFFICIAL WELCOME AND WORD OF THANKS Rector and Vice-Chancellor Prof FW Petersen INTRODUCTION OF GUEST SPEAKER Vice-Rector: Research Prof RC Witthuhn GUEST SPEAKER Author, Political Analyst and 2016 UFS Honorary Doctorate Recipient Dr M du Preez 28 JUNE 2018 | 14:30 MUSICAL ITEM “A Change is Gonna Come” Music and lyrics by S Cooke Performed by Mr T Willard, Mr A Mockie and Mr L Rantho PRESENTATION OF MASTER’S CANDIDATES Dean: Faculty of Natural and Agricultural Sciences Prof PD Vermeulen CONFERMENT OF MASTER’S DEGREES Chancellor Dr K Mokhele PRESENTATION OF MEDALS Dean: Faculty of Natural and Agricultural Sciences Prof PD Vermeulen PRESENTATION OF DOCTORAL CANDIDATES Dean: Faculty of Natural and Agricultural Sciences Prof PD Vermeulen CONFERMENT OF DOCTORAL DEGREES Chancellor Dr K Mokhele CONGRATULATORY MESSAGE Chancellor Dr K Mokhele NATIONAL ANTHEM OF SOUTH AFRICA Led by Ms J Marais and accompanied by the Graduation Instrumental Ensemble under the direction of Mr A Esterhuyse DISSOLUTION OF THE CONGREGATION Chancellor Dr K Mokhele GRADUATION PROGRAMME 1 NATIONAL ANTHEM OF SOUTH AFRICA Nkosi sikelel’ iAfrika Maluphakanyisw’ uphondo lwayo, Yizwa imithandazo yethu, Nkosi sikelela, thina lusapho lwayo. Morena boloka setjhaba sa heso, O fedise dintwa le matshwenyeho, O se boloke, O se boloke setjhaba sa heso, Setjhaba sa South Afrika - South Afrika. Uit die blou van onse hemel, Uit die diepte van ons see, Oor ons ewige gebergtes, Waar die kranse antwoord gee, Sounds the call to come together, And united we shall stand, Let us live and strive for freedom, In South Africa our land. -
Developing a Potential Youth Festival Model to Aid and Develop the Theatre for Young People Industry in South Africa
Developing a Potential Youth Festival Model to Aid and Develop the Theatre for Young People Industry in South Africa Pierre Le Fras Mouton Thesis presented in fulfillment for the degree Masters of Drama and Theatre Studies in the Faculty of Drama at Stellenbosch University Supervisor: Dr. Petrus du Preez December 2014 Stellenbosch University http://scholar.sun.ac.za DECLARATION By submitting this dissertation electronically, I declare that the entirety of the work contained therein is my own, that I am the owner of the copyright thereof (unless 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: 15 October 2014 Signed: Pierre Le Fras Mouton Copyright © 2014 Stellenbosch University All rights reserved i Stellenbosch University http://scholar.sun.ac.za ABSTRACT This study aims to investigate the phenomena of theatrical events and festivalisations, specifically aimed at young people. Various methodologies on theatrical events and festivalisation are integrated into a devised model. The devised model offers a clear and comprehensive understanding of the numerous processes and structures that play significant roles in the production and experience of a theatrical event or festival. The devised model is utilised to investigate and analyse the trends and practices of Theatre for Young People internationally (specifically Australia) and locally. The devised model allows the study to highlight certain strengths, opportunities, challenges and shortcomings of the different industries. Through comparing the local trends and practices with those of the international Theatre for Young People industries, areas of development are identified. -
Economic Ascendance Is/As Moral Rightness: the New Religious Political Right in Post-Apartheid South Africa Part
Economic Ascendance is/as Moral Rightness: The New Religious Political Right in Post-apartheid South Africa Part One: The Political Introduction If one were to go by the paucity of academic scholarship on the broad New Right in the post-apartheid South African context, one would not be remiss for thinking that the country is immune from this global phenomenon. I say broad because there is some academic scholarship that deals only with the existence of right wing organisations at the end of the apartheid era (du Toit 1991, Grobbelaar et al. 1989, Schönteich 2004, Schönteich and Boshoff 2003, van Rooyen 1994, Visser 2007, Welsh 1988, 1989,1995, Zille 1988). In this older context, this work focuses on a number of white Right organisations, including their ideas of nationalism, the role of Christianity in their ideologies, as well as their opposition to reform in South Africa, especially the significance of the idea of partition in these organisations. Helen Zille’s list, for example, includes the Herstigte Nasionale Party, Conservative Party, Afrikaner People’s Guard, South African Bureau of Racial Affairs (SABRA), Society of Orange Workers, Forum for the Future, Stallard Foundation, Afrikaner Resistance Movement (AWB), and the White Liberation Movement (BBB). There is also literature that deals with New Right ideology and its impact on South African education in the transition era by drawing on the broader literature on how the New Right was using education as a primary battleground globally (Fataar 1997, Kallaway 1989). Moreover, another narrow and newer literature exists that continues the focus on primarily extreme right organisations in South Africa that have found resonance in the global context of the rise of the so-called Alternative Right that rejects mainstream conservatism. -
VIDEO GAME SUBCULTURES Playing at the Periphery of Mainstream Culture Edited by Marco Benoît Carbone & Paolo Ruffino
ISSN 2280-7705 www.gamejournal.it Published by LUDICA Issue 03, 2014 – volume 1: JOURNAL (PEER-REVIEWED) VIDEO GAME SUBCULTURES Playing at the periphery of mainstream culture Edited by Marco Benoît Carbone & Paolo Ruffino GAME JOURNAL – Peer Reviewed Section Issue 03 – 2014 GAME Journal A PROJECT BY SUPERVISING EDITORS Antioco Floris (Università di Cagliari), Roy Menarini (Università di Bologna), Peppino Ortoleva (Università di Torino), Leonardo Quaresima (Università di Udine). EDITORS WITH THE PATRONAGE OF Marco Benoît Carbone (University College London), Giovanni Caruso (Università di Udine), Riccardo Fassone (Università di Torino), Gabriele Ferri (Indiana University), Adam Gallimore (University of Warwick), Ivan Girina (University of Warwick), Federico Giordano (Università per Stranieri di Perugia), Dipartimento di Storia, Beni Culturali e Territorio Valentina Paggiarin, Justin Pickard, Paolo Ruffino (Goldsmiths, University of London), Mauro Salvador (Università Cattolica, Milano), Marco Teti (Università di Ferrara). PARTNERS ADVISORY BOARD Espen Aarseth (IT University of Copenaghen), Matteo Bittanti (California College of the Arts), Jay David Bolter (Georgia Institute of Technology), Gordon C. Calleja (IT University of Copenaghen), Gianni Canova (IULM, Milano), Antonio Catolfi (Università per Stranieri di Perugia), Mia Consalvo (Ohio University), Patrick Coppock (Università di Modena e Reggio Emilia), Ruggero Eugeni (Università Cattolica del Sacro Cuore, Milano), Roy Menarini (Università di Bologna), Enrico Menduni (Università di -
Geek Policing: Fake Geek Girls and Contested Attention
International Journal of Communication 9(2015), 2862–2880 1932–8036/20150005 Geek Policing: Fake Geek Girls and Contested Attention JOSEPH REAGLE1 Northeastern University, USA I frame the 2012–2013 discourse about “fake geek girls” using Bourdieu’s theory of fields and capital, complemented by the literature on geeks, authenticity, and boundary policing. This discourse permits me to identify the reciprocal relationship between the policing of identity (e.g., Am I a geek?) and the policing of social boundaries (e.g., Is liking an X-Men movie sufficiently geeky?). Additionally, geekdom is gendered, and the policing of fake geek girls can be understood as a conflict over what is attended to (knowledge or attractiveness), by whom (geekdom or mainstream), and the meaning of received attention (as empowering or objectifying). Finally, despite the emergence of a more progressive and welcoming notion of geeks-who-share, the conversation tended to manifest the values of dominant (androcentric) members. That is, in a discourse started by a woman to encourage other women to be geeky, some of the loudest voices were those judging women’s bodies and brains according to traditionally androcentric and heteronormative values. Consequently, in this boundary and identity policing, women faced significant double binds, and the discourse exemplified a critical boomerang in which a critique by a woman circled back to become a scrutiny of women by men. Keywords: authenticity, boundaries, capital, geek, gender, policing, subculture In March 2012, Tara Tiger Brown (2012), a self-described “tech entrepreneur, educator and opinion writer,” wrote an article entitled “Dear Fake Geek Girls: Please Go Away.” The article prompted much discussion, generating 250 comments below the article itself as well as thousands of comments elsewhere. -
South Africa: Afrikaans Film and the Imagined Boundaries of Afrikanerdom
A new laager for a “new” South Africa: Afrikaans film and the imagined boundaries of Afrikanerdom Adriaan Stefanus Steyn Thesis presented in fulfilment of the requirements for the degree of Master of Arts in Social Anthropology in the faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr Bernard Dubbeld Faculty of Arts and Social Sciences Department of Sociology and Social Anthropology December 2016 Stellenbosch University https://scholar.sun.ac.za 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. December 2016 Copyright © 2016 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za Abstract The Afrikaans film industry came into existence in 1916, with the commercial release of De Voortrekkers (Shaw), and, after 1948, flourished under the guardianship of the National Party. South Africa’s democratic transition, however, seemed to announce the death of the Afrikaans film. In 1998, the industry entered a nine-year slump during which not a single Afrikaans film was released on the commercial circuit. Yet, in 2007, the industry was revived and has been expanding rapidly ever since. This study is an attempt to explain the Afrikaans film industry’s recent success and also to consider some of its consequences. To do this, I situate the Afrikaans film industry within a larger – and equally flourishing – Afrikaans culture industry. -
Afrikaansalternative Popular Music 1986 - 1990 : Ananalysi.S of -,,'
AFRIKAANSALTERNATIVE POPULAR MUSIC 1986 - 1990 : ANANALYSI.S OF -,,', . THE MUSIC 'OF BERNOLDUS" NIEMAND . AND JOHANNES KERKORREL. ' ~. .--: I ' ~ [\, - BRENDAN:, " "~ iSMIT , !l.' " ,' 1£~ , ;, THIS LONG ESSAY IS SUBMITTED IN PARTIAL FULFILLMENT OF A BACHELOR OF MUSIC DEGREE I CERTIFY THAT UNLESS OTHERWISE SPECIFIED THIS LONG ESSAY IS MY OWN ORIGINAL WORK. 1 In t.he la"Le 19805 Lne South African alternative media documented Lne emergence of a small but popular music movement WlLn~n Afrikaans youth culturec By movement pnenomenlc. - generaLing musical events of the magnitude of Houtstok (South Africals first rack festival wnlcn was attended by more Lnan twenty thousand people)i and the Voelvry tour (a national by In 199t) even Newsweek documented Lne significance 0: Aflikaans ffiLtsic Afrikaans alternative ffiLtsic made a deep impression on the Afrikaans and~ aLSO White English South consciousness. In 1989; Shaun de Waal documented the significance of the Voelvry tour~ 2 HTr~e S.l.mp le cDnjLtr~ction of i-oek n 1-011 ar:d Af:-ikaans .l.n the form of the Voelvry tour has caused more of a stir in the South African music-consuming public than anything since the teenybopper hysteria of the Rabbitt days and by the emergence of tr~is - fnL~S.l.C mOVefrieu"L. = Afrikaans alternative music expressed a r~or~-~3.cceptance DT nationalist ideology and DfTered a critical re-appraisal of hegemonic Afrikaner culture: th i s fnes-=~age such enthusiasm that fnL~sic C~-3:me be seer~ and music \came ~o De recognised ·3:5 Lne manifestation of the emergence -
A Teachers Guide to Accompany the Slide Show
A Teachers Guide to Accompany the Slide Show by Kevin Danaher A Teachers Guide to Accompany the Slide Show by Kevin Danaher @ 1982 The Washington Office on Africa Educational Fund Contents Introduction .................................................1 Chapter One The Imprisoned Society: An Overview ..................... 5 South Africa: Land of inequality ............................... 5 1. bantustans ................................................6 2. influx Control ..............................................9 3. Pass Laws .................................................9 4. Government Represskn ....................................8 Chapter Two The Soweto Rebellion and Apartheid Schooling ......... 12 Chapter Three Early History ...............................................15 The Cape Colony: European Settlers Encounter African Societies in the 17th Century ................ 15 The European Conquest of Sotho and Nguni Land ............. 17 The Birth d ANC Opens a New Era ........................... 20 Industrialization. ............................................ 20 Foundations of Apartheid .................................... 21 Chapter Four South Africa Since WurJd War II .......................... 24 Constructing Apcrrtheid ........................... J .......... 25 Thd Afriqn National Congress of South Africa ................. 27 The Freedom Chafler ........................................ 29 The Treason Trid ........................................... 33 The Pan Africanht Congress ................................. 34 The -
Afrikaner Values in Post-Apartheid South Africa: an Anthropological Perspective
AFRIKANER VALUES IN POST-APARTHEID SOUTH AFRICA: AN ANTHROPOLOGICAL PERSPECTIVE WRITTEN BY: JAN PETRUS VAN DER MERWE NOVEMBER 2009 ii AFRIKANER VALUES IN POST-APARTHEID SOUTH AFRICA: AN ANTHROPOLOGICAL PERSPECTIVE BY JAN PETRUS VAN DER MERWE STUDENT NUMBER: 2005076118 This thesis/dissertation was submitted in accordance with the conditions and requirements for the degree of: Ph.D. in the Faculty of the Humanities Department of Anthropology University of the Free State Bloemfontein Supervisor: Prof. P.A. Erasmus Department of Anthropology University of the Free State Bloemfontein iii DECLARATION I, Jan Petrus van der Merwe, herewith declare that this thesis, which was submitted in fulfilment of the requirements pertaining to my doctorate in Anthropology at the University of the Free State, is my own independent work. Furthermore, I declare that this thesis has never been submitted at any other university or tertiary training centre for academic consideration. In addition, I hereby cede all copyright in respect of my doctoral thesis to the University of the Free State. .............................................................. ................................... JAN PETRUS VAN DER MERWE DATUM iv INDEX DESCRIPTION PAGE PREAMBLE 1 CHAPTER ONE: INTRODUCTION 5 1.1 Problem statement and objectives 5 1.2 Clarification of concepts 7 1.2.1 Values as an aspect of culture 7 1.2.2 Values as identity 11 1.2.3 Values as narrative 14 1.2.4 Religion values as part of Afrikaner identity 16 1.2.5 Values as morality 17 1.2.6 Culture and identification -
Appendix: More on Methodology
Appendix: More on Methodology Over the years my fi rst monograph, The Nature of Fascism (1991), has been charged by some academic colleagues with essentialism, reductionism, ‘revisionism’, a disinterest in praxis or material realities, and even a philosophical idealism which trivializes the human suffering caused by Hitler’s regime. It is thus worth offering the more methodologically self-aware readers, inveterately sceptical of the type of large-scale theorizing (‘metanarration’) that forms the bulk of Part One of this book, a few more paragraphs to substantiate my approach and give it some sort of intellectual pedigree. It can be thought of as deriving from three lines of methodological inquiry – and there are doubtless others that are complementary to them. One is the sophisticated (but inevitably contested) model of concept formation through ‘idealizing abstraction’1 which was elaborated piece-meal by Max Weber when wrestling with a number of the dilemmas which plagued the more epistemologically self-aware academics engaged in the late nineteenth-century ‘Methodenstreit’. This was a confl ict over methodology within the German human sciences that anticipated many themes of the late twentieth-century debate over how humanities disciplines should respond to postmodernism and the critical turn.2 The upshot of this line of thinking is that researchers must take it upon themselves to be as self-conscious as possible in the process of constructing the premises and ‘ideal types’ which shape the investigation of an area of external reality. Nor should they ever lose sight of the purely heuristic nature of their inquiry, and hence its inherently partial, incomplete nature. -
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.