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- Volume 10, Issue 1, 1996
South African Journal of Cultural History - Volume 10, Issue 1, 1996
Volumes & issues
Volume 10, Issue 1, 1996
Author Pieter W. GrobbelaarSource: South African Journal of Cultural History 10, pp 1 –12 (1996)More Less
During the course of the nineteenth century the English folk song partially replaced the Afrikaans folk song. This can be ascribed to the influence of the anglicised schools and the availability of English songbooks such as the Globe song folio. English also penetrated the Afrikaans folk song (like the Afrikaans language) and we find Afrikaans songs in which English words or whole phrases have been incorporated - sometimes for the sake of the comic effect. It was particularly after the advent of the gramophone record at the beginning of the twentieth century that English influence expanded enormously because there were countless recordings made of translated English and especially American English numbers. The songs were distributed in this way and taken up into the stock of Afrikaans folk songs. The total absence of English influence in the Afrikaans folk tale from the same period is an indication that there was no really significant contact between English speakers and Afrikaans speakers in South Africa.
Author C.de J. SmithSource: South African Journal of Cultural History 10, pp 13 –30 (1996)More Less
The Bureau for Heraldry was established in 1963 to regulate heraldic matters in South Africa. Initially coats of arms in South Africa were designed according to various European styles, but gradually the Bureau for Heraldry developed an own style. This distinctive heraldic style has an authentic South African character as reflected inter alia, in the use of Cape Dutch and Karoo gabled partition lines in shields, gabled and fir-twigged crosses and crowns, as well as indigenous flora and fauna, including the aloe, baobab, hornbill and sable antelope as charges. The typically South African character in our heraldry is also evident in a number of armigers' use of inter alia indigenous Nguni and Sotho shields instead of the familiar gothic form. Moreover mottoes in indigenous languages, such as Zulu and Afrikaans are used, and a characteristic heraldic terminology has been developed to blazon arms in Afrikaans.
Author Roger C. FisherSource: South African Journal of Cultural History 10, pp 31 –43 (1996)More Less
In this essay the graphic representations of the boer dwelling by three artists, namely Rembrandt van Rijn of the middle seventeenth century, Francois Ie Vaillant of the late eighteenth century and 'Henk' Piemeef of the early twentieth century. are examined in terms of the iconological significance of the use of the boer dwelling as subject for depiction. Rembrandt's, although part of a Dutch landscape tradition, is shown to be the vehicle for reflecting his inner psyche; Le Vaillant's, although artistically poor, prove useful for an objective understanding of Cape vernacular architecture because of his taxonomic concerns while Pierneefs choice of the Boer dwelling contributes to an iconology of landscape as part of an emergent Afrikaner nationalism at a time when there was an active search for an independant cultural identity. Current readings of the landscape tradition of the Afrikaner are cited and contrasted.
Author Schalk Le RouxSource: South African Journal of Cultural History 10, pp 44 –59 (1996)More Less
The origins of the slaves brought to the Cape from the time of Van Riebeeck till the beginning of the nineteenth century remains a fecund field of study. So too the arrival and founding of Islam in South Africa. Diverse sources are available for research. They are presented and a further source, those buildings erected for prayer, are proposed. Prior to reading the building as text, it is thought necessary to familiarise oneself with the arrival, growth and nature of the religion in likely places of origin. A cursory investigation of Islam in India and the Archipelago of present day Malaysia and Indonesia makes it clear that the religion was in a process of establishing itself and that it was influenced by local theologies. It is anticipated that aspects of specific religious customs and the architectural principles of building have been transported to the Cape.
Author D.A. Van der BankSource: South African Journal of Cultural History 10, pp 60 –73 (1996)More Less
The Edwardian era was a time of prosperity, characterized by gaiety, frivolity and opulence. Post-war circumstances in the Orange River Colony were in many instances the exact opposite of that in Edwardian Britain due to the poverty that the majority of the inhabitants suffered as a result of the Anglo Boer War. As part of the British Empire the ORC experienced a sharp increase in the population as well as a building boom. Several imposing buildings such as the Bloemfontein Hotel, the Grand Hotel and Theatre, new Law Courts and new buildings for Grey College were built between the years 1904 and 1909. Impoverished Afrikaner families in the country districts, who had to repair their ravaged homesteads and farms with virtually no means at their disposal, did not share in this prosperity and it therefore had little or no influence on the material culture of the Afrikaner. Since the Orange River Colony was largely dependent on imports from Britain, Edwardian fashion, in clothes especially, did however have an influence on the material culture of the Afrikaans speaking population.
Author J.S. BerghSource: South African Journal of Cultural History 10, pp 74 –86 (1996)More Less
The early history of the Berlin mission station Wallmannsthal lately obtained new relevance in the light of possible attempts of restoration. This station was established in March 1869 after some initial steps had been taken since December 1867. The major buildings, or some parts of them, which were used during the next nearly 100 years of mission work were erected during the first 15 years - a cruciform church, missionary house and school. Some other projects were also undertaken. The most prominent inhabitants of the mission station were the Kekana-Ndebele of Jan Kekana, the ManalaNdebele of Silamba and Ntshaope and the group of Molebeledi who apparently was of Pedi origin. Although good relations with the surrounding white farmers existed in general, tensions did also arise especially with regard to the provision of labour.
n Dag in die lewe van 'n Boerekrygsgevangene op die Bermuda Eiland tydens die Anglo-Boereoorlog (1899-1902), beskryf deur H.G. ThielSource: South African Journal of Cultural History 10, pp 87 –114 (1996)More Less
The memorial album compiled by Hermann Gustav Thiel as a prisoner of war on the Bermudas during the Anglo-Boer War (1899-1902) is a remarkable cultural historical document. A manuscript titled: 24 Uuren in een Krijgsgevangenen Kamp (24 Hours in a Prisoner of War Camp), part of the memorial album and herewith presented in annotated form, presents a rare insight into the daily weal and woe of the Boer prisoners of war on the Bermudas and their experience in exile. This manuscript once again confirms the fact tbat personal manuscripts (ego documents) are of the utmost importance to the cultural historian when emotions and inner experiences are concerned. It is significant that Thiel's manuscript is substantiated by a great number of photographs of the Boer prisoners of war which illustrates their way of life on the Bermudas and to a certain extent recover historical figures from anonymity. Our image of the past is much clearer when information obtained from written sources is supplemented or confirmed by pictorial sources.