- A-Z Publications
- South African Journal of Cultural History
- OA African Journal Archive
- Volume 10, Issue 2, 1996
South African Journal of Cultural History - Volume 10, Issue 2, 1996
Volumes & issues
Volume 10, Issue 2, 1996
Author Mathilda BurdenSource: South African Journal of Cultural History 10, pp 1 –17 (1996)More Less
When folk songs are sung repeatedly without written music and text available, it usually follows that they are colloquially transformed in a number of ways. Words change, lines and words are broken up, parts of songs interchange with parts of other songs and the music is transformed accordingly. Often when words are transformed, the vowels remain unchanged even if the meaning of the word and therefore the meaning of the sentence or line is changed completely or even becomes nonsensical. Folk etymology also occurs spontaneously in this process. For the cultural historian a study of these phenomena occurring in Afrikaans folk songs can open up a wide range of possibilities. Where songs are concerned, sound plays an important part, not only musical sound in the form of melodies, but also the sounds created by the words.
Author Schalk Le RouxSource: South African Journal of Cultural History 10, pp 18 –34 (1996)More Less
This, the second of three essays on the origins of the Cape mosque as building type, is an attempt at determining more specifically the places of origin of the Cape Muslims. The following three aspects are investigated: the custom of the re-1IlIlIIing of slaves, Muslim practices - considered unorthodox - and the origins of the first leaders. Although none of these is a new direction of investigation, previously cited sources are re-examined and neglected sources brought to the debate. Architectural precedent becomes important if the design and mature appearance of the first local mosques is to be explained. The mosques in the probable places of origin, India and Archipelagos, are sourced and described. These two preceding essays then serve as source for the third dealing with the Cape building type.
Author S.J. JoosteSource: South African Journal of Cultural History 10, pp 35 –45 (1996)More Less
The Wrttemberg Cape Regiment which was made available as a body of mercenaries to the Dutch East India Company by Count Karl Eugen, had 54 musicians at its disposal. They, together with the troops, experienced bad times, and many subsequently died in Batavia; only about 100 out of a total of approximately 3200 troops had the privilege of seeing their fatherland again. In this article the circumstances that led to the hiring of the regiment, as well as the recruitment of troops, their privations en rule and conditions at the Cape are discussed. The focus is especially on the musicians of the regiment with regard to their origins, their duties in the regiment, and their substitutes, as well as the influence they exerted on the musical life at the Cape.
Author H.F. HeeseSource: South African Journal of Cultural History 10, pp 46 –54 (1996)More Less
After the founding of the Berlin Missionary Society in Germany in 1824, numerous organisations were established to materially support the missionaries and the newly established congregations abroad. This tradition was carried over to South Africa where similar mission support groups were established through which the coloured and black members of the church collected money for use by the headquarters in Berlin as well as by other poorer congregations in South Africa. Donations of school equipment allowed the missionaries to establish more schools in the rural areas which helped to increase literacy among the coloured population. Articles sent to South Africa were sold at the mission shops and annual church bazaars and assisted the congregations in becoming financially independent. Donations of brass music instruments and Nativity figurines contributed to a new culture around the celebration of Christmas in the region.
Author L.A. ChanguionSource: South African Journal of Cultural History 10, pp 55 –71 (1996)More Less
Green Point camp in Cape Town was the largest of the four prisoner-of-war camps in South Africa in which Boer prisoners of war were detained during the Anglo-Boer War. The camp, a tent camp, can be considered as the model on which the British based most of the prisoner-of-war camps they later built. At the outset facilities in Green Point fell short. The medical situation especially was deplorable. During 1900, after the British had realised that the war was going to last longer than only a few months, facilities in Green Point camp were expanded considerably. After that, conditions in the camp improved. The facilities in Green Point camp were substantially cut back after May 1901 because the number of prisoners decreased. Prisoners that refused to take the oath of neutrality were sent to camps overseas, and those who did take the oath were sent to concentration camps in the former republics. After peace was concluded in 1902 Green Point's role was reversed. Prisoners of war were then sent there from overseas camps before being sent to camps in their respective districts.
Author Jeanne Van EedenSource: South African Journal of Cultural History 10, pp 72 –87 (1996)More Less
This article presents a summary of Arts and Crafts ideology and shows that it exerted an influence far beyond its specifically British, nineteenth century origins. In general Arts and Crafts generated an appreciation for the local and the traditional. At the same time, its ideals of social upliftment had a significant impact on design ethics early in the twentieth century, when many of its beliefs were incorporated by Modernism. It is shown in this article how Arts and Crafts notions often formed the implicit grounding for artistic and architectural enterprises in South Africa since at least the end of the nineteenth century. The article concludes with a short review of the relevance of Arts and Crafts ideology in contemporary South Africa, and suggests that in their applicability today many of William Morris's initial thoughts have once again become pertinent and indeed viable.
Author Cecilia KrugerSource: South African Journal of Cultural History 10, pp 88 –104 (1996)More Less
Hundreds of thousands of Italians were captured by the Allied forces in the East and North African campaigns (1940-1943) of the Second World War. As South Africa proved to be one of the most suitable countries (situated far from the front, with ample space), in which to detain prisoners of war (POWs), about 90 000 Italians were imprisoned there during the war. The majority were kept in the Zonderwater POW camp outside Cullinan between 1941 and 1947. Excellent conditions and good relations prevailed in the camp, with the result that thousands applied to immigrate to South Africa after the war. Due to the Nationalist Party's strict immigration policy, this never materialized. A small part of the heritage that serves as a reminder of the presence of the Italian ex-prisoners of war in South Africa over the last fifty years, is discussed in this article. In March 1941 specifications for a prisoner of war camp outside Cullinan near Pretoria, drawings of its layout and details of each block in the camp were sent to the Secretary of Public Works by the Secretary of Defence. Initially the camp would consist of tents and ablution facilities, showers, kitchens and sinks. Approximately 1 634 men had to be accommodated in each block.
Source: South African Journal of Cultural History 10, pp 105 –119 (1996)More Less
Ten years have passed since Joubert died in a motorcar accident. A versatile performing artist, teacher, author on musical subjects, administrator, and founder of the Pretoria International Music Competitions, Joubert made a crucial contribution to South African culture. In this article an overview is presented of his formative years in South Africa (-1948), Zurich (1948-1950) and London (1950-1951,1953-1954). It is surprising to find that in spite of his many successes, he did not pass all the grade examinations in music of the University of South Africa that he attempted. Neither did he pass all of them well. It is noticeable that there were certain sections in which he did not do well, e.g. in the aural tests. The reports written by the examiners (inter alia Adolph Hallis, Petrus Lemmer and David Roode) contain significant views on the candidate who would become Director (Professional) for Music Examinations of Unisa in 1967. It is clear that Joubert structured his training in such a way as to ensure a versatile education. His versatility can be regarded as one of the main factors which contributed to the comprehensive influence Joubert exerted on the development of musical life in South Africa.
Author Sandra MarkfraafSource: South African Journal of Cultural History 10, pp 120 –127 (1996)More Less
Because of the inherent composition of paper and of external factors which cause degeneration, the ideal environmental conditions for the preservation of paper must be created to prevent deterioration. Environmental conditions such as light, humidity, temperature and pollution cause irreversible damage to paper and must be controlled.