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- Volume 12, Issue 2, 1998
South African Journal of Cultural History - Volume 12, Issue 2, 1998
Volumes & issues
Volume 12, Issue 2, 1998
Author Matilda BurdenSource: South African Journal of Cultural History 12, pp 1 –15 (1998)More Less
The Cape Baroque chair of the early 18th century is commonly called the Tulbagh chair, although the time of its appearance does not coincide with the reign of governor Ryk Tulbagh. The main features of this chair are comparable to those of the French, Dutch and English Baroque chairs. It is therefore suggested that the chair should rightly be called the Van der Stel chair, which is the name applied to the Baroque style at the Cape. The simplified version of the Van der Stel chair is accordingly still called transitional Tulbagh chair.
Author C. de JongSource: South African Journal of Cultural History 12, pp 16 –21 (1998)More Less
In 1912 C. Louis Leipoldt voyaged to the Dutch East Indies, now Indonesia, where his father had been a missionary. On this voyage he kept a diary, wrote 18 poems and published a travelogue, Uit my Oosterse dagboek, in the foreword to which he mentions that he is omitting two controversial chapters. The Dutch-born journalist G. Seubring toured through the East Indies in 1939-1940 and published an account of his travels, Die gordel van smarag, in Pretoria in 1945. After 1994 South African interest in Indonesia and in Leipoldt's voyage to the East revived. In particular, J.C. Kannemeyer and the author Elsa Joubert have shown considerable interest in Leipoldt's contact with the East. Joubert toured Java and Bali in 1995 and traced Leipoldt's 1912 route. She subsequently published Gordel van smarag. 'n reis met Leipoldt (1997), in which she dwells i.a. on Leipoldt's omitted chapters. She found four in the Leipoldt papers. Three of these would have been controversial in 1932. Joubert deplores the fact that Leipoldt did not publish these chapters, but the author considers her reproaches unreasonable.
Author J. HaasbroekSource: South African Journal of Cultural History 12, pp 22 –34 (1998)More Less
The value of the Empire theatre, which was opened in Bloemfontein during 1905, undoubtedly lies in the fact that it was not only the first real theatre in Bloemfontein, but also the only variety theatre ever founded in the city, at a time when this type of theatre was already well-established in other parts of the country. Initially, for a brief while, the hall was used as a skating-rink. As the Empire theatre was a going concern for only about one month before it closed down, it is not generally known that such a theatre ever existed. During its short life-span vaudeville in particular was performed daily at the theatre; this feat would never be equalled in the city .
Author D.** Minnaar, Enla* & HolmSource: South African Journal of Cultural History 12, pp 35 –52 (1998)More Less
Gerard Moerdijk (1890-1958) as Arts & Crafts architect is researched and established with reference to the principles and distinctive patterns of Arts & Crafts architecture. An analysis of his background, formative years, mentors, his writings and his own residence lead to the conclusion that he was steeped in the Arts & Crafts tradition without explicitly citing the originators. He contextualized this tradition in the rising Afrikaner cultural awareness and upcoming nationalism against the background of international functionalism. He favoured regional architecture and as can be expected the Arts & Crafts influence features more prominently in his domestic architecture.
Oorlog as tema in die F.Z. van der Merwe-versameling van Suid-Afrikaanse musiek van die Universiteit van PretoriaAuthor M.C.** Olivier, G.C.* & WattSource: South African Journal of Cultural History 12, pp 53 –70 (1998)More Less
Music is seldom mentioned when one thinks or speaks of Africana. Much South African music, either in printed or manuscript form, is owned by libraries, archives, private and public collections, as well as by composers or their descendants. The University of Pretoria owns the largest single collection of South African music in the world, namely the F.Z. van der Merwe-collection. This article presents a survey of musical works found in the F.Z. van der Merwe-collection that were written about wars and sieges. This study could possibly offer a new dimension to perceptions of history by approaching it from a cultural and specifically music-historical viewpoint.
Author R.E. OttermannSource: South African Journal of Cultural History 12, pp 71 –84 (1998)More Less
Josef Hundertmark was a sergeant-major in the seventh company of the second regiment of the British-German Legion, stationed in King William's Town. In this article the author tries to sketch the life of a man who has, until now, only briefly been referred to as the printer and publisher of two ephemeral publications. The weal and woe of the British-German Legion which arrived in 1857 in the Border Area is reflected in the life struggle of this German printer who published German newspapers and other material, took part in the cultural and religious life of the legionaries, faced economical ruin and finally, like so many other legionaries, left the Border area in search of a better future somewhere else where his trail is lost. The author's interest in Hundertmark was sparked off by the sermon of Pastor Friedrich Cluver of the German Lutheran St. Johanniskirche in King William's Town preached on Easter Sunday 1871 and afterwards printed by Hundertmark.
Author Floris J.G. van der MerweSource: South African Journal of Cultural History 12, pp 85 –99 (1998)More Less
In 1904 a contingent Boer and British war veterans from the Second Anglo Boer War (1899-1902) took part in the Louisiana Purchase Exposition, better known as the World's Fair. From mid-July until the end of November they performed the Battle of Colenso, the Battle of Paardeberg, and the escape of De Wet daily. The trainer was Frank Fillis, a well-known South African entertainer and owner of Fillis' Circus. These shows were so realistic that the Boer War Spectacle soon became the most popular show at the Fair. The highlight of the show was Gen. Piet Cronje, who was widely critised for taking part in it. In South Africa people mockingly referred to this venture as the ""Boeresirkus"". Nothing came of the expected financial gain and reconciliation between Boer and Briton. Gen. Cronje in vain tried through several court cases, to obtain moneys owed to him by the various managers of the spectacle. Regular skirmishes occurred between Boer and Briton which led to injuries and even death. The interest for South African sport history is that this show produced Africa's first Olympians. The third Olympiad was organised as part of the Fair and three of the South African participants at the Boer War Show took part in the Olympic marathon. They were Robert Harris, Len Tau and Jan Mashiani. The latter two were probably Tswanas and not Zulus as previously believed. A Boer tug-of-war team also took part in this Olympic event.
From Procida to Pretoria: The Mediterranean influence on the architecture of Gordon McIntosh (1904-1983)Author R.J. van RensburgSource: South African Journal of Cultural History 12, pp 100 –112 (1998)More Less
Gordon McIntosh was instrumental in establishing International Style Architecture in South Africa, especially Pretoria. As a leading member of the circle of architects known as the Transvaal Group, be strenuously followed and advocated the principles of the Modern Movement. Central to the Modern credo was a break with tradition and romanticism, toward a functional and formalistic architecture, free from ornament and decoration. Within a decade of designing the first South African example of an International Style building, McIntosh built two houses in Brooklyn, Pretoria, which could be described as Mediterranean or Spanish. This article traces the possible origins of this style in South Africa and examines why McIntosh was influenced to disregard his former convictions in the design of these buildings.
Author Anton C. van VollenhovenSource: South African Journal of Cultural History 12, pp 113 –115 (1998)More Less
The article of W.E. Nienaber in a previous edition of the South African Journal of Cultural History, is reviewed in this article. Some statements made by Nienaber seem to be in doubt. The main concern is with his use of references and certain technical aspects, therefore they need to be addressed.
Author W.C. NienaberSource: South African Journal of Cultural History 12, pp 116 –121 (1998)More Less
In reply to comments by Van Vollenhoven statements which are questioned by him are defended. Technical aspects as well as the use of references criticised by him are clarified where his remarks are deemed fair and relevant, and argued where not. The comments are welcomed by the author as they contribute to raising standards of excavation and of research on war graves which are a valuable part of our cultural heritage but are seldom studied.