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oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - Aspekte van diaspora in drie Afrikaanse dramatekste na 2004

 

Abstract

Hierdie artikel ondersoek die vraag of sommige Afrikaanse Suid-Afrikaanse dramas weerspieëlings van die begrip diaspora bied wat bydra tot die spanning tussen "post-postkoloniale" sentrums en marges. Onderliggend aan die probleem is die aanname dat vorme van postkolonies in dramatekste ingebed kan word. Ek vertrek in hierdie artikel van die hipotese dat die onderstaande dramas op werklike gemeenskappe gebaseer is en op hul aard as postkolonies kommentaar lewer. Hierdie aanname en hipotese skep die moontlikheid om drie variasies van diaspora te onderskei. Tom Gouws se drama (2006) hou die nouste met die eerste vorm verband, naamlik 'n klassieke diaspora. Die drama bied 'n voorstelling van sewe uitgeweke Suid-Afrikaanse mans wat as Team 4 Emergency Operations onder Caring Cross-moltreinstasie werk. In die teks verwys hierdie naam na Charing Cross-moltreinstasie, wat in werklikheid bestaan en in Westminster, Londen, geleë is. Die voorstelling van transnasionale gemeenskappe, of 'n moderne diaspora, vorm die agtergrond vir Deon Opperman se drama (2008). Kaburu het 'n dubbele fokus, naamlik sommige Afrikaners se historiese verspreiding na Brits-Oos-Afrika (tans Kenia) en die huidige diaspora van Afrikaners na Kanada. Die derde vorm van diaspora, inwaartse/interne diaspora, het op Christiaan Botha se drama (2005) betrekking. Die drama bied 'n voorstelling van die titelkarakter se verplasing na die groot god Eloib se werklikheid. Histories was die werklike //Kabbo 'n sjamaan en was die San die eerste bewoners van Suidelike Afrika. Botha se drama herinner ons daaraan dat voorstellings van diaspora in die Afrikaanse drama nie slegs Afrikaners en hul bande met 'n tuisland, gasheerland en postkolonie betrek nie.

The problem dealt with in this article derives from the question whether some Afrikaans South African plays reflect expressions of diaspora that add to the tensions between "post-postcolonial" centres and margins. Underlying the problem is the assumption that theatre can inscribe empires as representations of postcolonies in play texts. In this article I start from the hypothesis that the chosen plays reflect, and comment on, real communities as postcolonies. Building on this assumption and hypothesis enables one to distinguish between three variations of diaspora. Afrikaans playwright Tom Gouws's play (2006) relates most closely to the first variation, namely a classical diaspora. The drama depicts seven expat South African males operating as Team 4 Emergency Operations below Caring Cross Station. In the play, this is the name used to refer to Charing Cross Tube Station, which in reality is situated in Westminster, London. Expressions of a transnational community, or modern diaspora, on the other hand, inform Deon Opperman's play (2008). Kaburu has a double focus, namely some Afrikaners' historical dispersion to British East Africa (presently Kenya), and the contemporary diaspora of Afrikaners to Canada. The third expression of diaspora, inward/internal diaspora, applies to Christiaan Botha's play (2005). The play depicts the title character's transportation to the realm of the great god Eloib. Historically //Kabbo was a shaman, and the San people were the first inhabitants of Southern Africa. Botha's play serves as a reminder that expressions of diaspora in Afrikaans theatre do not exclusively involve Afrikaners and their links with homelands, hostlands and postcolonies.

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2010-03-01
2016-12-02
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