1887

oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - Die verband tussen vroeë apartheidsintellektualisering, Afrikanermusiekhistoriografie en die ontluiking van 'n apartheidsestetika in die toonkuns

Volume 8, Issue 3
  • ISSN : 1995-5928

 

Abstract

Epistemologiese afhanklikheid van Europese verwysingspunte kenmerk dikwels analitiese modelle van Suid-Afrikaanse kunsmusiek en kunsmusiekhistoriografie. 'n Tipiese voorbeeld is die beskrywing van Stefans Grové se musikale styl aan die hand van sy artistieke aangetrokkenheid tot die werk van J.S. Bach, Olivier Messiaen en Paul Hindemith (Muller en Walton 2006:3). Hierdie soort koestering van estetiese genealogieë wat sigself aanhoudend terugverbeel na Europa, veronderstel die noodwendigheid van 'n Europese paradigma vir Suid-Afrikaanse kunsmusiek. Meer nog: die Grové-voorbeeld illustreer die voortsetting van 'n nasionale program gerig deur sekere propagandistiese idees, die soort ideologiese vertrekpunte wat Afrikaners se "eie" ryk kultuurerfenis verhef tot dié van verligte (Europese) ras in "donker Afrika". In teenstelling met so 'n Eurosentriese (en problematiese) beskouing poog die teoretisering van Afrikanerkultuur in hierdie artikel om 'n kontekssensitiewe kultuurbegrip van Suid-Afrikaanse kunsmusiek in die 20ste eeu te formuleer. Die interpretatiewe raam wat hier geskep word, put uit 'n konstellasie verwante ideologieë wat krities gelees kan word uit kern historiografiese tekste en geselekteerde primêre dokumente in die argief van die komponis Arnold van Wyk.


One of the much-rehearsed models of self-explication characterising art music and historiography in South Africa is epistemologically rooted in Europe (Muller and Walton 2006:3). The tracing of aesthetic genealogies to Europe uncritically accepts certain strands of nationalist propaganda, including beliefs that declared Afrikaners to be Europeans in possession of a superior cultural and racial standing in "dark Africa". In contrast, the approach offered here will aim at a more nuanced construction of a broader 20th-century culture framed by a critical understanding of these ideologies as propelled by South African historiography.
Furnishing the Afrikaners with a (pre-) history rooted in antiquity constituted a pressingly urgent project for apartheid ideologues. Examples - unsurprisingly saturated with the language of Afrikaner nationalism - proliferate. Spies (1963:33) locates Afrikaner origins not in the 17th-century Cape, but in the Greek, Roman and Christian roots of Western civilisation. The tacit cultural implication of such an argument is profound: as a Western culture derived from antiquity, Afrikaner culture from the 17th to the 20th centuries could be expected to replicate European cultural and artistic patterns. Van der Westhuysen (1963:59) interestingly counterpoints Spies's argument with his suggestion that colonists were confronted by a rough "bodem" ("soil" or "virgin land") which had to be tamed and domesticated; there was little time, and even less cause, for artistic practice.

Loading full text...

Full text loading...

Loading

Article metrics loading...

/content/litnet/8/3/EJC62304
2011-12-01
2016-12-10

This is a required field
Please enter a valid email address
Approval was a Success
Invalid data
An Error Occurred
Approval was partially successful, following selected items could not be processed due to error