Browsing by Author "Fourie, Paula"

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    "Ghoema vannie Kaap" : the life and work of Taliep Petersen (1950–2006)
    (Stellenbosch : Stellenbosch University, 2013-12) Fourie, Paula; Muller, Stephanus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Music.
    ENGLISH ABSTRACT: This dissertation is a life-works biography of South African musician Taliep Petersen. It is not only concerned with a discussion of his various projects, but also with situating them within his lived experience and the broader sociopolitical environment of South Africa during the period from 1950 to 2006. Furthermore, by discussing his artistic output against the background of coloured identity discourse, this dissertation is concerned with exploring his various self-identifications through the years, whether it be Anglo-American popular music, the “traditional” folk music of the Cape Malay community, District Six, Islam, a heritage of slavery or the Afrikaans language. This is the first academic project on Taliep Petersen and there are no scholarly publications that deal substantially with his biography or with his work. As such, this dissertation makes considerable use of newspaper sources and archival material, though it is most reliant on oral testimony in the form of over thirty qualitative interviews, supplemented by personal communication and unstructured questionnaires specifically drawn up for individual informants. Regarded partly as an oral history project, this dissertation employs theoretical premises from this approach in regarding memories as living histories recalled in the present to make sense of the past. Individual interviews are treated as created texts, stories told to make sense of the life of Taliep Petersen. This dissertation draws from numerous disciplinary discourses within the arts and humanities. It focuses particularly on creolization, regarding this process as cultural creativity leading to the creation and constant fluidity of musical forms as well as individual and group identities. Part I of this dissertation consist of two lengthy chronologies that document the first thirty years of Taliep’s life, focusing variously on his childhood in District Six and his years as a young coloured musician in a world increasingly dominated by white concerns. Part II consists of four chapters that take a closer look at specific projects in the latter part of Taliep’s life, placing a greater emphasis on interpretation than on biographical chronicling. Chapter 3 deals with the activities of Taliep’s cover band, Sapphyre, in the early 1980s, with specific focus on their LP, Rosa. The Taliep Petersen/David Kramer collaboration in the mid-1980s forms the subject of Chapter 4, which focusses specifically on their first project, District Six: The musical. Chapter 5 straddles three projects of the 1990s, another musical (Poison), an album (Tribute) and a concert (Two worlds – One heart). The final chapter is concerned with a discussion of Taliep’s television work of the early years of the twenty-first century, as well as with the last musical he co-wrote with Kramer before his death, Ghoema. To explore the interaction of different mediums of representation within the linear account of a life lived, interludes consisting of fieldwork notes, maps, lists, perspectival sketches and family trees are interspersed between chapters.
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    Wagneriaanse vergestaltings in Etienne Leroux se 18-44
    (LitNet, 2013-08) Fourie, Paula
    ’n Belangrike aspek van Leroux se oeuvre is sy breedvoerige gebruik van ’n wye verwysingsveld, en veral sy invleg van uiteenlopende mitologieë, sielkundige teorieë en literêre bronne binne sy romans. Vanuit ’n musiekwetenskaplike perspektief is die talle verwysings na die musiekdramas van Wagner in 18-44 opvallend. Hierdie artikel neem as vertrekpunt ’n lesing van 18-44 as ’n teks tussen tekste, spesifiek met betrekking tot Richard Wagner se Der Ring des Nibelungen. Deur Wagner en Wagner-resepsie as ’n konteks vir Leroux te postuleer, word gepoog om nuwe interpretasiemoontlikhede in 18-44 bloot te lê. Uit hierdie herlesing kom belangrike temas en perspektiewe in die roman na vore, onder andere die huwelik as onmoontlike belofte en owerspel as noodsaaklike verraad. Regdeur Leroux se oeuvre is die soektog na ’n “lewende mite” ’n prioriteit. In hierdie artikel word die Götterdämmerung-tema in 18-44 hiermee in verband gebring en gelees as profesie van die Afrikaner se toekoms, die val van sy gode en sy desperate behoefte aan ’n “lewende mite”. Alhoewel hierdie voorgestelde konteks hoofsaaklik op Der Ring des Nibelungen berus, bestaan daar verdere moontlikhede om van Wagner se ander musiekdramas, veral Der Fliegende Holländer en Parsifal, doelbewus in ’n herlees van 18-44 te betrek. Deur Leroux vanuit hierdie perspektief te benader is my bedoeling om te demonstreer dat die veld van Leroux-navorsing geensins versadig is nie en dat ander interpretasies steeds deur’n “heruitvoering” (om Willem Weststeijn in Botha 2004:89–90 se konsep te ontleen) van 18-44 moontlik is.