Seks, ras en boeremusiek : agter die retoriek van gebrekkige sanglus by die 1938-Voortrekkereeufees
Date
2014-08
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LitNet
Abstract
In 20ste-eeuse besinnings oor die “kultuuraard” van die Afrikaner word daar meermale melding gemaak van wit Afrikaners se sogenaamde gebrek aan sanglus. In 1938 – die jaar van die Voortrekkereeufees – het hierdie gesprek veral na vore gekom in klagtes oor feesgangers se onentoesiastiese deelname aan “volksang”. In hierdie artikel ondersoek ek die geldigheid en ideologiese onderbou van sulke aansprake deur te fokus op die verrassende teenwoordigheid van boeremusiek by die 1938-Eeufeesvieringe. Nóg die geskiedenisse van die fees, nóg die amptelike beriggewing in die Afrikaanse pers van die tyd erken die impak van boeremusiek by Eeufeesplegtighede. Die somtyds oneerbiedige storie van boeremusiek lees ’n mens nie in hoofartikels en voorbladstories raak nie, maar tussen die reëls en in die kantlyne van Afrikaanse tydskrifte en koerante. Dit is veral uit die kleinadvertensies en briewekolomme van publikasies soos Die Transvaler, Die Burger en Die Brandwag dat wit Afrikaanssprekendes se populêre musiekbelewing in 1938 gerekonstrueer kan word. Die teenwoordigheid van boeremusiek weerlê die indruk wat deurgaans deur kultuurleiers geskep is oor wit Afrikaners se sogenaamde inherente onmusikaliteit. En meer: die debatte oor boeremusiek in 1938 wys op andersyds versluierde maniere na die rassevrese wat bewerings oor die Afrikaner se gebrek aan sanglus onderlê het. Hierdie aansprake moet verstaan word binne die konteks van oorgelewerde seksueel-musikale rassestereotipes van die koloniale wêreld en 20ste-eeuse uitbreidings op die debat rondom musiek, dans en seks. Die gewildheid van boeremusiek by feesgangers het teen Afrikanerleiers se ideale rondom rassesuiwerheid en morele agteruitgang ingedruis. Aansprake oor die “volk” se “gebrek aan sanglus” het dus nie daarop gedui dat Afrikaners van die tyd nie kon of wou sing nie. Dit was eerder ’n meganisme waardeur die grense tussen wit en niewit bevestig kon word.
This article engages with what was considered an axiomatic statement in early 20th-century Afrikaans treatises on “cultural temperament” and “national character”: that the Afrikaners are not a singing people. During the Great Trek Centenary of 1938 this discourse of white amusicality was particularly well articulated in laments about the sorry state of community singing (volksang) at public festivals. The validity of such claims has gone unchallenged, most probably because of selective and euphemistic reporting on popular culture at the time. Evidence to the contrary often lies hidden in the margins of newspapers and magazines of 1938. Between the lines of official reporting and in the letter columns and classifieds of publications like Die Transvaler, Die Burger and Die Brandwag unfolds the unlikely story of boeremusiek at Centenary celebrations. The presence of boeremusiek at this important moment in the development of Afrikaner nationalism powerfully contradicts the impression created by cultural leaders about the solemn character of the events and the so-called inherent lack of musical ability of the volk.
This article engages with what was considered an axiomatic statement in early 20th-century Afrikaans treatises on “cultural temperament” and “national character”: that the Afrikaners are not a singing people. During the Great Trek Centenary of 1938 this discourse of white amusicality was particularly well articulated in laments about the sorry state of community singing (volksang) at public festivals. The validity of such claims has gone unchallenged, most probably because of selective and euphemistic reporting on popular culture at the time. Evidence to the contrary often lies hidden in the margins of newspapers and magazines of 1938. Between the lines of official reporting and in the letter columns and classifieds of publications like Die Transvaler, Die Burger and Die Brandwag unfolds the unlikely story of boeremusiek at Centenary celebrations. The presence of boeremusiek at this important moment in the development of Afrikaner nationalism powerfully contradicts the impression created by cultural leaders about the solemn character of the events and the so-called inherent lack of musical ability of the volk.
Description
CITATION: Froneman, W. 2014. Seks, ras en boeremusiek : agter die retoriek van gebrekkige sanglus by die 1938-Voortrekkereeufees. LitNet Akademies, 11(2):422-449.
The original publication is available at http://www.litnet.co.za
The original publication is available at http://www.litnet.co.za
Keywords
Boeremusiek, Afrikaners -- South Africa -- Music, Music -- South Africa, Songs, Afrikaans, Ethnomusicology, South Africa -- History -- Great Trek, 1836-1840 -- Centennial celebrations, etc., Voortrekkereeufees, 1938
Citation
Froneman, W. 2014. Seks, ras en boeremusiek : agter die retoriek van gebrekkige sanglus by die 1938-Voortrekkereeufees. LitNet Akademies, 11(2):422-449.