Cape Town Harmonies

Armelle Gaulier, Denis-Constant Martin

Description

"Cape Town’s public cultures can only be fully appreciated through recognition of its deep and diverse soundscape. We have to listen to what has made and makes a city. The ear is an integral part of the ‘research tools’ one needs to get a sense of any city. We have to listen to the sounds that made and make the expansive ‘mother city’. Various of its constituent parts sound different from each other … [T]here is the sound of the singing men and their choirs (“teams” they are called) in preparation for the longstanding annual Malay choral competitions. The lyrics from the various repertoires they perform are hardly ever written down. […] There are texts of the hallowed ‘Dutch songs’ but these do not circulate easily and widely. Researchers dream of finding lyrics from decades ago, not to mention a few generations ago – back to the early 19th century. This work by Denis Constant Martin and Armelle Gaulier provides us with a very useful selection of these songs. More than that, it is a critical sociological reflection of the place of these songs and their performers in the context that have given rise to them and sustains their relevance. It is a necessary work and is a very important scholarly intervention about a rather neglected aspect of the history and present production of music in the city." — Shamil Jeppie, Associate Professor, Department of Historical Studies, University of Cape Town

Sujets

• History

Informations

• Publié par: African Minds
• Date de parution: 19 juillet 2017
• Nombre de lectures: 0
• EAN13: 9781928331513
• Langue: English
• Poids de l'ouvrage: 14 Mo

Extrait

Cape Town Harmonies

Memory, Humour and Resilience

Armelle Gaulier & DenisConstant Martin

AFRICAN MINDS

Published in 2017 by African Minds 4 Eccleston Place, Somerset West, 7130, Cape Town, South Africa [e-mail] www.africanminds.org.za 2017 All contents of this document, unless specified otherwise, are licensed under a Creative Commons Attribution 4.0 International License.

All photographs by Denis-Constant Martin unless otherwise noted. ISBNs 978-1-928331-50-6 PRINT 978-1-928331-51-3 e-Book 978-1-928331-52-0 e-Pub Copies of this book are available for free download at www.africanminds.org.za ORDERS For orders from Africa: African Minds Email: [e-mail]

For orders from outside Africa: African Books Collective PO Box 721, Oxford OX1 9EN, UK Email: [e-mail] Published with the support of:

Dedicated to Anwar Gambeno & Melvyn Matthews whose support and assistance contributed decisively to our research on Kaapse Klopse and Malay Choirs

Anwar Gambeno (et) and Mevyn Mattews (rîgt)

Contents

Acknowledgements vii Foreword xiii Prologue xvii

INTRODUCTION 1

Par t One: Memory and Processes of Musical Appropriation

CHAPTER 1 Music behind the music: Appropriation as the engine of creation39

CHAPTER 2 In the footsteps of the future: Musical memory and reconciliation in  South Africa59

Par t Two: Nederlandsliedjiesand Notions of Blending

CHAPTER 3 Thenederlandsliedjies’ “uniqueness”77

CHAPTER 4 The meanings of blending107

Par t Three Moppies:Humour and Survival

CHAPTER 5 Assembling comic songs135

CHAPTER 6 Behind the comic179

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CONCLUSION Memory, resilience, identity and creolisation

219

Appendix 1 –Nederlandsliedjieslyrics 237 Appendix 2 – Cape Malay Choir Board adjudication reports Appendix 3 –Moppielyrics 253 References 321 Interviews with musicians, judges and experts 335

247

Acknowledgements

A R M E L L E G A U L I E R

ï Fîrst went o Capé To om Juy o Ocobé 2006 o ŝudymoppîes o comc ŝogŝ. Wé ï béga my véŝgaoŝ, my éocuoŝ ŝoméméŝ oud  dIcu o aŝé quéŝoŝ abou a éy caéd é “ado”. Hoévé, bécauŝé ï aŝ a youg éc oma ad ad décdéd o comé o Capé To ad ŝay  é Capé aŝ  odé o coduc iédok o éKaapse Kopse Karnîva, é Né Yéa éŝvaŝ  gééa ad é muŝca épéoéŝ aŝŝocaéd  éŝé évéŝ, ï écévéd a véy am écomé om Cava ogaŝéŝ ad éadéŝ oKopsead Maay Coŝ. héy o oy madé évéy éfo o aŝé my quéŝoŝ, évé é éy ŝoudéd ŝagé o ém, bu aŝo aoéd mé o aéd paccéŝ ad acaéd my coacŝ  é od o é Né Yéa éŝvaŝ. My iŝ ééŝ aŝ  émoppîes, bu éy od mé a  ac éy coŝdééd é moŝ mpoa épéoé o bé énederandsîedjîes. ï ééoé décdéd o comé back om Jauay o Mac 2008,  mé o é Maay Co compéoŝ,  odé o pépaé aoé ŝudy ocuŝg onederandsîedjîes. ï aŝ aga gaéd a odéu écomé. hé maéa coécéd dug éŝé o iédokŝ povdéd é baŝŝ o o maŝéŝ dŝŝéaoŝ  éomuŝcoogy. ï oud ké o ak a é péopé  om ï avé béé ouaé o éac dug my iédok  Capé To; éŝpécay ïŝma Béy, Taép Abaamŝ, Sa Pééŝé, Adam Samodéé, Tapé Jacobŝ, Améé, Cŝopé édaé, Sada hoé, Mcaé Abaamŝ, Eddé Maéŝ, Road ŝé, Abduama “Maa” Moŝ, Maa ééma, ïŝma ééma, ïŝma Moŝ ad Kaajé. Péaŝé bé aŝŝuéd o my gaudé. ï aŝo oud ké o éxpéŝŝ my appécao o é ŝgéŝ o éKopsead é Maay Coŝ, o é coacéŝ ad é muŝcaŝ o uŝéd mé ad aoéd mé o écod ééaŝaŝ é compéoŝ éé akg pacé: mémbéŝ ad éadéŝ o é Spéŝboa, é abuouŝ Woodŝock Saéŝ, é Kéacŝ, é Woodŝock Royaŝ, é Tupŝ, é Saéŝ, é Coéa Maé Co, é Zaŝ, é Vagéŝ, é Pakdaéŝ, é Youg Mé ad é Mog Goéŝ. My ŝay ad éŝéac  é Capé aŝ oud o avé béé poŝŝbé ou é ŝuppo o Muééb, Aa ad oza Gambéo: ak you o you am écomé ad uméabé éaŝ ad akŝ. ï am aŝo éxéméy gaéu o é Wŝag amy o madé my ŝay  Mcéŝ Pa ŝaé ad aŝcag: akŝ o you, ak you o a é gŝ you ŝpé ég mé o éKaapse Kopse Karnîva é BoKaap.

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Acknowedgements

ay, ï a o dédcaé a véy ŝpéca od o akŝ o Mévy Maéŝ o ook om ŝ péŝoa mé o dvé mé a ové é Capé aŝ o méé vaouŝ coŝ ad o ŝaéd  mé ŝ mémoéŝ ad ŝ éxpéécéŝ o é Cava. Hé aŝo épéd mé o gé a muc déépé udéŝadg o oŝé o aé vovéd  é Cava ad aéd . Mévy, ï coud o avé coducéd ŝ éŝéac ou you ŝuppo ad you édŝp.

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D E N I S  C O N S TA N T M A RT I N

Réŝéac udéaké o ŝ book oud o avé béé poŝŝbé ou é ŝuppo o é Sééboŝc ïŝué o Advacéd Sudéŝ (STïAS), c véy gééouŝy gaéd mé éé éoŝpŝ (2007, 2013 ad 2015), dug c ï coducéd véŝgaoŝ oKaapse Kopsead Maay Coŝ, ad apéd évéŝ  may pacpaŝ  é Né Yéa éŝvaŝ. ï am pacuay gaéu o Poéŝŝo Béad aéga, STïAS’ oudg déco, ad Poéŝŝo Hédk Géyé, ŝ déco ŝcé 2008, aŝ é aŝ o Mŝ Maa Mouo, péŝoa aŝŝŝa o é STïAS déco, o ogaŝéd my ŝayŝ  Sééboŝc  é umoŝ kdéŝŝ ad éIcécy. ï aŝo ŝ o ak é éc ïŝué o Sou Aca (ïnstîtut rançaîs d’Arîque du Sud,ïAS) c, om é bégg, ŝuppoéd my éŝéac  Capé To ad gaéd a ŝma ŝubŝdy o é pubcao o ŝ voumé, c ŝ dééd gy appécaéd. Aoug ï ad o a og mé béé ééŝéd  Sou Aca muŝc, ad éŝpécay  Sou Aca jazz, ï ŝaéd dog académc éŝéac o Capé To’ŝ Né Yéa éŝvaŝ ad muŝcŝ  é éay 1990ŝ. hé pogammé déag ŝpécicay  é Né Yéa éŝvaŝ,Kaapse Kopse, Maay Coŝ ad é épéoéŝ aŝ cocévéd a é équéŝ o Jéauc Doméac, é déco o é céé o c ï aŝ aIaéd: é Céé o ïéaoa Sudéŝ (Centre d’ études et de recerces înternatîonaes,CERï) o é Naoa oudao o Poca Scécé (Fondatîon natîonae des scîences poîtîques,NSP). ï éaŝéd  udé é aégŝ o a CERï ad é, aé 2008, aŝ a ŝaf mémbé o é Céé o é Sudy o Back Aca (Centre d’ étude d’Arîque noîre, CEAN) o é Bodéaux ïŝué o Poca Sudéŝ (Scîences Po Bordeaux), c  2011 aŝ éogaŝéd udé é amé Acaŝ  é Wod (es Arîques dans e monde, AM). Wou é ŝuppo ad écouagémé ï écévéd om éŝé cééŝ ad é ŝuccéŝŝvé décoŝ (Jéauc Doméac, Jéaaçoŝ Baya, Cŝopé Jaféo ad Cŝa équéŝé, a CERï; RéÈ Oayék ad CÈé ho a CEAN ad AM), ï oud o avé béé abé o dévéop a éŝéac pogammé a ookéd qué éccéc o may mémbéŝ o é académc éŝabŝmé,  ŝpé o é coidécé ad é éécua ŝmuao ï aayŝ écévéd om my coéaguéŝ.

Acknowedgements

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Sma Aom, Séo Réŝéac éo Eméuŝ a CNRS, aŝ o ŝévéa décadéŝ ŝucéd mé  éomuŝcoogy, advŝéd o my éŝéac oéaoŝ ad éxpaéd a ï coud o udéŝad  é muŝcŝ ï ŝudéd. Hé aŝ béé a pécouŝ méo om ï ŝa évé bé abé o ak éoug. ïvéŝgaoŝ ocuŝg omoppîescoducéd  é améok éé o é éŝéac goup GOBAMUS (Muŝca Céao, Ccuao ad 1 ïdéy Maké  a Goba Coéx), éd by Emmauéé Ové (Naoa Céé o Scéic Réŝéac, CNRS) ad udéd by é éc Naoa Agécy o Réŝéac (Agence natîonae de a recerce). Réŝéac ocuŝg o nederandsîedjîesaŝ pa o a pogammé aéd by Naaé éado (Muŝc acuy, Uvéŝy o MoÈa): Compaavé Sudy o Aéŝéc Evauao Céa ad Taŝé Judgméŝ (Compaavé Muŝcoogy ad Aopoogy o Muŝc aboaoy, ïédŝcpay Obŝévaoy o Muŝca Céao 2 ad Réŝéac, Caada). ay, éŝéac o Capé To’ŝ Né Yéa éŝvaŝ 3 cobuéd o é “vua éŝéac aboaoy” (Cca Wod), ogaŝéd by Bob Wé (Dépamé o Aopoogy, Uvéŝy o MoÈa). Emmauéé Ové, Naaé éado ad Bob Wé ŝoméméŝ ŝuppoéd my éŝéac iacay, bu moé mpoay, aog  a é coéaguéŝ o pacpaéd  éŝé goupŝ, épéd mé o pobémaŝé my ééŝŝ ad dévŝé appopaé méodoogéŝ o puŝué my véŝgaoŝ o Capé To’ŝ cuuéŝ. ï Sou Aca, may coéaguéŝ écouagéd mé, ad povdéd omao ad ŝuggéŝoŝ a éé vauabé: Syva Budéŝ ad Mcaé Nxo (Sou Aca Coégé o Muŝc) a é Uvéŝy o Capé To; Sépauŝ Mué (Muŝc Dépamé ad Documéao Céé o Muŝc, DOMUS), zabÈ ambécŝ (DOMUS), Paua oué (é docoa ŝudé  é Muŝc Dépamé), Smo Békké ad Kééŝ va dé Waa (Socoogy ad Soca Aopoogy Dépamé), ad éca éŝc, (Céicaé Pogammé Co odao ad Ouéac Coodao, Dépamé o Muŝc) a Sééboŝc Uvéŝy. Céy Hédckŝ (Dépamé o Pocŝ ad ïéaoa Sudéŝ, Uvéŝy o Joaéŝbug) ad Eaé Sao (Déco, ïŝué o Womé’ŝ 4 ad Gédé Sudéŝ, Uvéŝy o Péoa) gééouŝy ŝaéd  mé é maé koédgé o Capé To ŝocéy ad pocŝ. Ogog covéŝaoŝ  Cŝé uca (oméy  Sééboŝc Uvéŝy) o Sou Aca muŝcŝ,  Zm Eaŝmuŝ (Dépamé o Socoogy, Uvéŝy o é Waéŝad) o coouéd déy ad céoŝao,  Sam Jéppé (Dépamé o Hŝoca Sudéŝ, Uvéŝy o Capé To) o Capé To’ŝ cuuéŝ ad ïŝam  Sou Aca payéd a décŝvé oé  my udéŝadg o é éaoŝpŝ bééé éŝvaŝ, muŝcŝ ad ŝocopoca éaéŝ  Capé To; ï avé o éoug odŝ o ak ém o é ŝpao éy gavé mé. ay, ï a o dédcaé a pacua od o akŝ o: Cŝopé édaé (Pubc Educao ad Ouéac, Wéŝé Capé Povca Paamé), a poé ad oé o é ycpŝ o é Capé Cuua Coécvé o oducéd mé o é céŝŝ o Capé To’ŝ cuua é; o Samé Domgo, o véy gééouŝy