Abstract
This chapter traces boeremusiek’s roots in blackface minstrelsy by revisiting historical source materials from the nineteenth and early twentieth centuries. By paying close attention to the linguistic tropes used to describe the concertina’s sound (as “wild” and “weird”), I show how the aesthetics of blackface bleeds into later descriptions of boeremusiek. I argue that a white sonic voyeurism around explicitly raced definitions of musicality is embedded in the way boeremusiek has been described and experienced in nineteenth and early twentieth-century South Africa, and that this constituted a crucial experiment in white settler subjectivity. Blackface, more than a performance practice that influenced boeremusiek stylistically in various ways, is the culmination of a broader aesthetic register in the history of concertina playing in South Africa. It functions as an ever present shadow side of white folk performance characterized by a subjective white anxiety as to whether one is participating as—or indeed becoming—one’s white “self” or one’s black “Other.”
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Notes
- 1.
Schultz (2001).
- 2.
Schultz (2001), p. 10.
- 3.
Schultz (2001), p. 8.
- 4.
Schultz (2001), p. 21.
- 5.
Schultz (2001), p. 18.
- 6.
Schultz (2001), p. 125.
- 7.
Ferreira (1995), p. 5.
- 8.
Muller (2008), p. 49.
- 9.
Anton Hartman was appointed as program compiler at the SABC in 1951 and later as assistant conductor of the SABC symphony orchestra. At the same time he served on the music committee of the FAK and was a member of the Afrikaner Broederbond.
- 10.
Hartman (1955).
- 11.
Giliomee (2003), pp. 147–148.
- 12.
- 13.
Giliomee (2003), p. 147.
- 14.
Schoeman (1980), p. 53.
- 15.
Egersdörfer was a German-born artist, illustrator, and cartoonist who migrated to South Africa in 1879. Later he and his partners founded the South African Illustrated News. His sketches document everyday life in the Cape Colony and were often used in local publications. Rosenthal (1960).
- 16.
“Boys” was the common term for black male servants at the time.
- 17.
Dudley Richard, “The Musical Boer.” Hampshire Telegraph and Naval Chronicle (Portsmouth, England), July 14, 1900, quoted by Worrall (2009), pp. 12–13.
- 18.
Bhabha (2012), pp. 122; 130.
- 19.
Leviseur (1944), p. 25.
- 20.
Masbieker is a racist term referring to a slave from Mozambique or, in general, any person with very dark skin. Meit refers to a black woman, usually a servant. “Daar was nou laas een mooi spulletje op de dorp in de kantoor, hulle noem dit een konsert. De nooientjes en een paar getrouwde mijsiemense het gespeul op de klavier en dan gezing ook. Kerel! dat was al te mooi; … Net soos één klaar het met sing, dan maak de kerels wat onder de gemeente zit zoo een lawaai, dat dit al de mooie muziek uit en mens zij kop slaat. Hulle stamp met de poote en klap met de hande, dat dit een naarheid is … Hulle seh dat de lawaai aspres gemaak wort dat en mens nie te veel jou de muziek moet aantrek nie, dat dit altemet jou hart zal zeer maak; want op engels het hulle gezing “aail waats voor die baaie de moonlit bouer”, en zulke ander psalms van die aart. … Maar toe de eerste speul klaar was, toe het hulle een heele trop Masbiekers daar ingebreng en een meit ook; toe zoen hulle almal ver die meit, en toe gaat hulle almaal aan sing. Toe seh Neef Sagrijn ver mij … dat dit wit mense was wat zwart gesmeer is, en toe nadrant kon ik uitmaak, dat dit Brithen en Meerhaar en Neef Bruidegom en Gert Wewers en Jonnie Kom-miek en Klein Klij was, en Chewie was meit geweest. Hulle het mooi gespeul en gezing ook, en dit het alles plezierig gegaan. Gert het ook mooi viool gespeul, en Chewie het goet die hoepelrok gezwaai en al maal was te vrede. Ik zal zeker weer gaan om te zien en te hoor als hulle weer konsert maak.” Zwaartman (1942), pp. 52–53.
- 21.
- 22.
- 23.
Bouws (1982).
- 24.
- 25.
- 26.
Van Niekerk (1972), pp. 89, 161.
- 27.
Roodt-Coetzee (1941).
- 28.
Van Niekerk (1972), p. 132. Blackface proved useful in more pragmatic matters too. One of the prisoners, having “shaved his beard and hair and smeared himself black” attempted to escape the compound by posing as one of the “k*ff*rs”. Unfortunately he was betrayed by one of the black men who he had paid off, and was recaptured at the last gate. Van Niekerk (1972), p. 108.
- 29.
Bouws (1982), pp. 81–82.
- 30.
Cockrell (1987), p. 419.
- 31.
Worrall (2009), p. 47.
- 32.
Duff Gordon (1927), pp. 80–81.
- 33.
The ability to mimic Western music has been employed as a marker of race since the seventeenth century. See Radano and Bohlman (2000), p. 18.
- 34.
- 35.
Winans (1996), p. 142.
- 36.
Thelwell (2013), p. 67.
- 37.
Natal Mercury, October 7, 1865, quoted by Erlmann (1991), p. 31.
- 38.
My emphasis. Dudley Richard, “The Musical Boer.” Quoted by Worrall (2009), pp. 12–13.
- 39.
Also see Chap. 4. “Lank was die [konsertina] vir my stuitlik deur sy skreeuerige geluid tot ek een skemeraand dit op ‘n halwe myl afstand hoor speel terwyl ek op die stoep gesit het, en toe hoor ek dit. Vanaf daardie oomblik het ek ‘n ander opinie oor die ding gekry, dis of ek aldeur opnuut daardie aand se sensasie beleef as ek dit hoor. Vir my part kan ons dit maar aanneem as ons nasionale instrument soos die Skotte hul bagpipes.” Fourie (1949), p. 3.
- 40.
- 41.
Linn (1994), pp. 69–70.
- 42.
Winans (1976), p. 417.
- 43.
Grimley (2018), p. 113.
- 44.
Lott (2013).
- 45.
“Boers great dancers.” Omaha Daily Bee (Nebraska), December 14, 1899, 4, quoted by Worrall (2009), pp. 10–11.
- 46.
Quoted by Worrall (2009), p. 11.
- 47.
Van Heerden (2007).
- 48.
The intersects between vastrap, kwela, and boeremusiek are also noted by Allen (2008).
- 49.
Worrall (2009), p. 18.
- 50.
Lennox van Onselen, Trekboer. Cape Town: Howard Simmons, 1961, 62–65, quoted by Worrall (2009), pp. 49–50.
- 51.
Roediger (1999), p. 118.
- 52.
Kristeva (1982), p. 5.
- 53.
This anxiety is theorized in Chap. 6 as “soteriological,” i.e. as having to do with religious doctrines of salvation.
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Froneman, W. (2024). Blackfaced Boeremusiek and the Racial Grotesque. In: The Groovology of White Affect. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-40143-5_3
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