Abstract
This chapter considers the musical epiphany as a narrative technique in the ego documents of Jo Fourie, South Africa’s first woman ethnomusicologist. Between the 1930s and 1960s, Fourie crisscrossed South Africa in search of boeremusiek. A Dutch immigrant who arrived in the country in 1910, Fourie recounts in her diaries, letters, and memoirs a series of epiphanies on how she overcame her initial visceral dislike to become a strong apologist for the music, advocating for the concertina as (white) South Africa’s national instrument. I discuss her visionary moments as modernist technologies of ethnomusicological writing whereby Fourie enmeshed her own complicated life story and aesthetic (dis)education with what Philip Bohlman has called the “national journey” of folk music. I then show how her epiphanic vision for boeremusiek influenced boeremusiek’s reception and performance practice, creating an aesthetic where live performance was devalued in favor of an ever-retreating ideal past when boeremusiek was supposedly “pure” and “uncontaminated.” Despite numerous attempts, this ideal past was never successfully invented in sound. I argue this to constitute boeremusiek’s failed modernism.
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Notes
- 1.
- 2.
Bosman (1945).
- 3.
The Jo Fourie Collection, held at the National Film, Video and Sound Archives in Pretoria comprises around 1000 transcriptions, five diaries, 12 notebooks, and several folders of personal communication, photographs and fragments. I am grateful to Luana Brewis and Kobus Müller, who facilitated access to this collection.
- 4.
Bohlman (2002), p. 36.
- 5.
Maltby (2002), p. 6.
- 6.
Burgess (2002), p. 179.
- 7.
Taylor (1992), p. 481.
- 8.
Field and Fox (2007), p. 14.
- 9.
Langbaum (1983), p.344.
- 10.
James Joyce quoted by Langbaum (1983), p. 343.
- 11.
Langbaum (1983), p. 343.
- 12.
Fourie (n.d.-b).
- 13.
Fourie (n.d.-b).
- 14.
Fourie (n.d.-a)
- 15.
Fourie (1938).
- 16.
Fourie (n.d.-c).
- 17.
Fourie (n.d.-b), p. 16.
- 18.
Fourie (n.d.-d).
- 19.
Anon (1955).
- 20.
Anon (1955), 7.
- 21.
Hartman (1955).
- 22.
- 23.
Van der Merwe (n.d.).
- 24.
Allingham (1999), p. 651.
- 25.
Bouws (1955), p. 7.
- 26.
Fourie (1957), p. 21.
- 27.
The Stellenbosch Boerorkes (sic), formed in 1934 by Pietie le Roux as an explicit National Party propaganda vehicle, served as model for the founding of boere-orkeste around the country in the build-up to the 1938 celebrations of the Great Trek.
- 28.
Fourie (n.d.-e).
- 29.
- 30.
Euvrard (1952).
- 31.
Roux (1996).
- 32.
Burgers (1962).
- 33.
Crafford (1954).
- 34.
Anon (1950).
- 35.
Trewhela (1980), p. 50.
- 36.
Roux (1996).
- 37.
Trewhela (1980), p. 51.
- 38.
Trewhela (1980), p. 51.
- 39.
- 40.
Grundlingh and Sapire (1989), p. 25.
- 41.
Grundlingh and Sapire (1989), p. 22.
- 42.
Grundlingh and Sapire (1989), pp. 21–22.
- 43.
Quoted by Chakrabarty (2000), p. 156.
- 44.
Fourie (n.d.-e).
- 45.
Fourie (n.d.-e).
- 46.
Fourie (n.d.-e).
- 47.
Fourie (n.d.-e).
- 48.
Fourie (n.d.-e).
- 49.
Fourie (1949).
- 50.
Fourie (1954).
- 51.
In fact, there is some “evidence” of the concertina having the opposite effect in military contexts. An Irish soldier involved in the siege of Mafeking from 1899–1900 wrote in his diary that “[t]he Cape Boys shot a Boer today … The former was playing a concertina, jigging and singing and shouting to the Boers to send over some of their [women], as they wanted dancing partners. One of the Boers looked over the fort wall and was immediately shot dead by our riflemen. Ruse of War.” Worrall (2009), p. 14.
- 52.
See Lewis (1927).
- 53.
Fourie (1949), p. 3.
- 54.
Fourie (n.d.-b), p. 27.
- 55.
Fourie (n.d.-b), p. 34.
- 56.
Taylor (1992), pp. 419–420.
- 57.
Taylor (1992), p. 419.
- 58.
Fourie (1951).
- 59.
The Afrikaans translation of “Ellie Rhee,” perhaps the most famous and recognizable folk song in Afrikaans.
- 60.
Rex (1973), p. 9.
- 61.
Listen to the track here: https://drive.google.com/file/d/14TGmbvHrnKBxKSvC1WzCN5Ul4-Z4HoJ3/view?usp=sharing.
- 62.
Van den Berg (1976), 192.
- 63.
Transcription of Uit die jaar vroeg: Program 1 (1952).
- 64.
Bodenstein (2010).
- 65.
Uit die jaar vroeg: Program 2 (1952).
- 66.
Uit die jaar vroeg: Program 2 (1952).
- 67.
Uit die jaar vroeg: Program 2 (1952).
- 68.
Uit die jaar vroeg: Program 2 (1952).
- 69.
Uit die jaar vroeg: Program 12 (1952).
- 70.
Uit die jaar vroeg: Program 12 (1952).
- 71.
Uit die jaar vroeg: Program 12 (1952).
- 72.
Uit die jaar vroeg: Program 8 (1952).
- 73.
Uit die jaar vroeg: Program 12 (1952).
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Froneman, W. (2024). Epiphanies of Postcolonial Radiance. In: The Groovology of White Affect. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-40143-5_4
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