Until As Recently As the Early 1980 S, the Reasons for Active Performances of the Cape

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ADJUSTED PERFORMANCE REQUIREMENTS IN MUSICO-STYLISTIC CONSERVATION STRATEGIES FOR THE CAPE MALAY[1]NEDERLANDSLIED

Desmond DesaiStellenbosch, 26 August 2004

1. INTRODUCTION

PLATE: Street Minstrelsy in Europe[2]

CONTACT:

EXAMPLE: The nederlandslied “ROSA” (See full musical transcription: Addendum A)

Imagine New Year’s festivities by nagtroepe (night troupes) in Cape Town, without its nostalgic, penetrative and heart-rendering liedjies or Afrikaans-Dutch ballads – which often narrate events of days long gone by, or account stories about love and lovers. This is like picturing Cape Town without its well-documented history of political prisoners and slaves brought in chains from the East. It is like having a South Africa without Muslims or a world without Islam. It’s simply unthinkable to have Cape Town without its age-old nederlandslied (see “Rosa” above which is an example thereof), a major song genre still sung by the nagtroep minnesingers.

Until as recently as the early 1980’s, several major factors affected performances of the CapeMalaynederlandslied included the following:

In the first instance, choir competitions have been held annually in Cape Town under the auspices of three Cape Malay Choir organisations, viz. the Cape Malay Choir Board (or CMCB, established 1939), the Suid-Afrikaanse Koorraad ( or SAKR, established 1952) and the Tafelberg Choir Board (established 1982).

The oulied, a genre from which the CapeMalay nederlandslied evolved, has been a standard competition item since 1939. Well-known ouliedere include “De Dapper Hobein”. Older Dutch songs which have evolved into standard nederlandsliedere are : “Twee Koningskinderen” and “Ich stond op hoge bergen”, which became the well-known CM nederlandslied “Toen ek op nederlandsbergestond”. The former dates back to the 1400’s. Another old Dutch song still frequently sung is “Al is er prinsje nog zo klein”. This CM liedjie reputedly dates back to the eighteenth century and recounts the story of Prince Willem of the House of Oranje).

The nederlandslied was introduced as a separate category in the CMCB competitions only by about 1957, under the influence and guidance of I.D.Du Plessis, co-founder of the CMCB, who must have been well-acquainted with this song genre in his research, which started in the 1930’s already. Its introduction was largely due to the expert advice and efforts of Willem Van Warmelo, the Dutch musicologist who acted as adjudicator for the CMCB at the time.

Second, Malay songs were often played on television and radio. Performances of groups who sing CM music, were frequent.

Third, at CapeMuslim social religious occasions such as weddings receptions, the nederlandslied sub-genres called bruidsliedere (wedding songs) and minnatliedere (love songs) were generally sung by the invited guests and others.[3] (See the example of “Rosa” above, and the full transcription at the end in Addendum A.)

Fourth at other social gatherings, notably at picnics at places like Maccasar, near the shrine of the famous Sheikh Yusuf, the nederlandslied formerly formed part of the kransdans or ringdans; a afkloplied or ghommalied such as “Diena, Kanakia, Diena” concluded this dance.[4] The subgenre seevaartliedere sometimes formed part of kransdans-songs.

Fifth, during New Year’s festivities nagtroepe (night troupes) parade through the streets of Cape Town, singing moppies and nederlandsliedere, before being invited to homes (in the Bo-Kaap and the former District Six, Mitchells Plain, etc. ) for a tafel (table).

Sixth, many commercial recordings have been made of nederlandsliedere by the CMCB and individual artists such as Taliep Petersen, on LP’s, seven singles, audio cassettes, CD and video-recordings. A long list of these important items may be compiled.

Seventh, “non-traditional” musical stylistic innovations often often were influenced by popular music trends, were used by some artists in commercial recordings. The gallop rhythm is an example, which has been used effectively in the nederlandslied,

Eighth, most importantly, the early ancestors of our CM were slaves, political exiles, and others brought from the East and elsewhere to the Cape. In the early days at the Cape, these slaves were used as musicians in the households of their wealthy masters, in the same way as some were masons and skilled artisans at the time the great Cape-Dutch architecture flourished at the Cape, ie., 1750 – 1820. Thus they were dominated by the Dutch conquerers, and of course, had to adopt the new language and cultures of their masters. What happened at the time is mostly pure speculation, but I believe that our true Capenederlandsliedevolved during, and before this period of Dutch colonisation; likewise some believe the Cape-Dutch gable (geuwel) evolved in the time of Dutch colonisation.

Ninth, certain organisations and individuals (such as the notable writer and poet I.D.Du Plessis) played substantial roles, mainly by virtue of their philosophical, social, religious, cultural and dominant political positioning, in supporting Cape Malay culture, and in particular the nederlandslied. Consequently, the unwarranted label was affixed to a repertoire as being that of a separate “ethnic” group called CapeMalays, in accordance with a politically segregated South Africa.

2. PRESENT CONSERVATION EFFORTS

In order to appreciate fully present conservation efforts, the possible origins of the nederlandslied need to be examined briefly:

There exist well-supported opinions that the style of the nederlandslied could have been influenced by the fundamental Islamic forms of adhdhaan and qiraat, and in particular by the music of Islamized Spain of about a thousand years ago. In the opinion of some scholars, Muslim music influences are traceable in the French troubadours and trouveres, the German minnesingers and the English minstrels. Evidently, the nederlandslied found its final form here at the Cape and only after 1652, within the prevailing Cape cultural milieu. Additionally, Christian and Islamic musical forms and practices, fervent religious and educational efforts of many during the period of Dutch and British colonisation, as well as social and other factors – political, economic and linguistic – helped to shape the nederlandslied.

Today nederlandsliedere have come under pressure for their existence since they are now generally only performed by the nagtroepe, at the Choir Competitions and sometimes played on communities stations such as Voice of the Cape (VOC). The standard of singing still appears to be high at the annual competitions. The nederlandslied is no longer sung a weddings and picnics (although I have heard of at least one teacher’s end of term party where some elated teachers have sung “Rosa” with gusto, while in a fair state of drunkenness, a condition which may have resulted for various reasons, least of which is the attitude of some learners to some educators and the well-known ill-discipline of some learners in schools!). This is great cause for concern (that is, the demise of the nederlandslied at Muslim weddings, and NOT the alleged nature of end-of-term parties of some teachers!).

The main elements which characterises the style of nederlandslied, and which must be preserved, are:

• The nature of this art form and the vocal melismas or ornaments called karienkels of the voorsinger and his particular style and art of singing;
• The antiphonal style of singing between soloist and choir, where overlap often occur between the voorsinger and choir parts.
• The homophonic nature of the choir part;
• The Dutch-Afrikaans text., and the characteristic repetitions of phrases;
• A slow, relaxed tempo in typical “blues” rhythmic style; the characteristic swaying movement during performance, was introduced relatively recently during the patronship of the poet and writer Du Plessis, and has become closely associated with the performance of the nederlandslied.

The special theoretical and technical requirements for a voorsinger. include

• An extensive knowledge of the Dutch-Afrikaans text and music, a clear and flexible voice,
• Often he is required to have a piercing and nasal-like tone quality,
• A fine sense of musicianship including pitch and rhythm, and
• The dualistic ability to lead and blend in with the choir.
• An outstanding technical abiltity to perform karienkels (ornaments) musically and with ease. A training in the art of qira’at and/or the performance of the adhdhaan appears advantageous.
• Additionally he must possess the ability to transmit the emotional content, mood and meaning of the text and music.

Several previous and/or continuing efforts reflect attempts to conserve the nederlandslied as a “living museum artifact” of early Dutch-Afrikaans at the Cape:

2.1 Educational Efforts:

I initiated two major educational efforts during my period of CM music research. Firstly, in 1982/3 I facilitated the performance of “Rosa” by a group of AlexanderHigh School learners.[5] Secondly, in June 1995 I co-ordinated a performance of “Rosa” by the newly formed Hewat College of Education Male Choir “Rosa” and Woodstock Royals under the leadership of Adam Samodien. Both efforts, while reportedly successful at the time, were unfortunately “once-off” occurrences.

2.2 Recording of Texts:

During the 1920’s a Dutch sailor named Frans De Jongh, with the assistance of Rasdien Cornelius, documente[1]d a few nederlandsliedere. De Jongh reputedly also taught new nederlandsliedere to Choirs during this period.

Other efforts at recording of texts, include those by I.D.Du Plessis (1935, 1947), Van Warmelo (1965) and Gassiep (1942).

More recently, the little booklet issued by the Beit-ul-Amaan Old Age Home in Wynberg, appeared and is entitled :”Ons Erfenis”.

2.3 Karaoke:

Under the leadership of Noor Haywood a team of concerned CapeMuslims have joined the notable Cape Town Urdu teacher, poet and musician, Ustaad M.I..Rawoot (who together with C.J.Langehoven, became the focii of a paper I read at the 2002 South African Musicology Congress in Pretoria) and many others, and put together a collection of nederlandsliedere which may be sung in karaoke fashion. Unlike Rawoot’s collection of git in Urduwhich contains explanatory notes and translations, Haywood’s collection has no additional information except for the words which appear while the song plays. Songs such as the CM “national anthem” “Rosa” (Spelt: “Roosa”!) , “Wies Ewig Lustig” and “Twee koningskinderen” (this time with the “s”) are included in an important collection of songs. The texts of the particular nederlandslied which is sung, appears on a screen while the singer tries his hand at karienkel-singing,

2.4 Manhave’s Efforts:

2.4.1 Old Dutch Songs:

Old Dutch songs have been introduced over many years to the CapeMuslims. I.D.Du Plessis intended this with some of the Dutch songs in his “Nuwe Maleise Liedere” (1947). Dr Manhave who has acted as specialist adjudicator in the nederlandslied in the 2004 SAKR choir competitions has attempted to uncover the origins of some of the nederlandsliedere, in the same way Van Warmelo did in the 1950 and 60’s until his death. Manhave only found the origins of “Twee Koningskinderen” and “ Ich stond op hoge bergen”. His efforts to study the works of Van Warmelo was barred by the Instituut Voor Den Tropen in Amsterdam[6]. In 1982/3 I experienced similar problems in my efforts to gain access to Van Warmelo’s works. Fortunately, I became familiar with Erica Mugglestone’s research at MonashUniversity in Melbourne, Australia, under the guidance of Margaret Kartomi. Mugglestone had access to his works in Holland at the time. I found little of note in her works regarding the research on CM music by Van Warmelo. His published sources had then already been studied thoroughly by myself. He gives a transcription and discussion of “Ik bin er de Groenelands straatjes” , which was extensively treated in my dissertation done at the University of Cape Town more than two decades ago.(Desai 1983)

Likewise, Manhave hopes to introduce old Dutch songs such as “Het dachet in den Oosten”. Young musicians in Holland presently appear keen to promote their cultural heritage, as many young Afrikaans singers in South Africa are doing. “Het daghet” seems to be performed often in Holland. By promoting old Dutch songs, we hope to internationalize our efforts of promoting the nederlandslied. Unfortunately, the “correct” music version which will be made available to the CM singers as a standard and extra prescribed item to be sung at the annual choir competitions, appears problematic.

2.4.2 Trophes

As Van Warmelo did in 1957, Manhave introduced his Manhave Trophe to the SAKR in 2004 for their best nederlandslied, as his personal effort to promote the nederlandslied.

2.5 Translations

In August 2002, after having read my paper which inter alia examined his na’at and git compositions in Urdu , Rawoot and I, with the assistance of Eric Akrofi, completed a cassette and CD on a special na’at which dates back a millennium. Rawoot performed his translations in English, Afrikaans and Xhosa, in addition to the original Arabic and later Urdu versions.

Additionally, since my renewed interest in researching CM music started in October 2002 after a telephone call from my long-standing friend Hans Rooschenschoon regarding the Stellenbosch WOORDFEES 2003, I have become aware of the dominance and success of the CM religious qasidah genre. Capeqasidahs are still almost exclusively sung in Arabic; English, Afrikaans, Swahili, Urdu, in fact, many languages are also represented in Cape and other qasedahs. There is intense debate about its success and acceptance amongst CapeMuslims, which of cause is very natural in our now not-so new democracy!

I vaguely recall one reputed solitary translation by a well-known Cape singer of “Rosa” in English which met with tremendous resistance from C. Muslims at the time .

I am of the opinion that our efforts at conserving the CM nederlandslied must follow the laudable example of Rawoot’s na’at. Thus I launched a project which attempts to present “Rosa” to our broad SA community in Afrikaans, English and Xhosa, in addition to the original Dutch-Afrikaans or Cape-Dutch.

The following stages were crucial to my own efforts:

2.5.1 Discussions with exponents of the CM community on the viability of the effort:

(a) Adam Samodien: (President and Chairperson SAKR; Captain and Coach Woodstock Royals, Undisputed “moppie king’)

A meeting with my long-standing friend took place in June 2004. Samodien agreed that “Rosa” could be sung in Xhosa and concurred with the objectives of this effort.

He pointed out his own efforts which started in 2002 at the SAKR competitions with a group of boys and girls who performed “Rosa” as an opening item to the competitions. Two or three boys and girls were chosen from each competing choir. In this unique performance various voorsinger parts are sung alternatively by two or three boys or girls. The results were satisfying to both audience and children. In his words: “If we don’t do it, who will?” His ultimate aim is to add a juvenile nederlandslied as competition item.

He believes that the key to the continuation of their fine art of the nederlandslied is through education of their children.

(b) Ismail Morris (Adjudicator Tafelberg; Brother of Founder of Tafelberg, Voorsinger since 1948. Member Young Royals (1948), Boarding Boys(1949) and Young men (since 1950). Undisputed chief exponent of the art of the nederlandslied)

He also felt that Rosa could be successfully sung in Xhosa.

Meeting with members of the choir “Young Men” set up for 21 August 2004 at my home in Bellville did not materialise. An exploratory meeting is planned for later. A substitute meeting with Adam Samodien took place on 22 August 2004. With the assistance of the translator Mzoli, Adam ably performed “Rosa” in English and Xhosa. This unique performance was recorded.

2.5.2. Translation by Mzoli Mzamane

I provided Mzoli with English and Afrikaans translations and a provisional Xhosa translation of the first stanza. After Mzoli did the full translation into Xhosa, I gave him scanned Afrikaans, English translations of “Rosa” and asked him to follow the scanning for his Xhosa translation of “Rosa”. I recalled that Rawoot experienced tremendous problems with his Xhosa na’at and had to fit the melody in himself. At the time I did not understand what he meant when he said that each language had its own “bounce”. The original Xhosa translation had too many syllables and the metre differed markedly from the Dutch-Afrikaans, English and Afrikaans versions. I therefore asked Mzoli to reduce them according the to number of syllables I required per verse. The differences in metre for the first three lines of verse one between the Dutch-Afrikaans, English, Afrikaans and Xhosa are clear in the Table 1. Table 2 lists the number of different syllables for each line in each verse:

TABLE 1

COMPARATIVE METRES OF FIRST THREE LINES

/ / / / / / / / /
/ / / / / / / / /
/ / / / / / /
/ / / / / / / / /
/ / / / / / / / /
/ / / / /
/ / / / /
/ / / / /
/ / // / / / / / /
/ / / / / / / / /
/ / / / / / / / / / /
/ / / / / / / / /
/ / / / / / / / / / / / / / /

TABLE 2

COMPARATIVE TABLE OF SYLLABLES

VERSE /

Line

/ DUTCH-AFRIKAANS / AFR. / ENG. /

XHOSA

1st / 1 / 8/9 (het) / 9 / 8 / 8
2 / 6 / 6 / 6 / 7
3 / 10 / 9 / 9 / 13
4 / 8 / 8 / 7 / 10/11*
Chorus / 1 / 7 / 8 / 7
2 / 6/7 (vollig) / 6 / 6
3 / 7 / 8 / 8
4 / 7/8 (vollig) / 7 / 7
2nd / 1 / 7 / 5* / 7
2 / 8 / 8 / 8
3 / 7 / 7 / 7
4 / 8 / 8 / 7/8
3rd / 1 / 6 / 6 / 7
2 / 7 / 7 / 7
3 / 7 / 8 / 6*
4 / 8 / 8 / 7

*Number of syllables differ from that of original Dutch-Afrikaans version by 2 or more.

Addendum B contains the complete English, Afrikaans and Xhosa translations which are given together with the original Dutch-Afrikaans Cape Malay version.

The next phase in this process would ensure that the performed version in Xhosa was acceptable to Xhosa and non-Xhosa speakers alike.

3. PERFORMANCE REQUIRMENTS FOR SINGING IN XHOSA (AFRIKAANS and/or ENGLISH)

Clearly extraodinary demands have been made on the performers of the nederlandslied. The following were some the requirements:

3.1.1. A reading knowledge of XHOSA (AFRIKAANS,etc.) and the ability to pronounce the words accurately and correctly.

3.1.2 The musical ability to interpret the text for the musical enrichment of the Xhosa listener, while at the same time transferring clearly its intent and meaning.

3.1.3. The ability to retain the unique style, nature and character of the nederlandslied