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©  DESMOND DESAI, DMD EDU-HOME, 2007

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                                                Wietieke van Dort and Dr Kim Manhave with
                                                 a video recording of the Cape Town 2006
                                                  Suid-Afrikaanse Koorraad Competitions.

ADJUSTED PERFORMANCE REQUIREMENTS IN MUSICO-STYLISTIC CONSERVATION STRATEGIES FOR THE CAPE MALAY1 NEDERLANDSLIED

1. INTRODUCTION                                     

PLATE: Street Minstrelsy in Europe

CONTACT:  ddesai@tiscali.co.za

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 Cape Malay nederlandslied  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 Cape Malay 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 nederlandsberge stond”.  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 Cape Muslim 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 Cape nederlandslied evolved 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 Cape Malays, 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 Alexander High 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 period 1887 - 1936  a Dutch sailor named Frans De Jongh, Rasdien Cornelius, and others documented 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 Cape Muslims 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 Urdu which 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 Cape Muslims.  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 Amsterdam6.  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 Monash University 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.  Cape qasidahs  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 Cape Muslims, 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

*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

3.1.4 Enjoying the song, and rendering it enjoyable to the listener; thus he should preserve the aesthetic beauty of the song.

3.1.5 Making contact with the listener emotionally and cognitively (through the meaning of the text).

3.2 ADJUSTED PERFORMANCE  REQUIREMENTS

What clearly need to conserved and promoted, are not only the Dutch-Afrikaans texts, but also the unique style of singing which incorporate so-called “Eastern” and/or Arabic/Islamic musical elements.

Additional performance adjustments by the singers of the nederlandslied are:

·        A realisation of the need for preservation efforts; a needs and awareness campaign seems self-evident in this regard.

·        The effort made to try and realise the objectives as outlined before;

·        A acquiantance and study of at least the translated forms of nederlandsliedere;

·        An implied imperative that everyone should make an effort to promote these efforts;

In general, the fact that one is a good karienkel-singer does not imply that  one  would make a good nederlandslied singer of translated text.  A positive disposition become one of the main requirements to make this effort at preserving our nederlandslied  a success.

4.  CONCLUSION

Now that we have a ruling Black majority in SA, and the days of cultural domination of the Western powers apparently something of the past  -  at least superficially and in our part of the world - a three-pronged approach seems logical in conservation strategies of the nederlandslied:

4.1  In line with technological realities and globalisation efforts, closer links need to forged with countries like the Netherlands which must have an interest in the nederlandslied. Clearly, the efforts in this regard need to carefully directed.   The introduction of  “Het dachet in den Oosten” may be in the correct direction.

4.2.On the other hand, the nederlandslied must be promoted in our own country on a broader basis:

In  this regard, and based on  Rawoot’s own pioneering efforts, two very different but complementary approaches are possible:

4.2.1 COMPOSITIONS: If consensus could be found that most nederlandsliedere derive from the same basic songs/text ( which can only be concluded after conducting exhaustive research thereinto), compositions of nederlandsliedere could be encouraged in Afrikaans, English and Xhosa.

This effort will then be in line with present local compositions in Cape qasidah music (by groups such as (Boys vannie Strand).  Clearly then, Xhosa-speaking Muslims will play a leading role in this regard.  Resistance must of necessity eminate from those who gleefully proclaimed in public: “As die darkies ons liedjies sing, dan hou ek op!”

4.2.2 TRANSLATIONS: The attempt of translating nederlandsliedere is a first step and has only limited success potential.  Both “sides” (that is, Xhosa-speaking and non-Xhosa-speaking communities) must feel the need for it.

4.3  The nederlandslied in Xhosa has added tourism potential.  For those tourists requiring something uniquely Capetonian, with  Eastern as well as African elements, “Rosa” partly sung in Xhosa may be the answer.

What ever the means and the methods used in the preservation of our nederlandslied, it remains an important part of our Afrikaans cultural heritage, and must become an important part of our South African cultural heritage. 

Self-evidently,  the nederlandslied must be conserved for  future generations; the present (still very divided) South African societies must necessarily evolve into very different, and less-divided, societies.

5. REFERENCES

5.1 Discography

1 . CMCB.  Nederlandsliedere. CD and Cassette.

2. Rawoot. M.I. Love Divine. Wa Ahsanu Min Ka Lam in Arabic, Urdu, English, Afrikaans, Xhosa. Athlone (2003).

5.2 Books, etc.

1. Beit-ul-Aman. Ons Erfenis: ‘n Versameling van die Gewildste Kaapse-Nederlands Liedere.  Wynberg. (2003)

2. Desai.,D.  An Investigation into the Influence of the ‘Cape Malay’ Child’s Cultural Heritage upon his taste in Appreciating Music; A Proposed Adaptation of South African Music Curricula to Reflect an Application of ‘Cape Malay’ music therein. Unpublished M.Mus Dissertation. University of Cape Town, 1983.

3. ---------- The Educational Significance of Cape Malay Music. Paper read at the Music Educator’s Conference, University of Cape Town, 1987.

4. ---------- Die Kaapse Maleier: Religieuse of Etniese Groep? In Kultuurhistorikus, University of Stellenbosch, 1988.

5. ---------- Pseudo-Cognitive Cultural Constraints within Musical Analyses with particular reference to (South African) Islamic Music. Paper read at the 29 th Annual Congress of the Musicological Society of Southern Africa. University of Pretoria, August 2002.

6. Du Plessis, I.D. Nuwe Maleise Liedere. Cape Town, 1947.

7. Gassiep, A. Nederlandse Volksliedjies soos deur Maleiers gesing. Johannesburg: Ivan Joffee, 1942.

8. Hewat Male Choir. Programme Notes. Athlone, 2 June 1995.

9. Unshackling Cape Malay and Muslim Music. Programme Notes. .Woordfees 2003.  Stellenbosch University, Endler Hall, 9 March 2003.

10. Van Warmelo, W. Het Gezang der Kaapse Kaapse Maleiers, in Die Kern. 25 Jaargang, No. 12. Belgium, December 1965.

ADDENDUM A

TRANSCRIPTION OF ROSA

ADDENDUM B

ROSA  TEXTS

A. DUTCH-AFRIKAANS or CAPE MALAY VERSION

1.        

Laas toen ek een meisie bemin           

Haar  naam was Rosa Dear   

Sy was maar noemlik sestien jare oud.                      

Sy was een meisie van haar woord

CHORUS

Sy seg sy sal my nooit verlaat

Sy volg (vollig)  my waar ek gaan     

Rosa, Rosa dit was haar naam           

En sy volg (vollig) my waar ek gaan 

2.

Dit was op een aand voorlaat

Ontmoet ek Rosa op een straat          

Spraak ek met Rosa een woord         

Dit was die woord van trou

3.

Dit was drie jaar daarna       

Toe kom haar ouers na my vra          

As ek vir Rosa sal bemin        

Al met myn hart en siel, vriende                 

B.  AFRIKAANS TRANSLATION

1.

Laas toe ek ‘n meisie bemin het

Haar naam was Rosa Dear

Sy was maar skaars sestien jare oud

Sy was ‘n meisie van haar woord.

KOOR

Sy sê sy sal my nooit verlaat

Sy volg my waar ek gaan

Rosa, Rosa die het een hart

En sy volg my waar ek gaan

2.

Dit was vroeg een aand

Ontmoet ek Rosa in ‘n straat

Spreek ek met Rosa ‘n woord,

Dit was die woord van trou akkoord.

3.

Dit was drie jaar daarna

Toe kom haar ouers na my vra

As ek vir Rosa sal bemin

Met al my hart en siel, vriende.

B.  ENGLISH TRANSLATIONS

1.

Last there was a girl I loved

Her name was Rosa Dear

She was but barely sixteen years old

She was a girl of her word.

CHORUS

She says she’ll never leave me

She’ll follow me whe’er I go

Rosa, Rosa that was her name

And she’ll follow me whe’er I go

2.

It was early one morning

When I met Rosa in a street

I spoke to Rosa one word

It was a word of marriage

3.

It was three years thereafter

When her parents came to ask

If I would love Rosa

With all my heart and soul, friends.

C.  XHOSA TRANSLATION

1.

Mla ndandithanda intombi

Egama  lingu Rosa Dear

Eminyak’ elishum elinesithandathu

Wa yema kwintu ayithathileyo

CHORUS

Uthi akaz ‘ukundishiya

Uyandilandele apho ndiya khona

Rosa, Rosa unentliziy ‘enye

Yaye endilandela apho ndiya khona

2.

Kwakukwangokuhlu

Ndandibana no Rosa esitratweni

Ndatheth ‘igam ‘elinye ku Rosa

Igama lomtshato

3.

Taba yiminyak ‘emithathu emva

Xa ‘abazali beza kubuza

Ukuba ndiyakumthanda uRosa

Ngentliziyo nomphefunlo wonke ziklobo