DC_Martin_Chronicles_of_kaapse_klopse_themes_in_klopse_names_2021.pdf

<h1>Cape Town (South Africa), festivals, music, ‘identities’, politics</h1>
<h2>About</h2>
<p><em>By Denis-Constant Martin</em></p>
<p>For more than twenty years (from 1992 till 2015) I did research on the New Year Festivals which are organized at the beginning of every year in Cape Town (South Africa). These festivals include three series of competitions: between carnival troupes named <em>Klopse </em>(from the English clubs), between male choirs called <em>Singkoore </em>or Malay Choirs and between Christian brass bands known as Christmas Choirs or Christmas Bands. In the course of this research, I conducted a great number of interviews, videoed and photographed the festivals and their preparations, collected many printed documents on which I based several articles, book chapters and books (in English and in French); I also recorded a CD with a local choir singing for the <em>Klopse </em>as well as for the <em>Singkoore </em>and produced a video documentary on the 1994 edition of the festival (<a href="https://images.cnrs.fr/video/1504" target="_blank">https://images.cnrs.fr/video/1504</a>). <br>In “A Research Itinerary from  Fieldwork to Archives: Cape Town (South Africa), Festivals, Music, ‘Identities,’ Politics” (Sources. Materials &amp; Fieldwork in African Studies, no. 3, 2021: <a href="https://halshs.archives-ouvertes.fr/SOURCES/halshs-03418789" target="_blank">https://halshs.archives-ouvertes.fr/SOURCES/halshs-03418789</a>), I explain the conditions in which I conducted this research, underlining the importance of the partnership I entered into with major actors of the festivals, and signal the implications of such partnerships. I also discuss the conditions in which my documentation was assembled and why most of it was deposited with a South African musical archive.</p>
<h2>Foreword</h2>
<p>The documents and photos presented in this collection are just a part of the documentation collected during my research. Regarding the press articles and photos, I selected material that seemed to be the most representative, and which, in chronological order, might reflect the evolution of the New Year festivities in Cape Town and their social, or even political, meanings. I obviously have kept the rest of the documentation. Under the title <em>Chronicles of the Kaapse Klopse</em>, I selected extracts from texts (published in the press, or in books) relating to the history of the music genres and festivals in Cape Town (Document 1).&nbsp;</p>
<p>All the press clippings are accessible at the South African Library in Cape Town. You can find many more photos on the internet and in some books (in particular, the superb: John Edwin Mason, One Love, Ghoema Beat, Inside the Cape Town Carnival, Cape Town, Struik Travel &amp; Heritage, 2010). The printed materials are diverse and do not constitute coherent collections; here again, I selected those which seemed to be the most relevant for understanding the life of the actors in the New Year festivities (revellers, leaders of troupes and choirs, organizers of<br>carnivals and competitions). Therefore, among these are documents internal to the organizing boards, the klopse, the Malay Choirs, and the Christmas Choirs, as well as documents recalling the importance of the MAPP (Music Action for People’s Power) association in the cultural and musical struggle against apartheid. <br>However, I have chosen not to include recordings or transcripts of interviews. These were collected with the interlocutors’ oral consent; they had previously been informed of the purpose of my work and the framework in which it was carried out, but had not signed any authorization form. They were therefore based on the agreement that I would use their content for my research and its printed outcomes, but were never intended to be disseminated more widely. Significant extracts can be found in the three books that I have devoted to Cape Town festivals and music genres. All the recordings and transcripts of<br>these interviews have been deposited with DOMUS where they can be read on site. This caution, which might seem excessive, is motivated by the fact that New Year festivities have long been the subject of disputes regarding the behaviour of <em>klopse</em> members (especially since they were, at one time or another, called ‘coons’ or ‘minstrels’). People raised with class<br>prejudices and a Victorian idea of decency have misinterpreted them, ignoring the universality of the rituals of renewal, of the costumes, and of the music and the languages of the body that are also found in other carnivals around the world. I have myself been criticized for treating them seriously.&nbsp;&nbsp;</p>


<p>For more than twenty years (from 1992 till 2015) I did research on the New Year Festivals which are organised at the beginning of every year in Cape Town (South Africa). These festivals include three series of competitions: between carnival troupes named <em>Klopse </em>(from the English clubs), between male choirs called Malay Choirs and between Christian brass bands known as Christmas Choirs or Christmas Bands. In the course of this research I conducted a great number of interviews, videoed and photographed the festivals and their preparations, collected many printed documents on which I based several articles, book chapters and books (in English and in French); I also recorded a CD with a local choir singing for the <em>Klopse </em>as well as for the Malay Choirs and produced a video documentary on the 1994 edition of the festival. In this paper I explain the conditions in which I conducted this research, underlining the importance of the partnership I entered into with major actors of the festivals, and signal the implications of such partnerships. I also discuss the conditions in which my documentation was constituted and why most of it was deposited with a South African musical archive.</p>


<p><span style="font-size: 24px;"><strong>Contents</strong></span></p>
<p><span style="font-size: 16px;"><strong>1. Chronicles of the Kaapse Klopse followed by Themes in Klopse Names</strong></span><br><span style="font-size: 16px;">1 </span><span style="color: rgb(0,0,0);background-color: rgb(251,251,251);font-size: 16px;font-family: Open Sans;">PDF </span> <span style="font-size: 16px;">document (260 pages).</span><br><a href="https://cape-town-festivals.nakala.fr/content/1-chronicles-of-the-kaapse-klopse" target="_self"><span style="font-size: 16px;"><strong><em>&gt; Go to page</em></strong></span></a>&nbsp;</p>
<p><span style="font-size: 16px;"><strong>2. Photographs</strong></span><br><span style="font-size: 16px;">41 photographs (1972 to 2015). </span><br><a href="https://cape-town-festivals.nakala.fr/content/2-photographs" target="_self"><span style="font-size: 16px;"><strong><em>&gt; Go to page</em></strong></span></a>&nbsp;</p>
<p><span style="font-size: 16px;"><strong>3. Videos. Cape Traditional Singers &amp; Fezeka Youth Choir, Traditional Music from The Cape</strong></span><br><span style="font-size: 16px;">3 concert videos (2013). </span><br><a href="https://cape-town-festivals.nakala.fr/content/3-videos" target="_self"><span style="font-size: 16px;"><strong><em>&gt; Go to page</em></strong></span></a>&nbsp;</p>
<p><span style="font-size: 16px;"><strong>4. Music: The Tulips, Les Ménestrels du Cap</strong></span><br><span style="font-size: 16px;">17 sound files (1999), original CD booklet (2002).</span><br><a href="https://cape-town-festivals.nakala.fr/content/4-music" target="_self"><span style="font-size: 16px;"><strong><em>&gt; Go to page</em></strong></span></a>&nbsp;</p>
<p><span style="font-size: 16px;"><strong>5. Examples of old books purchased from Clarke’s</strong></span><br><span style="font-size: 16px;">4 documents (1926-1967).</span><br><a href="https://cape-town-festivals.nakala.fr/content/5-books" target="_self"><span style="font-size: 16px;"><strong><em>&gt; Go to page</em></strong></span></a><span style="font-size: 16px;"><strong><em> </em></strong></span></p>
<p><span style="font-size: 16px;"><strong>6. Selected press clippings</strong></span><br><span style="font-size: 16px;">52 documents (1862-1996).</span><br><a href="https://cape-town-festivals.nakala.fr/content/6-selected-press-clippings" target="_self"><span style="font-size: 16px;"><strong><em>&gt; Go to page</em></strong></span></a>&nbsp;</p>
<p><span style="font-size: 16px;"><strong>7. Musical Action for People’s Progress, documents</strong></span><br><span style="font-size: 16px;">3 documents (1988-1994).</span><br><a href="https://cape-town-festivals.nakala.fr/content/7-mapp-documents" target="_self"><span style="font-size: 16px;"><strong><em>&gt; Go to page</em></strong></span></a>&nbsp;</p>
<p><span style="font-size: 16px;"><strong>8. Cape Malay Choir Board (CMCB), documents</strong></span><br><span style="font-size: 16px;">11 documents (1984-2015).</span><br><a href="https://cape-town-festivals.nakala.fr/content/8-cmcb-documents" target="_self"><span style="font-size: 16px;"><strong><em>&gt; Go to page</em></strong></span></a>&nbsp;</p>
<p><span style="font-size: 16px;"><strong>9. Keep the Dream Malay Choir Board (KTDMCB), documents</strong></span><br><span style="font-size: 16px;">2 documents (2013).</span><br><a href="https://cape-town-festivals.nakala.fr/content/9-ktdmcb-documents" target="_self"><span style="font-size: 16px;"><strong><em>&gt; Go to page</em></strong></span></a>&nbsp;</p>
<p><span style="font-size: 16px;"><strong>10. Tulips—Cape Traditional Singers, documents</strong></span><br><span style="font-size: 16px;">4 documents (1981-2000s).</span><br><a href="https://cape-town-festivals.nakala.fr/content/10-tulips-cape-traditional-singers-documents" target="_self"><span style="font-size: 16px;"><strong><em>&gt; Go to page</em></strong></span></a>&nbsp;</p>
<p><span style="font-size: 16px;"><strong>11. Miscellaneous Documents</strong></span><br><span style="font-size: 16px;">11 documents (1992-2015).</span><br><a href="https://cape-town-festivals.nakala.fr/content/11-miscellaneous" target="_self"><span style="font-size: 16px;"><strong><em>&gt; Go to page</em></strong></span></a>&nbsp;</p>
<p><span style="font-size: 16px;"><strong>12. Denis-Constant Martin: Publications on Cape Town, the Coloureds, music genres, and parties (1995-2017)</strong></span><br><span style="font-size: 16px;">2 documents.</span><br><a href="https://cape-town-festivals.nakala.fr/content/12-publications" target="_self"><span style="font-size: 16px;"><strong><em>&gt; Go to page</em></strong></span></a>&nbsp;</p>
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<p>Contents</p>
<p style="text-align:start;"><span style="color: rgb(0,0,0);background-color: rgb(251,251,251);font-size: 16px;font-family: Open Sans", sans-serif;"><strong>1. Chronicles of the Kaapse Klopse followed by Themes in Klopse Names</strong></span></p>
<p style="text-align:start;"><span style="color: rgb(0,0,0);background-color: rgb(251,251,251);font-size: 16px;font-family: Open Sans", sans-serif;">1 document PDF (260 pages).</span></p>
<p style="text-align:start;"><span style="color: rgb(0,0,0);background-color: rgb(251,251,251);font-size: 16px;font-family: Open Sans", sans-serif;">Identifiant : </span><a href="https://doi.org/10.34847/nkl.92efbl79" target="_blank"><span style="color: inherit;background-color: rgb(251,251,251);font-size: 16px;font-family: Open Sans", sans-serif;">https://doi.org/10.34847/nkl.92efbl79</span></a>&nbsp;&nbsp;</p>


<h1>1. Chronicles of the Kaapse Klopse followed by Themes in Klopse Names</h1>
<h1><span style="color: rgb(0,0,0);font-size: 16px;font-family: Open Sans;">1 document PDF (260 pages).</span></h1>
<p><a href="https://doi.org/10.34847/nkl.92efbl79" target="_blank"><span style="color: inherit;font-size: 16px;font-family: Open Sans;"><strong>https://doi.org/10.34847/nkl.92efbl79</strong></span></a>&nbsp;</p>
<p><a href="https://api.nakala.fr/data/10.34847/nkl.92efbl79/06cfae2eb6ec4481066e658e1023be518fd7e20d" target="_blank"><strong>Download</strong></a>&nbsp;</p>
<p><span style="font-size: 14px;">These chronicles consist in excerpts from articles or books that dealt with or alluded to the Kaapse klopse, and various aspects of Cape Town’s New Year festivals. The texts have been reproduced as originally printed and no effort has been made to correct faulty information, or language that can today seem unacceptable. When absolutely necessary, additional information has been provided between crotchets. The material proposed here should therefore be treated as “raw material” and should be read with a critical eye. The reader must be aware that these texts provide only a small, and biased, part of the story of the klopse and the New Year festivals. Most of them have been written by outsiders to the universe of the klopse, very often journalists writing for a white readership; many of them rely on clichés, stereotypes, not without a pinch of sensationalism, although one can also find here quotations from interesting stories written by talented journalists, such as Jackie Heyns and George Manuel, or more analytical contributions by Gerald S. Stone or R.E. Van Der Ross. These texts must therefore be read as an invitation to do more research: to collect interviews, songs, artefacts that may have been preserved by members of the klopse, the sangkore (Malay Choirs) and the Christmas Choirs; such research, using among others the techniques of oral history, must be undertaken without any delay as people who can still remember what happened in the 40s and 50s will very soon no longer be with us. The present chronicles nevertheless give a sense of the chronology, contribute to a better understanding the dynamics that underlay the development of the klopse carnival, they allow to catch a glimpse of some of the major trends that affected them — in particular the disappearance of the “Privates” and the prevalence of the “Coons”, the shift from string bands to brass bands, changes in the organisation of festivals. They also bear witness to evolutions in the attitudes towards the “Coons” and show how they became, in the times of apartheid, the symbol of a rift between the working class and an intellectual petty-bourgeoisie abiding with the canons of Victorian morality, rift surfacing in polemics often loaded with political undertones, which started in the 1940s and lasted more or less until the end of apartheid. Finally, they record the multiplication of unruly behaviours at carnival time, as the constraints and violence of apartheid increased.</span></p>
<p></p>
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<p></p>
<p></p>


<p style="text-align:start;"><span style="color: rgb(0,0,0);background-color: rgb(251,251,251);font-size: 16px;font-family: Open Sans;"><strong>1. Chronicles of the Kaapse Klopse followed by Themes in Klopse Names</strong></span>&nbsp;</p>
<p style="text-align:start;"><span style="color: rgb(0,0,0);background-color: rgb(251,251,251);font-size: 16px;font-family: Open Sans;">1 PDF file (260 pages).</span></p>
<p style="text-align:start;"><a href="https://doi.org/10.34847/nkl.92efbl79" target="_blank"><span style="color: inherit;background-color: rgb(251,251,251);font-size: 16px;font-family: Open Sans;"><strong>https://doi.org/10.34847/nkl.92efbl79</strong></span></a></p>
<img src="data:image/svg+xml;base64,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" alt="" style="height: ;width: "/>
<p style="text-align:start;"><span style="color: rgb(0,0,0);background-color: rgb(251,251,251);font-size: 14px;font-family: Open Sans;">These chronicles consist in excerpts from articles or books that dealt with or alluded to the Kaapse klopse, and various aspects of Cape Town’s New Year festivals. The texts have been reproduced as originally printed and no effort has been made to correct faulty information, or language that can today seem unacceptable. When absolutely necessary, additional information has been provided between crotchets. The material proposed here should therefore be treated as “raw material” and should be read with a critical eye. The reader must be aware that these texts provide only a small, and biased, part of the story of the klopse and the New Year festivals. Most of them have been written by outsiders to the universe of the klopse, very often journalists writing for a white readership; many of them rely on clichés, stereotypes, not without a pinch of sensationalism, although one can also find here quotations from interesting stories written by talented journalists, such as Jackie Heyns and George Manuel, or more analytical contributions by Gerald S. Stone or R.E. Van Der Ross. These texts must therefore be read as an invitation to do more research: to collect interviews, songs, artefacts that may have been preserved by members of the klopse, the sangkore (Malay Choirs) and the Christmas Choirs; such research, using among others the techniques of oral history, must be undertaken without any delay as people who can still remember what happened in the 40s and 50s will very soon no longer be with us. The present chronicles nevertheless give a sense of the chronology, contribute to a better understanding the dynamics that underlay the development of the klopse carnival, they allow to catch a glimpse of some of the major trends that affected them — in particular the disappearance of the “Privates” and the prevalence of the “Coons”, the shift from string bands to brass bands, changes in the organisation of festivals. They also bear witness to evolutions in the attitudes towards the “Coons” and show how they became, in the times of apartheid, the symbol of a rift between the working class and an intellectual petty-bourgeoisie abiding with the canons of Victorian morality, rift surfacing in polemics often loaded with political undertones, which started in the 1940s and lasted more or less until the end of apartheid. Finally, they record the multiplication of unruly behaviours at carnival time, as the constraints and violence of apartheid increased.</span><span style="font-size: 14px;"> </span></p>
<p></p>
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<p></p>


<h1><span style="font-family: Verdana;"><strong>2. Photographs</strong></span></h1>
<p><span style="font-family: Verdana;"><strong>41 photographs (1972 to 2015). </strong></span></p>
<p><span style="font-family: Verdana;"><strong>Author: Denis-Constant Martin, unless otherwise stated.</strong></span></p>
<p><span style="font-family: Verdana;"><strong>Identifier: </strong></span><a href="https://doi.org/10.34847/nkl.632arx0m" target="_blank"><span style="font-family: Verdana;"><strong>https://doi.org/10.34847/nkl.632arx0m</strong></span></a>&nbsp;</p>
<p><span style="font-size: 14px;font-family: Verdana;">01. My two primary partners, without whom I would not have been able to carry out my research in Cape Town: Anwar Gambeno (left) and Melvyn Matthews (right).</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">02. First meeting with Chris McGregor, Polegate (East Sussex), April 1972.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">03. Program for <em>Woza Albert! </em>show, Market Theatre, Johannesburg, July 1st, 1981.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">04. New Year’s Eve 1993-1994, Malay Choir parade in Bo Kaap, one of the oldest neighbourhoods in Cape Town, formerly ‘reserved’ for Muslim coloureds.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">05. <em>Klopse </em>parade through the city centre, Wale Street, January 3rd, 1994.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">06. Troupes entering the grounds of the <em>klopse </em>carnival, Green Point Track, January 3rd, 1994: the Penny Pinchers All Stars, preceded by their</span><span style="font-size: 14px;"> </span><span style="font-size: 14px;font-family: Verdana;">drum majors.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">07. The revellers’ fun and feeling of freedom (<em>tariek</em>) during the Grand March Past (orderly parade), Green Point Stadium, January 3rd, 1994.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">08. Each troupe displays a painted or sculpted board (subject to a best board competition): the Cape Town Entertainers wish spectators a Happy New Year, Green Point Track, January 3rd, 1994.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">09. In the particular context of 1994 (a few months before the first elections by universal suffrage; pre-electoral period marred by violence) many troupes also carried the peace symbol, Green Point Track, January 3rd, 1994.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">10. English comic song (English <em>moppie</em>) competition: the Cape Town Hawkers (mostly composed of hawkers), Green Point Track, January 8th, 1994.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">11-12. President Nelson Mandela’s visit to the <em>klopse </em>carnival, January 1st, 1996 (photos courtesy of Melvyn Matthews).</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">13. Festival of the Tulips-Cape Traditional Singers (names of the choir led by Anwar Gambeno), June 22nd, 2005; soloist: Johaar Kenny; young girls sing in the group but are not allowed to take part during competitions.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">14. Rehearsal for a concert involving the Tulips-Cape Traditional Singers and Hlanganani, a marimba ensemble based in Langa, September 26th, 2007; then a rare, possibly unique, case of a Malay Choir and a black African orchestra sharing a stage.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">15-16-17. The Tulips-Cape Traditional Singers at the <em>Hauts de Garonne festival</em>, Bordeaux, outdoors, and in the Mollat bookstore; July 3rd and 7th, 2004.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">18-19-20. Street band parade, June 16th, 2005. The Western Cape Street Bands Association was created in 2005, in association with the Kaapse Klopse Karnaval Assosiasie to provide training for young musicians (instrumental technique, reading, ensemble practice), allowing them to subsequently join the orchestras playing with the <em>klopse </em>during the New Year carnival, and potentially participate in other musical activities.</span></p>
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<p></p>
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<p></p>
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<p><span style="font-size: 14px;font-family: Verdana;">21. <em>Langarm </em>evening (a dance meeting which is very popular among the coloureds, during which fashionable tunes are played, as well as <em>vastrap</em>, a dance which possibly dates back to the nineteenth century) organized for the benefit of the Kaapse Klopse Karnaval Assosiasie; November 7th, 2009.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">22. Rehearsal of the Las Vegas Lentegeur choir (name of a coloured township) in a school; November 8th, 2009. </span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">23.  Rehearsal of the Tulips-Cape Traditional Singers lead by Anwar Gambeno: Afrikaans <em>moppie</em>, ‘Katrina Die Voorloeper’ (the words that the singers must memorise are written</span><span style="font-size: 14px;"><br></span><span style="font-size: 14px;font-family: Verdana;">on paper boards hanging on the wall of a large room adjoining the choirmaster’s</span><span style="font-size: 14px;"><br></span><span style="font-size: 14px;font-family: Verdana;">house); Mogamat Petersen, banjo; November 24th, 2009. See videos: </span><a href="https://doi.org/10.34847/nkl.ad346cxc" target="_blank"><span style="color: windowtext;font-size: 14px;font-family: Verdana;">https://doi.org/10.34847/nkl.ad346cxc</span></a><span style="font-size: 14px;"> </span></p>
<iframe width="500" height="400" src="https://api.nakala.fr/embed/10.34847/nkl.632arx0m/e02e4c2e39495e225ff1d2340ace8d13e24784d1" frameBorder="0"></iframe>
<p><span style="font-size: 14px;font-family: Verdana;">24. When the <em>klopse </em>choir rehearsals begin, a banner bearing the <em>klops </em>colours is stretched across the street beside the <em>klopskammer </em>(headquarters, rehearsal place) of the <em>klops</em>; Bishop Lavis (coloured township), October 23rd, 2011.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">25. Rehearsal of the Carnival Boys <em>klops </em>choir, in the covered courtyard in front of the house of the troupe ‘captain’; Lavender Hill, October 30th, 2011.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">26. Rehearsal of the Fabulous Playboys <em>klops </em>choir; the paper boards are replaced by a slide show; Silvertown, October 30th, 2011.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">27. Rehearsal of the Kenfac Entertainers <em>klops </em>led by young actor Waseef Piekaan (grey T-shirt, CD in his hand); Factreton, October 23rd, 2011.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">28. Young singer from the Woodstock Starlites <em>klops</em>; Woodstock, October 23rd, 2011.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">29. Rehearsal of the Woodstock Starlites <em>klops</em> choir; Woodstock, October 23rd, 2011.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">30. Rehearsal of the Tulips-Cape Traditional Singers led by Anwar Gambeno, with string quartet, for the Combined Chorus competition (choir without soloist), in a large room adjoining the choirmaster’s house; February 22nd, 2012.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">31-32. Same as above, during a power outage.</span></p>
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<p></p>
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<p><span style="font-size: 14px;font-family: Verdana;">33. The Cape Traditional Singers in Malay Choir costume, comic song (moppie) soloist: Johaar Kenny; <em>Festival d’automne à Paris</em>, April 28th, 2013. See videos: </span><a href="https://doi.org/10.34847/nkl.ad346cxc" target="_blank"><span style="font-size: 14px;font-family: Verdana;">https://doi.org/10.34847/nkl.ad346cxc</span></a><span style="font-size: 14px;"> </span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">34. The Cape Traditional Singers in <em>klops </em>costume, <em>Festival d’automne à Paris</em>, April 28th, 2013. See videos: </span><a href="https://doi.org/10.34847/nkl.ad346cxc" target="_blank"><span style="font-size: 14px;font-family: Verdana;">https://doi.org/10.34847/nkl.ad346cxc</span></a><span style="font-size: 14px;"> </span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">35. Young singer from the Cape Traditional Singers, Festival d’automne à Paris, April 28th, 2013. See videos: </span><a href="https://doi.org/10.34847/nkl.ad346cxc" target="_blank"><span style="font-size: 14px;font-family: Verdana;">https://doi.org/10.34847/nkl.ad346cxc</span></a><span style="font-size: 14px;"> </span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">36. The Fezeka Youth Choir (from Fezeka Secondary School in Gugulethu, black African township), led by Phume Tsewu, <em>Festival d’automne à Paris</em>, April 28th, 2013. See videos: </span><a href="https://doi.org/10.34847/nkl.ad346cxc" target="_blank"><span style="font-size: 14px;font-family: Verdana;">https://doi.org/10.34847/nkl.ad346cxc</span></a><span style="font-size: 14px;"> </span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">37. The Fezeka Youth Choir performing ‘Stimela’ (steam locomotive, train, in isiZulu), a song about the train journeys made by migrant workers from Mozambique, Malawi, Rhodesia, etc.; <em>Festival d’automne à Paris</em>, April 28th, 2013. See videos: </span><a href="https://doi.org/10.34847/nkl.ad346cxc" target="_blank"><span style="font-size: 14px;font-family: Verdana;">https://doi.org/10.34847/nkl.ad346cxc</span></a><span style="font-size: 14px;"> </span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">38. Advertising for the Cape Traditional Singers and iGugu Le Kapa (Fezeka Youth Choir) concerts at the Holland Festival, Amsterdam, June 17th, 2015.</span></p>
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<p><span style="font-size: 14px;font-family: Verdana;">39-40. Workshop led by Phume Tsewu and by iGugu Le Kapa singers with Dutch amateur singers, Holland Festival, Amsterdam, June 18th, 2015.</span></p>
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<p></p>
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<p><span style="font-size: 14px;font-family: Verdana;">41. Riverside Roses, competition final for the Malay Choirs from the Keep the Dream Malay Choir Board, March 22nd, 2015.</span></p>
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<p></p>
<p></p>


<p style="text-align:start;"><span style="color: rgb(0,0,0);background-color: rgb(251,251,251);font-size: medium;font-family: Open Sans;"><strong>2. Photographs</strong></span></p>
<p style="text-align:start;">41 photographs (1972 to 2015).&nbsp;</p>
<p>Author: Denis-Constant Martin, unless otherwise stated.</p>
<p>Identifier: <a href="https://doi.org/10.34847/nkl.632arx0m" target="_blank">https://doi.org/10.34847/nkl.632arx0m</a>&nbsp;</p>


<h1>3. Videos: Cape Traditional Singers &amp; Fezeka Youth Choir, Traditional Music from The Cape&nbsp;</h1>
<p>3 concert videos (2013). Author: Denis-Constant Martin.</p>
<p><strong>Identifier: </strong><a href="https://doi.org/10.34847/nkl.ad346cxc" target="_blank"><strong>https://doi.org/10.34847/nkl.ad346cxc</strong></a>&nbsp;</p>
<p>Extracts of a concert filmed by Denis-Constant Martin at the<em> Scène nationale d’Orléans</em>, October 8th, 2013; reproduced with the kind permission of Mr Anwar Gambeno and the <em>Festival d’automne à Paris</em>: Joséphine Markowits and Bénédicte Dreher.</p>
<h2>The videos</h2>
<h3>01. Roesa (Rosa)</h3>
<p>Soloist: Mustapha Adams</p>
<p>“Roesa” is undoubtedly the most popular <em>nederlandsliedjie </em>today, so much so that it has become the Malay Choir anthem. Originally performed in Muslim weddings, probably from the 1930s, this very simple love story proclaims probity and loyalty values that are essential for a community affected by slavery, racism, and forced displacement.</p>
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<h3>02. Katrina Die Voorloeper (Catherine, the drum major)</h3>
<p>Soloist: Jereme Trompeter</p>
<p>Like many comic songs, Katrina is about a <em>moffie </em>(a transvestite homosexual, with no pejorative connotation) who is the troupe’s drum major, the one who leads the way wearing an ornately decorated costume. Her father is angry with her, but her mother is very proud. At the end of the story, Katrina gets married (to a man), the dowry has been paid, but her troupe members wonder, “Who is going to be our drum major now?”</p>
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<h3>03. Meadowlands</h3>
<p>performed by the Cape Traditional Singers and the Fezeka Youth Choir</p>
<p>The song was composed by Strike Vilakazi in 1956, when Sophiatown, Johannesburg’s most mixed neighbourhood, was declared a ’white zone‘, and inhabitants were driven out and transported to Meadowlands, a place around which Soweto would develop. This song, popularised by Dorothy Masuka, was astutely written. For those who were victims, the song was unequivocally a protest against the forced displacement, but the censors believed that it supported the government’s policy.&nbsp;</p>
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<h2>About</h2>
<h3>The Cape Traditional Singers</h3>
<p>The Cape Traditional Singers were created by Anwar Gambeno to get the city’s emblematic choral repertoires heard outside Cape Town. This group sings both carnival songs performed by the <em>klopse </em>(clubs) during the New Year festivities and Malay Choir songs, competitions for which come every year after those of the <em>klopse</em>. Two genres of songs are particularly typical of Cape Town. The <em>moppies</em>, comic songs in Afrikaans in which humorous lyrics are put on an assembly of melodic snatches borrowed from diverse repertoires; the soloist must express humour by underlining or completing the story with gestures. The <em>nederlandsliedjies </em>(little Dutch songs) belong specifically to the Malay Choirs; their tunes and lyrics are of Dutch origin but have been transformed by a style of interpretation in which a soloist must subtly embellish the melodies and “pass” them to the choir using very elaborate techniques—the result is a surprising contrast between the solo voice, which evokes the Arab world and the East, and the choir, which uses Western tonal harmony. Anwar Gambeno is singer and musical director for the Malay Choirs and the <em>Klopse</em>. Like most choirmasters, he can neither read nor write music, but he has fully mastered the art of composing melodies in his mind and harmonising polyphonies for three or four voices. He knows how to make the most of the singers that he helps to train, sometimes from a very young age, and how to attract high quality soloists, whether for <em>moppies </em>or <em>nederlandsliedjies</em>. Anwar Gambeno is also a man committed to his community: his choir is a haven for young people who thereby avoid being trapped in drugs and gangs; he is also involved in various charitable works. An amateur musician and music lover, he defends a view of singing which does not reject modernisation, but which aims to preserve the strongest features of what he calls “tradition.”</p>
<h3>Credits</h3>
<p>Lead and ghoema drum: Anwar Gambeno.</p>
<p>Musicians: Ismail Adams, guitar; Frank Hendricks, guitar; Mogamat Adeeb Majiet, ghoema drum; Mogamat Petersen, banjo; Clive Samuel, bass guitar; Ridhwaan Trompeter, guitar and banjo.</p>
<p>Soloists: Jereme Trompeter, <em>moppie </em>soloist; Johaar Kenny, <em>moppie </em>soloist; Mustapha Adams, <em>nederlands </em>soloist.</p>
<p>Choir: Durrell Africa, Shaheed Alexander, Nicholas Arendolf, Jageja Davids, Morne Davids, Muneeb Gambeno, Peter Gambeno, Irufaan Kamaldien, Jonathan Lombard, Cheslyn Samuel Lombard, Mogamat Manuel, Mogamat Ismail Majiet, Melvyn Matthews, Raymond Solomons, Dassien Woodman.</p>
<h3>The Fezeka Youth Choir</h3>
<p>The choir created by Phumelele Tsewu is heir to a history dating back to the early nineteenth century. In 1824, envoys from the Glasgow Missionary Society founded a mission in Lovedale (now in the Eastern Cape). In 1841, they opened an institute there for young Africans of both sexes. Music and hymn singing were an integral part of the teaching. Very quickly, the students gave a special colour to the hymns that they performed: they mixed the four-part polyphony of European choirs with responsorial structures, built in staggered cycles and resting on intricate rhythmic patterns of African singing. This transformation of the European hymnody was formalised by composers trained at Lovedale and other institutions, such as the Ohlange Institute in Natal. John Knox Bokwe, Reuben Caluza, Enoch Sontonga, and Tiyo Soga composed Christian hymns, but also songs in which they spoke of the fate suffered by Africans. ‘Nkosi Sikelel’iAfrika‘ by Enoch Sontonga is the best known example. After this first generation, other composers, such as Joshua Pulumo Mohapeloa, Michael Moerane, Mzilikazi Khumalo, and BPJ Tyamzashe kept on adding to the repertoire of African choirs, while in churches, new hymns open to the influences of African American gospel were emerging.</p>
<p>Phumelele Tsewu, an English teacher and former vice-principal at Fezeka Secondary School in Gugulethu (black African township in Cape Town), uses choral singing to compensate for deficiencies in music education. His passion, open-mindedness, and musical culture have enabled him to detect extraordinary voices among children from extremely poor families. Many were then able to study music. Generation after generation, he trains singers in extremely diverse repertoires: works by African composers, traditional melodies, songs in Afrikaans or <em>moppies </em>of Cape Town carnival. The choirs he leads have won many regional and national competitions thanks to their excellence and versatility.</p>
<h3>Credits</h3>
<p>Lead: Phume Tsewu</p>
<p>Soloists: Nokwanda Bovana, Zoleka Meke, Busiswa Ndlebe, Zolina Ngejane, Nokuthula Sidambe.</p>
<p>Choir: Phumeza Dlayedwa, Skunana Fezeka, Bathandwa Gubesa, Viwe Magopeni, Paul Malgas, Simphiwe Mayeki, Lubabalo Mbili, Monde Mdingi, Makaziswe Msuthu, Makaziwe Msuthu, Sibusiso Mxaka, Ntombelanga Ndlzya, Sibulelo Ndlayo Ndlzaba, Sibulelo Ndlayo Ndlzaba, Nyekelo Ndlayo Ndlzaba, Nyekelo Ndlayo Juliet Sodayise, Zukiswa Tsewu.</p>
<p></p>


<h1>4. Music: The Tulips, Les Ménestrels du Cap</h1>
<p>17 sound files (1999), original CD booklet (2002).</p>
<p><strong>Identifier: </strong><a href="https://doi.org/10.34847/nkl.81d7ge71" target="_blank"><strong>https://doi.org/10.34847/nkl.81d7ge71</strong></a>&nbsp;</p>
<p>These recordings were made by Denis-Constant Martin on 30th May 1999, with equipment loaned by the <em>Société française d’ethnomusicologie</em>, in an auditorium at the Civic Center in Cape Town which could be accessed thanks to Mr Chris Ferndale’s help. They offer a sample of the various repertoires interpreted by the Malay Choirs and the <em>klopse</em>. The CD is now unavailable and will not be reissued. It is reproduced here with the kind permission of Messrs Anwar Gambeno, musical director of the Tulips-Cape Traditional Singers, and Gilles Fruchaux, director of the <em>Musique du monde</em> collection published by Buda Musique. Two “bonus” tracks that are not found on the CD have been added here; the soloist is Harun Kenny.</p>
<h2>Music</h2>
<h3>01. Dar Koom die Alibama</h3>
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<h3>02. Oom Jakkals</h3>
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<h3>03. Ons Prinsee Nog So Klein</h3>
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<h3>04. Rosa</h3>
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<h3>05. No Bananas Today...</h3>
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<h3>06. Die Straats Kind</h3>
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<h3>07. Ons Hoor</h3>
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<h3>08. Trog Daar Seer Laas</h3>
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<h3>09. Die Patertjie</h3>
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<h3>10. Piet Hein</h3>
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<h3>11. Ag Rosa Lem</h3>
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<h3>12. Die Osse Wa</h3>
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<h3>13. Die Oxford</h3>
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<h3>14. Ag Liefsten Ag</h3>
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<h3>15. Cape Town Is The Place For Me</h3>
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<h3>Bonus track. Die Polka Dans</h3>
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<h3>Bonus track. Diere Plaas</h3>
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<h2>CD Booklet</h2>
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<p></p>


<h1>5. Examples of old books purchased from Clarke’s</h1>
<p>4 documents (1926-1967).</p>
<p><strong>Identifier: </strong><a href="https://doi.org/10.34847/nkl.2bbarium" target="_blank"><strong>https://doi.org/10.34847/nkl.2bbarium</strong></a>&nbsp;</p>
<p>Clarke’s bookstore  sells new books, but it is mostly renowned for specialising in old books; it is a valuable resource for anyone interested in the history of Cape Town and South Africa. Below are some examples of books that I found there.</p>
<h2>Documents</h2>
<p>1. PW Laidler, FSA (Scot), <em>The Annals of the Cape Stage</em>, Edinburgh, William Bryce, 1926.</p>
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<p>2. William Papas &amp; Aubrey Sussens, <em>Under the Table Cloth*, Papas Looks at the Peninsula</em>, Cape Town, Maskew Miller, 1952.</p>
<p>* ‘Table cloth’, the name given to the cloud cover which regularly forms at the top of Table Mountain and which rolls down its slopes towards the city</p>
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<p>3. Lawrence G. Green, <em>Grow Lovely, Growing Old, The Story of Cape Town’s Three Centuries - The Streets, The Houses, The Characters, The Legends, Traditions and Folk-lore, The Laughter and the Tears</em>, Cape Town, Howard Timmins, 1957.</p>
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<p>4. Bruce Franck, Denis Hatfield &amp; George Manuel, <em>District Six</em>, Cape Town, Longmans, 1967.</p>
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<p></p>


<h1>6. Selected press clippings</h1>
<p>52 documents (1862-1996).</p>
<p><strong>Identifier: </strong><a href="https://doi.org/10.34847/nkl.27f1cqwe" target="_blank"><strong>https://doi.org/10.34847/nkl.27f1cqwe</strong></a>&nbsp;</p>
<p>The press clippings selected and presented here are, for the most part, from the South African Library collections (SAL, national library) in Cape Town, except for those dated in 1994 which were collected during my stay in Cape Town. The oldest were taken from microfilms from the collections of publications, the others were gathered in thematic press files and were photocopied, all thanks to SAL librarians. The content of some of these clippings is reproduced in <em>Chronicles of the Kaapse Klopse</em>.</p>
<h2>Cited publications</h2>
<p>The <em>Cape Chronicle</em> was a newspaper briefly published in Cape Town during the second half of the nineteenth century.</p>
<p><em>The Argus</em> or <em>Cape Argus</em> is one of Cape Town’s oldest daily newspapers. It was launched in 1857 and, along with its weekend edition, <em>Week End Argus</em>, is still published.</p>
<p><em>The Cape Times</em> is also a daily newspaper still published in Cape Town; it was launched in 1876.</p>
<p><em>The APO</em> was the organ of the African People’s Organization, the main coloured political movement created in 1902, which on several occasions organized a <em>klopse</em> carnival.</p>
<p><em>The Cape Standard </em>was a weekly newspaper published from 1936 to 1947, which advertised itself as “The Non-Europeans’ <em>National Weekly.</em>”</p>
<p><em>The Sun</em>, which was published from 1932 to 1956, was a daily newspaper intended for a coloured readership.</p>
<p><em>The Torch </em>was the organ (often very controversial) of the Non-European Unity Movement (NEUM), an anti-apartheid movement mainly composed of coloured intellectuals, which was in favor of a systematic boycott of all institutions and actions of the apartheid government. It was banned in the 1960s.</p>
<p><em>The Cape Herald</em>, launched in 1965, was a weekly newspaper targeting a coloured readership. Its first Editor-in-Chief was R.E. Van der Ross.</p>
<p><em>South</em> was a magazine briefly published in the 1990s.</p>
<h2>Sources</h2>
<p>01. Christy’s Minstrels concert advertisement, <em>Cape Chronicle</em>, August 15th, 1862.</p>
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<p>02. Advertisement for the concert by the Jubilee Singers, an ensemble of African American singers conducted by Orpheus McAdoo, the first African American choir to perform spirituals in South Africa in addition to the usual repertoire of minstrel companies; some of its members remained in South Africa and probably played a role in the evolution of the New Year festivities’ aesthetic; <em>Argus</em>, June 26th, 1890.</p>
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<p>03. Advertisement for the first carnival organized in a sport arena, January 1st, 1907.</p>
<iframe width="500" height="500" src="https://api.nakala.fr/embed/10.34847/nkl.27f1cqwe/be14ee908e7a34c4f0e7dabfcc4c5d3e12d7519d" frameBorder="0"></iframe>
<p>04. Article about the preparations for the 1909 Carnival, <em>Cape Times</em>, December 19th, 1908.</p>
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<p>05. Resumption of the Carnival in 1920 after a hiatus of several years that was due, among other things, to the First World War, <em>Cape Times</em>, January 3rd, 1920.</p>
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<p>06. Article about the carnival organized by the African People’s Organization, <em>The APO</em>, January 31st, 1920.&nbsp;</p>
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<p>07. Advertisement for the APO Carnival, <em>Cape Times</em>, January 1st, 1921.</p>
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<p>08. Advertisement for the Newlands Carnival (rugby stadium) organized by the Cape Town Cricket Club, <em>Cape Times</em>, January 1st, 1921.</p>
<iframe width="500" height="500" src="https://api.nakala.fr/embed/10.34847/nkl.27f1cqwe/b6200f3222015d734dd71245617f3d11ccd69895" frameBorder="0"></iframe>
<p>09. Article on the rivalry between carnival organizer boards, <em>The APO</em>, January 28th, 1922.</p>
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<p>10-11. Article about the carnival, <em>Cape Times</em>, January 4th, 1927.</p>
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<p></p>
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<p></p>
<p>12. Photo of a <em>klops </em>choir, <em>Cape Times</em>, January 3rd, 1930.</p>
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<p>13. Photo of two young <em>klops </em>members, <em>Cape Times</em>, January 3rd, 1930.</p>
<iframe width="500" height="500" src="https://api.nakala.fr/embed/10.34847/nkl.27f1cqwe/68d9270a90fde7372dc27598509d716014181ad3" frameBorder="0"></iframe>
<p>14. Article about the carnival, <em>Cape Times</em>, January 3rd, 1934.</p>
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<p>15. Criticisms of the organization of the carnivals, <em>Cape Times</em>, January 2nd, 1936.</p>
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<p>16. I.D. du Plessis (self-proclaimed expert in coloured culture and supporter of Afrikaans who, after the establishment of apartheid, became Commissioner for Coloured Affairs) offers his opinion on how to ‘improve’ the organization of the carnivals, <em>Cape Times</em>, January 6th, 1936.</p>
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<p>17. I.D. du Plessis’ suggestions are deemed “ridiculous,” <em>Cape Standard</em>, January 10th, 1939.</p>
<iframe width="500" height="500" src="https://api.nakala.fr/embed/10.34847/nkl.27f1cqwe/c4b53877e8666c1fa3a4dc5152fcace0cfe58e9b" frameBorder="0"></iframe>
<p>18. Announcement of the merging of the carnival organizing boards because of the war, <em>Cape Standard</em>, December 12th, 1939.</p>
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<p>19. Article about the first carnival organized during the war, <em>The Sun</em>, January 5th, 1940.</p>
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<p>20. Criticism of the <em>Klops</em>, <em>Cape Standard</em>, January 9th, 1940.</p>
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<p>21. Support for the <em>Klops</em>, <em>Cape Standard</em>, January 16th, 1940.</p>
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<p>22. I.D. du Plessis’ new proposal for reorganising the carnivals, <em>Cape Times</em>, November 8th, 1940.</p>
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<p>23. Following I.D. du Plessis’ proposals, the Malay Choir competitions are incorporated into the <em>klopse </em>carnival, <em>Cape Times</em>, December 31st, 1940.</p>
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<p>24. The <em>klopse </em>participate in war effort, <em>The Sun</em>, January 9th, 1942.</p>
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<p>25. A <em>klops </em>parading with patriotic emblems, <em>The Sun</em>, January 9th, 1942.</p>
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<p>26. Advertisement for the first post-war carnival, <em>Cape Standard</em>, January 1st , 1945.</p>
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<p>27. Introduction of comic songs in Afrikaans (Afrikaans <em>moppies</em>) in the <em>klopse </em>carnival, <em>Argus</em>, January 4th, 1949.</p>
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<p>28. The controversy about the <em>klopse </em>continues, <em>Cape Times</em>, February 2nd, 1951.</p>
<iframe width="500" height="500" src="https://api.nakala.fr/embed/10.34847/nkl.27f1cqwe/cbbe1b04e951a65dac81a9ed40370021cf6b14d5" frameBorder="0"></iframe>
<p>29. Some <em>klopse </em>call for a boycott of the festival organized for the tercentenary of the arrival of Jan Van Riebeeck (first Cape Town commander) in 1952, <em>The Torch</em>, March 25th, 1952.</p>
<iframe width="500" height="500" src="https://api.nakala.fr/embed/10.34847/nkl.27f1cqwe/e781769e549d674521e8fe80a1dcbd0d54afe6c8" frameBorder="0"></iframe>
<p>30. The <em>klopse </em>parade is banned in the city centre, <em>Cape Times</em>, January 4th, 7th, 8th, 9th, 1954.</p>
<iframe width="500" height="500" src="https://api.nakala.fr/embed/10.34847/nkl.27f1cqwe/56c3f1e293c519c549fc65a92ae78a469db715bf" frameBorder="0"></iframe>
<p>31. The origin of <em>klopse </em>according to R.E. Van der Ross (academic and coloured politician), <em>Cape Times</em>, January 8th, 1955.</p>
<iframe width="500" height="500" src="https://api.nakala.fr/embed/10.34847/nkl.27f1cqwe/ac0ea8f28f140c19f6a0b7d21965325c9d09afdb" frameBorder="0"></iframe>
<p>32. R.E. Van der Ross’s opinion on <em>klopse</em>, <em>Cape Times</em>, January 29th, 1955.</p>
<iframe width="500" height="500" src="https://api.nakala.fr/embed/10.34847/nkl.27f1cqwe/385d640b213cd17bb0d1f87d50da4cc8d0164d1c" frameBorder="0"></iframe>
<p>33. Article about the carnival preparations, <em>Cape Times</em>, December 30th, 1961.</p>
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<p>34. Criticism of the <em>klopse </em>(accused of collaborating with the Coloured Affairs Department) by NEUM, <em>The Torch</em>, January 17th, 1962.<iframe width="500" height="500" src="ttps://api.nakala.fr/embed/10.34847/nkl.27f1cqwe/6c6bdae3cb5d192c6d3bc168284c8cd62ae62445" frameBorder="0"></iframe></p>
<iframe width="500" height="500" src="https://api.nakala.fr/embed/10.34847/nkl.27f1cqwe/6c6bdae3cb5d192c6d3bc168284c8cd62ae62445" frameBorder="0"></iframe>
<p></p>
<p>35. Incidents during the carnival, <em>Cape Times</em>, January 6th, 1964.</p>
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<p></p>
<p>36. Impact of Ramadan on the carnival, <em>Cape Times</em>, July 27th and November 20th, 1965.</p>
<iframe width="500" height="500" src="https://api.nakala.fr/embed/10.34847/nkl.27f1cqwe/522d2f17ab365a93dd454701029517a297ddd581" frameBorder="0"></iframe>
<p>37. Plea for the <em>klopse</em>, <em>Cape Herald</em>, December 31st, 1966.</p>
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<p>38. The Group Areas Act (law establishing spatial segregation, adopted in 1950 and systematically implemented in the 1960s) disrupts the organization and conduct of the carnival, <em>Cape Times</em>, November 12th, 1968.</p>
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<p>39. The carnival controversies continue, <em>Cape Times</em>, January 8th; <em>Argus</em>, January 26th, 1970 and December 17th, 1970.</p>
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<p>40. Analysis of the carnival by Gerald Stone, psychotherapist, linguist, and klopse observer-participant, <em>Cape Times</em>, January 14th, 1970.</p>
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<p>41. The <em>klopse </em>return to the city centre, <em>Cape Times</em>, January 5th-6th, 1973.</p>
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<p>42. <em>Klopse </em>parades in the city centre are banned again under the 1956 Riotous Assemblies Act (1976 was the year of the Soweto uprising, followed by major anti-apartheid protests in Cape Town), <em>Argus</em>, December 23rd, 1976; <em>Cape Times</em>, December 25th, 1976.</p>
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<p>43. An anti-riot squad is greeted with hostile shouting during the carnival, <em>Cape Herald</em>, January 4th, 1977.</p>
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<p>44. Debates on whether carnivals should go ahead in times of intense struggle against apartheid and repression, <em>Sunday Times</em>, November 3rd, 1985.</p>
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<p>45. The <em>klopse </em>are authorized to parade through the city centre again, <em>Cape Times</em>, January 4th, 1989.</p>
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<p>46. Article about the first carnival held at the beginning of the end of apartheid, <em>Cape Times</em>, January 3rd, 1990.</p>
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<p>47. Carnival before the elections, <em>Week End Argus</em>, January 1th-2nd, 1994.</p>
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<p>48. Omnipresence of wishes for peace in 1994, <em>Week End Argus</em>, January 1th-2nd, 1994.</p>
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<p>49. Successful <em>klopse </em>parade in 1994, <em>Cape Times</em>, January 4th, 1994.</p>
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<p>50. The Beach Boys <em>klops </em>wears the ANC colours at the launch of the party’s campaign before the 1994 elections, <em>Week End Argus</em>, January 29th-30th, 1994.</p>
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<p>51. Allan Boesak (President of the ANC Western Cape branch) wears a <em>klops </em>costume, surrounded by members of the Beach Boys, during the presentation of the ANC manifesto for the 1994 elections, <em>South</em>, February 4th, 1994.</p>
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<p>52. President Nelson Mandela receives a standing ovation during his visit to the 1996 carnival, <em>Argus</em>, January 2nd, 1996.</p>
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<p></p>
<p></p>


<h1>7. Musical Action for People’s Progress, documents</h1>
<p>3 documents (1988-1994).</p>
<p><strong>Identifier: </strong><a href="https://doi.org/10.34847/nkl.2a7b36ok" target="_blank"><strong>https://doi.org/10.34847/nkl.2a7b36ok</strong></a><strong> </strong></p>
<p>The Musical Action for People’s Progress association was created in 1986 and was affiliated with the United Democratic Front (UDF), an organization bringing together many anti-apartheid movements which supported the ideas of the then-banned African National Congress (ANC). MAPP took part in political actions and organized cultural workshops with unions, community organizations, and youth groups; it opened a music school led by trumpeter and maths teacher Duke Ngcukana, and it also acted as an agent for musicians, notably jazz players. MAPP was supported until 1994 by The Network, the Swedish National Organisation for Non-Profit Associations. But following the first elections by universal suffrage, this support was stopped and MAPP could not get the necessary funds for its survival from local or national South African authorities. It was dissolved after a final festival, organized from February 2nd to 5th, 1994.&nbsp;</p>
<p>Documents given by Mr. Vincent Kolbe, except 03 and 04, acquired during the festival.</p>
<h2>Documents</h2>
<p>01. MAPP Newsletter, June 1988; includes a paragraph on the <em>klopse</em>.</p>
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<p>02. Brochure presenting and reviewing MAPP activities, 1991.</p>
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<p>03. (recto) and 04. (verso) Program of the last MAPP festival, February 1994.</p>
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<h1>8. Cape Malay Choir Board (CMCB), documents</h1>
<p>11 documents (1984-2015).</p>
<p><strong>Identifier: </strong><a href="https://doi.org/10.34847/nkl.4caf9v81" target="_blank"><strong>https://doi.org/10.34847/nkl.4caf9v81</strong></a><strong> </strong></p>
<p>The Cape Malay Choir Board was founded in 1939 on the initiative of I.D. du Plessis (a self-proclaimed expert in coloured culture and supporter of Afrikaans who, after the establishment of apartheid, became Commissioner for Coloured Affairs) and of representatives of choirs performing traditional songs in Afrikaans (Malay Choirs), including members of the Dante family who have taken part in New Year festivities since the end of the nineteenth century. It organizes singing competitions in Afrikaans every year.</p>
<p>The documents reproduced here were given to me by the CMCB President, Mr Shafiek April, and by some choir directors, or were collected during competitions that I was able to attend.</p>
<h2>Documents</h2>
<p>01. CMCB presentation page, March 1984.</p>
<p>02. CMCB 50th anniversary program brochure, 1989.</p>
<p>03. Program of competitions, 1990.</p>
<p>04. Program of competitions, 1992.</p>
<p>05. Program of competitions, 1994.</p>
<p>06. CMCB 65th anniversary program brochure, 2004.</p>
<p>07. Program of the final stages of the competition, 2007.</p>
<p>08. Program of the <em>nederlandsliedjies </em>competition (old songs transmitted orally, performed by a soloist and the choir, and characterized by the melismatic embellishments performed by the soloist), 2011.</p>
<p>09. Program of the final stages of the competition, 2011.</p>
<p>10. Program of the final stages of the competition, 2012.</p>
<p>11. Example of scoring sheet for the CMCB competitions: Young Men choir, <em>nederlands</em>, 2015 (picture taken at Mr Abduraghman “Maan” Morris’ home, President and musical director of the Young Men Sporting Club, April 21st, 2015).</p>
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<h1>9. Keep the Dream Malay Choir Board (KTDMCB), documents</h1>
<p>2 documents (2013).</p>
<p><strong>Identifier: </strong><a href="https://doi.org/10.34847/nkl.521704i5" target="_blank"><strong>https://doi.org/10.34847/nkl.521704i5</strong></a>&nbsp;</p>
<p>Founded in 2010, the Keep the Dream Malay Choir Board (KTDMCB) brings together choirs that have left the Cape Malay Choir Board (CMCB) to protest against its operation; KTDMCB competitions are, apart from a few details, organized in a similar fashion to that of CMCB. The documents reproduced below were given to me by Mr Anwar Gambeno who played an important role in the creation of the KTDMCB.</p>
<h2>Documents</h2>
<p>01. Keep the Dream Malay Choir Board (KTDMCB): 2013 program of competitions.</p>
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<p>02. Keep the Dream Malay Choir Board (KTDMCB): KTDMCB presentation brochure, 2013.</p>
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<h1>10. Tulips-Cape Traditional Singers, documents</h1>
<p>4 documents (1981-2000s).</p>
<p><strong>Identifier: </strong><a href="https://doi.org/10.34847/nkl.ae214859" target="_blank"><strong>https://doi.org/10.34847/nkl.ae214859</strong></a>&nbsp;</p>
<p>The Tulips choir (which performs in concert as Cape Traditional Singers) was founded in 1981 by Messrs Anwar Gambeno (who is still the musical director) and Moegsien Davids (now deceased). This is the vocal group that I have worked most with, and the documents reproduced below were given to me by Mr Anwar Gambeno.</p>
<h2>Documents</h2>
<p>01. History of the Tulips-CTS.</p>
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<p>02. The Tulips constitution. 1981.</p>
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<p>03. Poster of a concert in 1999.</p>
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<p>04. Cape Traditional Singers presentation file, early 2000s.</p>
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10. Tulips-Cape Traditional Singers documents

<h1>11. Miscellaneous Documents</h1>
<p>11 documents (1992-2015).</p>
<p><strong>Identifier: </strong><a href="https://doi.org/10.34847/nkl.805bu26d" target="_blank"><strong>https://doi.org/10.34847/nkl.805bu26d</strong></a>&nbsp;</p>
<p>Miscellaneous documents, listed in chronological order.</p>
<h2>Documents</h2>
<p>01. Constitution of the Peninsula &amp; District Xmas Bands Union, the main Christmas Choir organisation (these Christian brass bands are the third element of the New Year festivities, and their competitions are held after those of the klopse carnival and Malay Choirs), 1992. Given by M.R.C. Van Zitter, captain of The Royal Stars Christmas Band, January 26th, 1994, at his home, Paarl.</p>
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<p>02. Suid-Afrikaanse Koorraad (South African Choir Council, SAKR) competition program, 1994, collected locally. The SAKR was founded in 1952 by choirs that had left the Cape Malay Choir Board because they refused to participate in the tercentenary celebrations of Jan van Riebeeck’s arrival in Cape Town, event which started the colonisation of South Africa. It was still alive in 2019, though it seemed barely active.</p>
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<p>03. Advice to the carnival organizers from the judges of the Coon Carnival Development Board carnival competitions, 1996. Given by Mr Melvin Matthews.</p>
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<p>04. Mandela armband distributed during President Nelson Mandela’s visit to the carnival in 1996. Given by Mr Melvyn Matthews.</p>
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<p>05. Results sheet for the Afrikaans Combined Chorus competition from the carnival organized by the Coon Carnival Development Board in 1996. Given by Mr Melvyn Matthews.</p>
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<p>06. Program of the carnival organized by the Cape Town Minstrel Association in 2000. Given by Mr Melvyn Matthews.</p>
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<p>07. The Cape of Great Events brochure published in 2002 by Cape Town city council; after working hard to marginalise the carnival or to complicate its organisation, Cape Town city council is promoting it to turn it into a tourist attraction. Collected at Cape Town tourism office.</p>
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<p>08. Under the auspices of ANC, the two main carnival organising boards signed an agreement in 2007 whereby they would co-organise the klopse road march in Cape Town city centre. This ANC leaflet, which claims a decisive role in this agreement, might be interpreted as an attempt to reach part of the coloured voters after the loss of Cape Town city council in the March 2006 election, and as a preparation for the 2009 general election. Given by Mr Melvyn Matthews.</p>
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<p>09. Booklet describing the musical activities of the Solms-Delta wine estate (Franschoek): museum, documentation center, choir, brass band, etc. This estate stands out not only for the originality of its wines, but mostly for its policy of promoting employees and enhancing the local heritage (archaeological remains, oral culture, including music). Collected on site in 2009. See also: <a href="http://www.solms-delta.co.za/museums-archaeology/" target="_blank">http://www.solms-delta.co.za/museums-archaeology/</a>  and http://www.solms-delta.co.za/music-van-de-caab/ accessed February 2nd, 2021.</p>
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<p>10. Rules of procedure for the Nokia All Stars <em>klops </em>in 2014-2015. Given by Mr Anwar Gambeno, captain of this <em>klops</em>.</p>
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<p>11. Presentation brochure for the Jonge Studente choir, 2015. Given by Mr Ahmed Ismail, Jonge Studente President, April 22nd, 2015.</p>
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<h1>12. Denis-Constant Martin: Publications on Cape Town, the Coloureds, music genres, and parties (1995-2017)</h1>
<p>2 documents.</p>
<p><strong>Identifier: </strong><a href="https://doi.org/10.34847/nkl.72ebtxl8" target="_blank"><strong>https://doi.org/10.34847/nkl.72ebtxl8</strong></a></p>
<p>Thematic bibliography of the author in French and English.</p>
<h2>Documents</h2>
<p>01. ‘Denis-Constant Martin: Publications sur Le Cap, les Coloureds, les musiques, et les fêtes (1995-2017)’ (French version)</p>
<p style="text-align:start;"><a href="https://api.nakala.fr/data/10.34847/nkl.72ebtxl8/863d3140c6b41b70bd9dde3f0d73b8a2c6b78a72" target="_blank"><strong>Download</strong></a>&nbsp;</p>
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<p><span style="color: rgb(0,0,0);background-color: rgb(251,251,251);font-size: medium;font-family: Open Sans;">02. ’Denis-Constant Martin: Publications on Cape Town, the Colors, music and festivals (1995-2017)’ (English version)</span></p>
<p style="text-align:start;"><a href="https://api.nakala.fr/data/10.34847/nkl.72ebtxl8/b2ff59d8ec4d07415225627a6388d49427ea2849" target="_blank"><strong>Download</strong></a>&nbsp;</p>
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 Cape Town (South Africa), festivals, music, ‘identities’, politics

Keywords	Cape Town (South Africa) carnival festivals musics coloureds fieldwork archives Le Cap (Afrique du Sud) carnaval fêtes musique coloureds terrain archives
Author :	Denis-Constant Martin
titleen	Chronicles of the Kaapse Klopse followed by Themes in Klopse Names
http://nakala.fr/terms#created	2020
license	CC-BY-SA-4.0
type	http://purl.org/coar/resource_type/c_18cf
keywordsen	Cape Town (South Africa)
keywordsen	carnival
keywordsen	festivals
keywordsen	musics
keywordsen	coloureds
keywordsen	fieldwork
keywordsen	archives
keywordsfr	Le Cap (Afrique du Sud)
keywordsfr	carnaval
keywordsfr	fêtes
keywordsfr	musique
keywordsfr	coloureds
keywordsfr	terrain
keywordsfr	archives
descriptionen	These chronicles consist in excerpts from articles or books that dealt with or alluded to the Kaapse klopse, and various aspects of Cape Town’s New Year festivals. The texts have been reproduced as originally printed and no effort has been made to correct faulty information, or language that can today seem unacceptable. When absolutely necessary, additional information has been provided between crotchets. The material proposed here should therefore be treated as “raw material” and should be read with a critical eye.
descriptionfr	Les documents ci-dessous ont été, à l’origine, conçus en vue d’une diffusion auprès d’un public sud-africain pour l’essentiel ; les extraits de textes qu’ils reprennent ont été publiés en anglais, à l’exception d’un tout petit nombre d’entre eux traduits de l’afrikaans en anglais ; je n’ai donc pas pensé nécessaire de traduire en français les quelques éléments qui ne sont pas des citations. Je pense que, malgré cela, les lecteurs qui ne sont pas anglophones de naissance pourront tout de même les utiliser.
languages	en
http://purl.org/dc/terms/spatial	ZA
author	Denis-Constant Martin

Cape Town (South Africa), festivals, music, ‘identities’, politics

Chronicles of the Kaapse Klopse followed by Themes in Klopse Names

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