Burgerskap onder konstruksie : Aida en Rigoletto by die Suid-Afrikaanse Republiekfeesvieringe, 1971
| dc.contributor.author | Pistorius, Juliana M. | en_ZA |
| dc.contributor.author | Roos, Hilde | en_ZA |
| dc.date.accessioned | 2021-12-21T07:20:47Z | |
| dc.date.available | 2021-12-21T07:20:47Z | |
| dc.date.issued | 2021 | |
| dc.description | CITATION: Pistorius, J. M. & Roos, H. 2021. Burgerskap onder konstruksie : Aida en Rigoletto by die Suid-Afrikaanse Republiekfeesvieringe, 1971. LitNet Akademies, 18(2):102-131. | |
| dc.description | The original publication is available at https://www.litnet.co.za | |
| dc.description.abstract | Ter viering van die tienjarige bestaan van die Republiek van Suid-Afrika in Mei 1971, is twee operas van Giuseppe Verdi, Aida en Rigoletto, vir Kaapse gehore op die planke gebring. Die produksies was egter vir verskillende gehore bedoel – Aida, opgevoer in die splinternuwe Nico Malan Skouburg (vandag Kunstekaap) in Kaapstad vir die wit publiek, en Rigoletto, opgevoer in die Joseph Stone Ouditorium in Athlone vir die bruin publiek. Hierdie artikel ondersoek hoe die 1971-Republiekfees ingespan is om burgerskap onder die jong nasie te bevorder en hoe hierdie twee feesproduksies die ideologiese onderbou van apartheid bevestig het. Mona Ozouf se teoretisering van openbare feeste word as lens gebruik om aan te dui hoe die Republiekfeesvieringe daarop gemik was om ’n sosiale verbond tussen die staat en sy mense te sluit, en hoe die feesvieringe die mag van die Suid-Afrikaanse staat moes illustreer. Deelname aan die geleentheid het die individu as burger herdoop, waardeur hy sy regmatige plek kon inneem as legitieme lid van die nasie. Spesiale fokus word gegee aan die opening van die Nico Malan Skouburg wat die Republiekfeesvieringe afgeskop het en die protesaksies teen die rassebeleid wat die openingsgeleentheid voorafgegaan het. Protesbriewe van skrywers soos Uys Krige en Adam Small illustreer hoe die Eoan Groep kontrasterende openbare sentimente soos simpatie en verwerping ontlont het. Tesame met ’n bespreking van die verskille tussen die Nico Malan en die Joseph Stone, word die opvoeringe van elk van die operas in die onderskeie ruimtes onder die loep geneem om te illustreer hoe die produksies uiteenlopende aspekte van Suid-Afrikaanse kulturele aspirasies verteenwoordig het. KRUIK se Aida was ’n toonbeeld van Afrikaner-eksepsionalisme terwyl Eoan se Rigoletto aanspraak gemaak het op ’n nagestrewe kulturele uitnemendheid. | en_ZA |
| dc.description.abstract | During the celebration of the tenth anniversary of the Republic of South Africa in May 1971, two operas by Giuseppe Verdi, Aida and Rigoletto, were offered to Cape Town audiences as part of the festival programme. However, these productions were not only staged at different venues, but they were intended for different audiences – Aida, produced in the brand-new Nico Malan Theatre (today called Artscape) in the city centre was for the white public, and Rigoletto, performed in the Joseph Stone Auditorium in Athlone was for the coloured public. This article investigates how the 1971 Republic Festival was utilized to promote citizenship among the young South African nation and how these two festival productions undergirded the ideological foundations of apartheid. Mona Ozouf’s theoretical perspective on public festivals is employed to demonstrate how the Republic Festival aimed at creating a social pact between the state and its people and how the festivities were used to illustrate the power of the South African state. Participation in such an occasion renamed the individual as a citizen of the nation and enabled her/him to take up her/his rightful place as a legitimate member of the nation. The article also draws on the historical perspectives developed by Pieter Kapp in his work on white Afrikaner Festivals. Kapp states that the Republic Festival was not only a festival for the white Afrikaner, but also for the nation of South Africa. This was evidenced by the inclusion of some English-language and other European cultural productions in the festival programme, as well as the inclusion of the coloured community at some festival productions, despite the fact that their participation was separate from white festivities. | |
| dc.description.version | Publisher's version | |
| dc.format.extent | 30 pages | |
| dc.identifier.citation | Pistorius, J. M. & Roos, H. 2021. Burgerskap onder konstruksie : Aida en Rigoletto by die Suid-Afrikaanse Republiekfeesvieringe, 1971. LitNet Akademies, 18(2):102-131. | |
| dc.identifier.issn | 1995-5928 (online) | |
| dc.identifier.uri | http://hdl.handle.net/10019.1/123554 | |
| dc.language.iso | af | en_ZA |
| dc.publisher | LitNet | |
| dc.rights.holder | Authors retain copyright | |
| dc.subject | Operas | en_ZA |
| dc.subject | Verdi, Giuseppe, 1813-1901 | en_ZA |
| dc.subject | Festivals -- South Africa | en_ZA |
| dc.title | Burgerskap onder konstruksie : Aida en Rigoletto by die Suid-Afrikaanse Republiekfeesvieringe, 1971 | af_ZA |
| dc.type | Article | en_ZA |