In this video, the goodly folk of Swellendam demonstrate for us how not to remove a rotted wooden church tower. The little kid is a hoot — “It will get vrot and it will fall off on someone’s head”. The church tower has since been restored to its original iconic profile.

ROYAL, NOBLE, AND common titles in Afrikaans are, like most of the language, descended from Dutch antecedents which, in turn, come from German. The Cape knew not the Kingdom of the Netherlands, which was established after the Dutch relinquished the colony, but was founded as an outlet of the Dutch East India Company (or V.O.C., to give its Dutch acronym). After a brief period of British occupation, Dutch dominion over the Cape returned during the Batavian Republic before finally being seized by the British in 1806 and erected as a British colony in 1814. When the Union of South Africa was created in 1910, the country had its first king, George V, though the sovereign was generally only referred to as ‘King of South Africa’ from 1927 onwards.

The country has had no emperors, though some like to attribute that title to Shaka, the greatest King of the Zulus. Typically, however, he is known as king (as in King Shaka International Airport, Durban’s brand new landing-place). South Africa’s royalty have tended to be either native (like Prince Nelson Rolihlahla Mandela) or German (like Prince Hubertus of Prussia, d. 1950, and a few Blüchers, etc.). (more…)

The Greek Orthodox Cathedral of Saint George

If you hear of “St. George’s Cathedral” in Cape Town, you naturally think of the big stone colossus at the bottom end of the Company’s Garden smack dab in the middle of the Mother City. There is, however, another St. George’s Cathedral, the Greek Orthodox Cathedral of St. George on Mountain Road in Woodstock. The Greek Cathedral was built in 1903–04, just a few years after Cape Town received its first Greek Orthodox priest, and expanded in 1983. Liturgies tend to be either in Greek or English, though there is an Afrikaans monastery at Robertson.

The Holy Archdiocese of the Cape of Good Hope was established in 1968 under the (Greek Orthodox) Patriarch of Alexandria and All Africa. The archdiocese covers the Western, Northern, and Eastern Cape provinces, the Orange Free State, KwaZulu-Natal, Namibia, Lesotho, and Swaziland.

I only ever knew one South African of Greek extraction (Dimitri! Not just a good egg, but a top-notch chef as well), but I assume that folks of Hellenic extraction enjoy the Mediterranean climate of Cape Town and its environs.

Over at Fascination Street, Brent Smith shows us the newly revealed branding for Cape Town’s new integrated rapid transit system: MyCiti. I’m not partlicularly impressed. Most of my fellow uitlanders will be forgiven for lacking an understanding of the stylised freehand letter ‘y’, which is rather tortured into representing an outline of Devil’s Peak, Tafelberg, and Lion’s Head. Mr. Smith diplomatically reserves judgement but I think they could’ve done better, although they could have done much worse.

Die grootste Suid-Afrikaanse heraldikus

Ferreira — Bezuidenhout — Swanepoel

THE GRANDPAPA OF South African heraldry studies is undoutedly Dr. Cornelis Pama, a heraldist, genealogist, author, and editor of great importance in the field. Pama was one of the original members of the State Heraldry Council when it was founded in 1963 and refined the genealogical numbering system invented by Christoffel Coetzee de Villiers in the nineteenth century and which is now known as the de Villiers/Pama system in recognition of his contribution.

When I resume acquisitioning for my personal library, a whole slew of Pama’s works are on the ‘works sought’ list. Foremost among them is the excellent Lions and virgins: Heraldic state symbols, coats-of-arms, flags, seals and other symbols of authority in South Africa, 1487-1962 which I frequently made use of in the Stellenbosch university library.

Pama also wrote Heraldiek ABC (1980), Heraldiek in Suid-Afrika (1956), Simbole van die Unie (1960), British Families in South Africa: Their Surnames and Origins (1992), The Wine Estates of South Africa (1979), Vintage Cape Town: Historic Houses and Families In and Around the Old Cape (1973), and a history of the South African Library (the Cape Town institution which has since been foolishly merged with the Staatsbiblioteek in Pretoria to form the National Library of South Africa). The S.A.L. received his important private collection of over 800 genealogical and heraldic books and other works after Dr. Pama’s death in 1994. (more…)

I’m rather fond of the little coin logo of the Classical Association of South Africa, which appears on the front page of the society’s scholarly journal, Acta Classica: Verhandelinge van die Klassieke Vereniging van Suid-Afrika.

CASA also publishes, in cooperation with Stellenbosch University, Akroterion: Tydskrif vir die Klassieke in Suid-Afrika.

The study of our ancient civilisation is alive & well in South Africa!

Whether an irritation, an icon, or both, the Eikestad’s favourite beggar woman has over a thousand fans on Facebook

Love her or hate her, the beggar woman Moksie (“Meneer, meneer, kan ek vyf rand kry?”) is a Stellenbosch institution. She’s been known to shout, curse, steal, and worse, and is the bane of arriving eerstejaars who don’t yet know better than to head for the hills at the sight of her.

Moksie is seen most often at in the vicinity of the corner of Andringa & Victoria streets, where the customers of the Brazen Head, Bohemia, and the Mystic Boer enjoy their drinks, sometimes incurring the wrath of bar security guards who empty jugs full of water in her direction. She is known for her repeated use of the P-word, an Afrikaans vulgarism for unmentionable parts of the female anatomy (“Jou p***!”), and is a big fan of the Afrikaans soap-opera “7de Laan”.

Mokise is also believed to have the gift of bilocation, allowing her to pester innocent citizens at multiple places across die Eikestad. Despite her foul behaviour, the she-bergie of Stellenbosch now has a Facebook group created in her honour, which has attracted over a thousand members, who leave their favourite Moksie memories on the group’s wall. (more…)

It was just a dot and a name on the map on our way to Wupperthal — Englishman’s Grave, “Hmmm… I wonder what that could be”. The Cederberg mountains have many charms, and of course any one who drinks as much rooibos tea as I must be intrigued to see the only place in the world where it is commercially grown. Leopards, caracals, and bonteboks guard these hills, and of course our friend the dassie (previously seen here) is known to wander around its rocks. (more…)

The richness and variety of South African periodicals printed during the first half of the twentieth century can surprise even the most devoted fans of the country. The circumstances at the bottom end of Africa were too particular to be overly influenced by the thought and talk of the imperial metropolis of London, and a miniature South African literary renaissance took place during the 1920s & 30s.

Among the publications one might stumble upon is Voorslag (“Whiplash”), founded by the poet Roy Campbell (who later moved to Spain, converted to Catholicism, and supported Franco during the Spanish Civil War). Campbell had returned to South Africa from England in 1924 in the hopes that his well-to-do relations in Durban might help support the struggling intellectual and his family. After finding financial backers, Campbell (with William Plomer and Laurens van der Post) launched Voorslag two years later in 1926. (more…)

In anticipation of the annual commemoration of my birth, the University of Stellenbosch Rugby Football Club yesterday sailed to yet another victory in the FNB-sponsored Varsity Cup. Of course, a Maties victory is not exactly news — Stellenbosch is accustomed to victory, especially on the home turf at Coetzenburg (seen above). Indeed, Stellenbosch have won every Varsity Cup since the competition’s incarnation, which seems much less impressive when one points out this is only the third year of its existence. Nonetheless, to defeat the traditional rivals of the University of Cape Town — Maties and Ikeys are like Hatfields & McCoys — particularly warms the cockles of the heart. 17-14, not a bad score — the Ikey Tigers put in a good effort, but I am told UCT hasn’t beaten Stellenbosch in rugby for nearly 20 years. Impressive, considering that — despite being Ikeys — UCT manages to put up a good quad and make it to the final. (more…)

While this Cape Dutch mansion sits in the hills of Montecito in California, it bears the name (and style) of an old Cape Peninsula town. “Constantia” was designed by Ambrose Cramer (take a peek at his nifty grave) in 1929 for Arthur & Grace Meeker, with landscaping by Lockwood deForest, Jr. The Meekers sold the house to the architect Jack Warner. In the late 1960s, Stewart & Katherine Abercrombie bought the place, and hosted the Dalai Lama on one of his trips to the United States. It was the subject of a 1979 feature in Architectural Digest. The place is for sale, currently listed at $17,900,000. (more…)

Van al die operahuise in Afrika, die helfte is in Suid-Afrika — dink jy, daar is net vier operahuise in die vasteland. Nietemin, opera het ’n ryk en vrugbaar tradisie in die land, en die koningin van Suid-Afrikaanse opera-sangers is die sopraan Mimi Coertse. Sy was in Durban gebore in 1932 en het haar stem-opleiding in Suid-Afrika voltooi. In 1953, Coertse het die uitsaaier en komponis Dawid Engela getroud. (Engela het sy “Huwelikskantate” vir hul troue saamgestel). In Januarie 1955, Coertse het haar opera debuut gemaak in ’n kleine rol in Parsifal by die Teatro San Carlo in Napels.

Dit was 17de Maart 1956 — St. Patrick’s Day — toe Coertse die rol van die Koningin van die nag gesing in “Die Zauberflöte” met die Weense Staatsopera in Oostenryk. Sy het met die Weense Staatsopera vir meer as twintig jare gebly. Gravin Christl Schönfeld onthou:

In sy lang voortgang, Mimi Coertse het baie eerbewyse opgestapel. In 1961, die Medalje van Eer van Die Suid-Afrikaanse Akademie vir Wetenskap en Kuns; in 1966, die prestige titel van “Kammersängerin” vanaf die regering van Oostenryk; in 1985, die Suid-Afrikaanse Dekorasie vir Voortreflike Diens; en in 1996, die “Oesterreichische Ehrenkreuz für Wissenschaft und Kunst” (Oostenrykse Erekruis vir Wetenskap en Kuns) — die hoogste kunsdekorasie van Oostenryk.

Waar is sy nou? Sedert 1998, Mimi Coertse bestuur die “Black Tie Ensemble” — ’n projek om die verandering tussen opleiding en professionele uitvoering te versag. ’n Halfeeu van diens in die kunste voortsit!

You drive to the end of the world, turn left, and continue. That’s the way to get to Diaz Point. Namibia’s coastline is supposed to be the least hospitable on the planet, with desert meeting salty ocean with naught in between. Staying the night at Seeheim, an agglomeration of half a dozen houses nearby a stone castle hotel, we woke early and drove the 200+ miles west through the arid rocky desert. The experience is made all the more interesting for the 16,000-square-mile “Restricted Diamond Zone” one drives on the northern periphery of. Namibia’s diamonds are primarily alluvial deposits, meaning they rest on ancient river beds, sitting on the soil or resting just a few feet below. The forbidden territory’s guards are believed to have a policy of shooting first and asking questions later. There are over sixty countries in the world smaller than the Sperregebiet (forbidden area), as the Restricted Diamond Zone is colloquially known.

Eventually — passing through the area inhabited by the wild horses of the Namib, descendants of German cavalry horses and farm animals variously escaped or set free — you arrive at the town of Lüderitz on the Atlantic coast. Besides its German street names (Zeppelinstraße, not to mention Bismarck, Bahnhof, Moltke), the town’s architecture is a curious Teutonic colonial, reinvented for the almost-tropical locale. From one or two of the local businesses, one could easily imagine a slightly overweight German in a linen suit and panama hat, with an eye-patch as well as a cane for his limp, ordering around the natives crudely while engaged in some nefarious criminal enterprise or campaign of sabotage.

But for Diaz Point, you go to Lüderitz, turn left, and go further still. Driving south from the colonial town, you encounter a barren, rocky, and utterly colourless landscape, the grey tones of which immediately bring to mind the surface of the Moon. Am I still on Earth? Only the blue sky and the occasional appearance of vegetation remind you that you’re still on the third planet from the Sun. (more…)

The State Opening of Parliament has always been an occasion of great ceremony, most especially so on the one occasion when the King of South Africa himself was actually present. When South Africa became a republic in 1961, the State President took the role of the Governor-General. While formerly centered on the old main entrance, the President now enters Parliament at the 1983 wing (as seen at right), where he is greeted by a guard of honour and pauses to hear the National Anthem played by a military band.

Before 1994, morning dress was the norm for the State President (and for the Governor-General before him), but since that time the head of state has tended to wear a business suit on the occasion. That doesn’t stop the other Members of Parliament and their spouses from dressing up. There’s an unspoken contest among female MPs and MPs’ wives to wear the most daring or arresting hat to the State Opening, and often tribal leaders attend in the traditional dress of their peoples. (more…)

Despite the longer history behind the original wing of South Africa’s Parliament House, when most people think of Parliament today they think of the 1983 wing that currently houses the National Assembly. The wing was designed by the architects Jack van der Lecq and Hannes Meiring in a Cape neo-classical style similar to the rest of the building, and it is actually quite a handsome composition despite the awkwardly proportioned portico, which is too tall for its width or two narrow for its height. (more…)

We can deduce a lot about a power by looking at the structures it erects. The return to neo-classicism under Stalin after the earlier Russian deconstructivist architecture of the 1920s is telling, as is the almost universal (and only seemingly contradictory) adoption of socialist Bauhaus architecture for the headquarters of New York corporations in the post-war period, or the turn to Brutalism by the governments of numerous Western liberal countries in the 1960s, 70s, and 80s. While the apartheid government adopted a guise of conservatism, its revolutionary re-ordering of South African society was so radical that, for example, the old Edwardian railway station in Cape Town was demolished and completely rebuilt in order to better accommodate the separation of the races.

When the Afrikaner Nationalist government was elected in 1948, it inherited one of the richest architectural traditions in the world. South African architecture, from the original Cape Dutch so praised by Ruskin, through the Cape Classical of the architect Thibault and the sculptor Anreith, and on to the attempt at a South African national style by Edwardian architects like Herbert Baker, the nation’s legacy of boukuns (building-art) is one of which any nation would be proud.

The Cape Dutch style has proved particularly versatile and easily reinterpreted in almost every age of South African history since Jan van Riebeeck planted the oranje-blanje-blou on these shores in 1652. Yet from 1948 until its final electoral demise in 1994 the National Party government erected almost no buildings in the “national style” of Cape Dutch or its aesthetic descendants. Instead, they built in the grim modernist style found everywhere else in the world, both in the liberal-capitalist West and the totalitarian-Marxist East. One need only consider the Nico Malan (now Artscape) in Cape Town, the Staatsteater in Pretoria, or the Theo van Wijk building at Unisa. (more…)

Kaapstad het ’n bietjie van die Himalajas

Twee versamelaars van suid-Asiatiese kuns het ’n subkontinentale woning in ’n Kaapstadse meenthuis geskep. Die huis was die onderwerp van ’n artikel deur Johan van Zyl in ’n onlangse uitgawe van Visi-tydskrif met hierdie foto’s van Mark Williams. Die algehele effek is ’n bietjie “over the top” vir my, maar die verleiding van die Oriënt sal nooit ophou. (Bo: ’n Paar van marmer-olifante uit Udaipur wagte by die hoofingang).

“In ’n nou keisteenstraat aan die rand van die Kaapse middestad staan ’n huis met ‘n geskiedenis” Mnr van Zyl skryf. “Toe dit in 1830 vir Britse soldate gebou is, het die branders nog digby die voordeur geklots, en nie lank daarna nie het Lady Anne Barnard hier sit en peusel aan ’n geilsoet vy wat ’n slaaf vir haar gepluk het, stellig van dieselfde boom wat nou in die huis se (nuwe) trippelvolume-glashart staan, ’n knewel met ’n vol lewe agter die blad.”

“’n Dekade of twee gelede het die reeds luisterryke geskiedenis van die huis ’n eksotiese dimensie bygekry toe twee toegewyde versamelaars — selferkende stadsjapies wat destyds in die modebedryf werksaam was — hier kom nesskop met hulle groeiende versameling Indiese oudhede.” (more…)

ESTABLISHED in 1714, Alphen is one of the legendary estates of the Cape Peninsula: Dr. James Barry duelled on the south terrace with Josias Cloete, and its guests include the illustrious names of Mark Twain, Cecil Rhodes, Field Marshal Smuts, and many more. While it once covered most of northern Constantia, the estate was much reduced during the twentieth century (and the M3 Simon van der Stel Freeway was built through its vineyards), Alphen, now a country-house hotel, is growing once again in the hands of the latest generation of Cloetes.

In 1989, the council authorities visited Alphen and declared that an electric substation must be built on the site or the hotel be forced to close. The ancient electric supply lines had, it turned out, been constructed illegally, and there was some danger of fire unless a substation was built on the Alphen property itself.

“Horrified we said there must be some other way,” writes Nicky Cloete-Hopkins (in the Journal of the Vernacular Architecture Society of South Africa). “There wasn’t, and Dudley [Cloete-Hopkins] said to Dirk [Visser, architect], who had been working with us for about five years by that time, ‘Disguise it as a folly or something.’”

“The ideal site for ours was … on the banks of the Diep River, at the end of a path leading from the 1772 water mill. It was in line with the strict grid pattern of the farm complex and gardens, much of which had been destroyed in the early and mid part of the twentieth century. We briefed Dirk to have fun, create a ‘folly’ and incorporate the Mitford-Barberton crucifix and family plaques from a Garden of Remembrance, demolished after the farm was subdivided.” Ella Lou O’Meara was later commissioned to do a family tree in tile for the Garden wall.

“Dirk suggested the dovecote — although we have had difficulty in keeping doves there. A little flamboyance has often enhanced the severity of the architecture at Alphen, and Dirk’s sketches for the proposed dovecote delighted us.”

Alphen and its great square of farm buildings had been designated a National Monument — akin to landmarking in the U.S. or listing a building in Britain — and so changes or additions needed to meet with the approval of certain historic advisors. “The builders had nearly completed their work when the then National Monuments Council sent representatives to inspect it. They commented that the design was not ‘honest’ and that we were fooling the public in making it look like a historic building.”

Mrs. Cloete-Hopkins wondered if the NMC wanted them to build something horrifically functional in the middle of a historic site for the sake of “honesty” or whether they wanted them to “erect something ultra-modern” like the new Louvre pyramid that was causing controversy at the time. “In any event it was too late to look at alternatives and I happily satisfied requirements by putting the date and the name of the architect and builder on the side of the building.”

A wise compromise and, like the dovecot/substation itself, informed by precedent.

The sign on the façade of No. 7 Wale Street, Cape Town in this 1891 photo informs us of its status as a police station in the two official languages of the day, English and Dutch, not Afrikaans. ‘Politie’ is the Dutch word for Police, while the Afrikaans is ‘Polisie’. Afrikaans only became an official language of South Africa in 1925, but was so alongside Dutch and English until 1961, when Dutch was finally dropped.

This beautiful old Dutch townhouse, with its typical dak-kamer atop, didn’t survive as late as 1961. The Provinsiale-gebou, home to the Western Cape Provincial Parliament, was built on the site in the 1930s. Those who viewed the 2009 AMC/ITV reinterpretation of “The Prisoner” might remember an outdoors nighttime city scene after the main character leaves a diner, with the street sign proclaiming “Madison Ave.” and plenty of yellow New York taxicabs streaming past. The large arches in the background are the front of the Provinsiale-gebou.

You can probably deduce a great deal about a country from its television advertisements: its sense of humour, its values perhaps, maybe even its sense of itself. Below are a cross-section of South African television ads, all of them leaning towards the humourous end of the marketing spectrum. I’ll let the reader come to his own conclusions. (more…)

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