Everything/Anything and…Chess…"Despite the documented evidence by chess historian HJR Murray, I've always thought that chess was invented by a goddess"–George Koltanowski: from the foreword to:"Women in chess, players of the Modern Age"
Chess is an art. Chess is a science. Chess is music. Chess is a game. Chess is cool. Chess is fun. Chess is Chess! There are always people ‘arguing’ about what Chess actually is and I really find these ‘conversations’ [if you can call it a conversation] really boring. I think it’s mainly bored people on chess sites just wasting time around topics like these. The same with ‘men are better than women’ – also one of the most boring topics. Can Chess players not have more intelligent conversations in the Chess forums than these boring topics? – or is it just me in a ‘mood’.[haha]
Here’s some musical fun! Click on this link for the FUN and enjoy! The link will open in a new window and you need to use your mouse to click the rain drops and you create your own melody too.
From a document found on the US Chess_trust site, I’ve copied a few paragraphs, but once again, this is just another ‘confirmation’ of what I’ve said in many entries on my blog before. So much evidence is available – research done by many people in the past and you will find plenty of documents on my blog to support it – to prove the benefits of chess for children and their learning. These quoted paragraphs are just a tiny drop in the bucket of all the evidence available. Whilst it’s Easter Holiday, I feel to take time out to enjoy a ‘trip’ to some fine ‘art galleries’ and fine ‘music theatres’ of the ‘world’ and would like to share with you Irma Stern’s art. I’ve found you some info about Irma Stern on Wikipedia and her house [now an art gallery-museum]-link can be found near the bottom of this entry too. The three music files are some of my favourite music and it’s by Waldo de los Rios [and his orchestra] and you can read about the Toy Symphony on my blog on the link at the bottom of the entry. [copy/paste the link in your browser]. These files are not complete files – as you will notice. I hope you can hear the clock – at the start of the first file. Haydn’s ‘Clock’. [Turn the volume up if you don’t hear the clock] Lastly, I had to add a file from Mantovani and his orchestra: Elizabeth Serenade
She was born in Schweitzer-Renecke, a small town in the Transvaal, of German-Jewish parents. Her father was interned in a concentration camp by the British during the South African War because of his pro-Boer leanings.[1] Irma and her younger brother, Rudi, were thus taken to Cape Town by their mother. After the war, the family returned to Germany and constant travel. This travel would influence Irma’s work.
In 1913 Stern studied art in Germany at the Weimar Academy, in 1914 at the Levin-Funcke Studio and notably from 1917 with Max Pechstein, a founder of the Novembergruppe. Stern was associated with the German Expressionist painters of this period. She held her first exhibition in Berlin in 1919. In 1920 Stern returned to Cape Town with her family where she was first derided and dismissed as an artist before becoming an established artist by the 1940s.
In 1926 she married Dr Johannes Prinz her former tutor, who subsequently became professor of German at the University of Cape Town. They were divorced in 1934.
Irma Stern travelled extensively in Europe and explored Southern Africa, Zanzibar and the Congo region. These trips provided a wide range of subject matter for her paintings and gave her opportunities to acquire and assemble an eclectic collection of artifacts for her home. Stern was to travel extensively in her lifetime: in 1930 to Madeira, in 1937 and 1938 to Dakar, Senegal, 1939 Zanzibar, 1942 Congo, 1945 Zanzibar, 1946 Central Africa, 1952 Madeira, 1955 Congo, 1960 Spain and 1963 France. Stern travelled extensively in South Africa, for example in 1926 to Swaziland and Pondoland, in 1933 to Namaqaland, in 1936 generally, and in 1941 to the Eastern Cape. In 1931 she visited Madeira and Dakar, Senegal, in 1937 and 1938. Irma Stern refused to either travel or exhibit in Germany during the period 1933 – 1945. Instead, she undertook several exotic journeys into Africa; going to Zanzibar twice in 1939 and 1945 and then planned three trips to the Congo region in 1942, 1946 and 1955. These expeditions resulted in a wealth of artistic creativity and energy as well as the publication of two illustrated journals; Congo published in 1943 and Zanzibar in 1948.
Almost one hundred solo exhibitions were held during her lifetime both in South Africa and Europe: including Germany, France, Italy and England. Although accepted in Europe, her work was unappreciated at first in South Africa where critics derided her early exhibitionsin the 1920s with reviews titled “Art of Miss Irma Stern – Ugliness as a cult”.
The Irma Stern Museum was established in 1971 and is the house the artist lived in for almost four decades. She moved into The Firs in Rondebosch in 1927 and lived there until her death. Several of the rooms are furnished as she arranged them while upstairs there is a commercial gallery used by contemporary South African artists.
On the 8th of May 2000, one of her works sold at Sotheby’s South Africa in Johannesburg for an all time record of R1.7 million.[2] This record was soon broken, however, and in March 2007 Stern’s work was sold for R6.6 million.[3] Stern’s Gladioli was sold for an all-time high of R13.3 million in October 2010[4], but was then followed by the sale of Bahora Girl for R26.7 million later that month[5] – both were also records for sales of South African art at the time.
Quote from the Chess document, you can find it at the end of the entry. It is a PDF document and will open in a new window.
Chess clearly is a problem-solving tool, an “ideal way to study decision-making and problemsolving because it is a closed system with clearly defined rules” (Horgan, 1988). When faced with a problem, the first step is to “analyze [it] in a preliminary and impressionistic way: sizing up the problem” (Horgan, 1988, p. 3), possibly looking for patterns or similarity to previous experiences. “Similarity judgements may involve high levels of abstract reasoning” (Horgan, 1988, p. 3)
When faced with a problem, the first step is to “analyze [it] in a preliminary and impressionistic way: sizing up the problem” (Horgan, 1988, p. 3), possibly looking for patterns or similarity to previous experiences. “Similarity judgements may involve high levels of abstract reasoning” (Horgan, 1988, p. 3). As in mathematics, which might be defined as the study of patterns, pattern recognition in chess is of prime importance in problem solving. After recognizing similarity and pattern, a global strategy can be developed to solve the problem. This involves generating alternatives, a creative process. A good chess player, like a good problem solver, has “acquired a vast number of interrelated schemata” (Horgan, 1988, p. 3), allowing for good alternatives to quickly and easily come to mind. These alternatives must then be evaluated, using a process of calculation known as decision tree analysis, where the chess player/problem solver is calculating the desirability of future events based on the alternative being analyzed. Horgan (1988) found that “the calculation may go several to eight or ten moves ahead. This stage requires serious concentration and memory abilities…[or]…visual imagery” (p.4).
The mathematics curriculum in New Brunswick, Canada, is a text series called “Challenging Mathematics” which uses chess to teach logic from grades 2 to 7. Using this curriculum, the average problem-solving score of pupils in the province increased from 62% to 81%.
Click on the following link Why Chessto read more to convince yourself why Chess is so important for children to develop their thinking/reasoning skills at a young age.
An old school – An undiscovered gem: Gawie Cronje, South African landscape artist who lived in the Eastern Cape
I’m a big art lover and have blogged before some of our very best artists like Pierneef and Walter Battis, the creator of Fook Island, Bettie Cilliers-Barnard and Tretchikoff to name only a few. I must admit that until now, Gawie Cronje was really unknown to me. I found today babobski’s blog and was quite surprised to discover this piece of brilliant art.
The Brett Kebble art collection went on auction last week and raised R 54 million. Some artists’ paintings received record prices, which is quite amazing in this economic climate.
Yet, art experts have been saying for at least five years now that South African art is a good investment and should form part of a diversified portfolio.
Many people, when hearing about art and oil paintings tend to think about Van Gogh and Van Rijn. However, there are secondary art markets around the world and South Africa has a flourishing art market as well.
Kebble’s collection included the big names in South African art. J.H. Pierneef, Alexis Preller, Irma Stern, Nita Spilhaus, Maud Sumner, Vladimir G. Tretchikoff, Jan Volschenk and Pieter Wenning were just some of the names Kebble had collected.
One of the Irma Stern painting sold for R 5 013 000 at the auction, held in Johannesburg.
His Pierneef sold for R 267 000 and a Jan Volschenk achieved a world record price of R 668 000.
Not all of us have the resources of a Brett Kebble so how does one go about collecting art?
What could you buy with R 1 000 000?
A good JH Pierneef or an Irma Stern if you lucky.
What could I buy with R 100 000?
Keep your eyes open for an Adriaan Boshoff or an Errol Boyley. Boshoff is regarded as the finest South Afirican impressionist artist and a small Boshoff painting will cost around R 30 000 – R 35 000 at least.
Errol Boyely died in 2007 and his paintings are in demand. The prices of his paintings seem to have settled down but will pick up again once the economy turns.
What could I buy for R 10 000?
Click on the link for more reading and beautiful art on babobski’s blog.
It was National Poetry Day today in the ukay and I want to share this song by Steve Hofmeyr to celebrate poetry, not just in the ukay, but everywhere. Do listen to the words of this song – beautiful! Poetry, love and music…touching the strings of my heart.[and of course…chess!]
If you like this song, click here to listen to more songs from a variety of artists and to read a few love poems in English as well as in Afrikaans.
[Sorry, I’ve removed the song due to another site getting people to download it from my site..that is illegal]
English readers: This poem in this entry is about South Africa. I dedicated the 14th August 2008 to Afrikaans, the language I love and my mother tongue. This is, in our history, used to be an important day as we celebrated Afrikaans as our language. Afrikaans was forbidden to use by Afrikaans speaking people in the Cape when the English occupied the Cape. A sign/tag was placed around children’s necks in schools saying, “donkey”, if they had dared to speak Afrikaans.
On 14th August 1875 the GRA was founded. Their task was to promote Afrikaans. They also requested – on the 24th August 1878 – for the Bible to be translated into Afrikaans.
In this poem I refer to some places and nature. On the link of my 2008-entry, you can see the Afrikaans Language Monument. Good news for Afrikaans too: WordPress and Facebook have gone Afrikaans! If you choose Afrikaans as your language in the settings in WordPress, you will find most terms on your dashboard in Afrikaans.
Hoogenhout, a famous South African poet, said the following after Afrikaans was forbidden in schools in the early 1920s.
“English! English! All is English! What you see and hear
In our schools, in our churches, our Mother tongue is killed”
Was dit Hoogenhout wat in ‘n gedig gesê het:
“Engels! Engels! Alles Engels! Engels wat jy sien en hoor; In ons skole, in ons kerke, word ons moedertaal vermoor. Ag, hoe word ons volk verbaster, daartoe werk ons leraars saam. Hollands nog in seek’re skole: is bedrog, ‘n blote naam! Wie hom nie laat anglisere, word geskolde en gesmaad. Tot in Vrystaat en Transvaal al, oweral dieselfde kwaad. ‘Dis vooruitgang’, roep die skreeuwers, ‘dis beskawing wat nou kom! Die wat dit nie wil gelowe, die is ouderwets en dom…’.”
I‘ve been to a few countries and many places in the UK. I still think South Africa is the most beautiful country in the world. We have such an abundance of beauty and diversity in nature. We have the greenest canyon in the world- which is also the 3rd largest in the world, we have the highest waterfall in Africa and the 2nd highest in the world, the 3rd longest Tufa waterfall, the deepest mines, the largest zoo, the smallest butterfly, the largest diamond, the second largest amount of windmills on farms (280 000), the largest impact crater on earth, white lions, the largest ostrich population and much more.
On this link of the The Drakensberg Mountains, you can read about my hiking trip in the Mountain when I was 15. I was on top of Mount Aux Sources, the highest peak of the mountain range in South Africa. The actual highest peak of this mountain range is in Lesotho and the peak is called, Thaba Ntlenyana (which means: beautiful little mountain). “Thaba” means “mountain” – the attributive “yana” means “little”.
You can see a pic of one of the two chain ladders you have to go on to reach the summit. At the bottom of this post I have included an Afrikaans song by the Art teacher in my Secondary school. He was one of the two teachers on our hiking trip! He sings about “sidewalk people” and I’ve translated it roughly for you to understand.
More interesting facts – from quite a few years ago:
*Pretoria has the second largest number of embassies in the world after Washington, D.C.
*The University of South Africa – UNISA – is a pioneer of tertiary distance education and is the largest international correspondence university in the world with 250,000 students.
*Afrikaans is the youngest official language in the world.
*The Singita Private Game Reserve in the Kruger National Park was voted the best hotel in the world by the readers of travel publication, Conde Nast Traveller.
*Stellenbosch University was the first university in the world to design and launch a microsatellite.
*South Africa houses one of the three largest telescopes in the world at Sutherland in the Karoo.
South Africa is the first country to host a Fide rated Chess tournament where players from different countries played their games online! See my entry about the South African Open Chess Championships that took place in Cape Town. Read HEREmy post dedicated to Afrikaans only- last year 14th August.
This stamp was issued October 1975. It was issued on the Inauguration of the Afrikaans Language Monument and features the 1st edition of the Arikaanse Partiot (January 15, 1876), one of the first newspapers in Afrikaans rather than Dutch. On this link you can see more stamps of South Africa.
Met die stigting van die Genootskap van Regte Afrikaners op 14 Augustus 1875 in die Paarl is ‘n tydvak van georganiseerde stryd om die Afrikaanse taal ingelui. In artikel IX van die Genootskap se bepalings word beoog om ‘n Afrikaanse maandblad uit te gee. Op hierdie dag in 1876 verskyn die eerste uitgawe van die maandblad Die Afrikaanse Patriot, wat die orgaan van die GRA sou wees. C.P. Hoogenhout was die eerste redakteur onder die skuilnaam Oom Lokomotief, wat deur die redakteurs na hom oorgeneem is. In Die Patriot dek die GRA die terreine van hul doelstelling, naamlik die van land, volk en taal. Daarin is leiding gegee ten opsigte van landsake, die Afrikaanse taal, geskiedenis en belangrike nuus. —lees meer op die link!
LEES HIER!!
Jan 2015 –Indien jy beplan om my eie gedigte te ‘leen’ vir jou Facebook bladsy of jou privaat blog of website, kan jy asseblief so vriendelik wees om my daaroor in te lig en daarna ook my skryfnaam ‘Nikita’ daarby te publiseer -soos dit by al my eie gedigte hier op my blog is! Dit is ‘n klein en simpel versoek. Ek vind my eie gedigte op heelwat ander websites and dit is vir my aangenaam om te weet dat ander mense my gedigte waardeer, maar daar is kopiereg reëls en ek sal dit waardeer indien jy dit sal respekteer en erkenning gee aan die skrywer van die gedig. Dan — vind ek ook my gedigte op internet bladsye van mense met sekere politieke sieninge en oorweginge waarmee ek nie saamstem nie. Ek het herhaaldelik gevra om my gedigte te verwyder en my versoeke word bloot geignoreer. Dit wys dat daar mense is wat nie ander se werke (eiendom) respekteer nie. Dit is die groot rede waarom ek die boodskap hier plaas.
Suid-Afrika: my land
Jy’s indrukwekkend, manjifiek
jou sondeurdrenkte landskappe
weerkaats helder beelde in my siel
jou pragtige wonders flikker oneindig
lank in die stilte van jou nagrus
Mount Aux Sources – so elegant en grasieus
verrys jy vanuit die voetheuwels, soos
‘n fakkel by die Spele ets jy lekkende
beelde teen die muur van my geheue
en voel ek jou hitte gloeiend teen my hart
O Blyde! ek fantaseer oor jou
magiese kragte wat jy sorgloos
en galant in die galery van my
stille gemoed stilletjies uitpak terwyl
my dawerende applous eggo
oor die velde van my gedagtes
Moederstad! hoe inskiklik laat jy my
telkens hakkel wanneer ek my herinneringe
sagkens koester – jou fasades!
waar ek jou gambiet betree
en gewillig my pionne oorgee
En saans voel ek jou fluweelagtige
skoonheid van elke sonsondergang
stadig neerdaal in my gemoed terwyl
ek stadig drink van jou geloofs-fonteine
wat borrellend bruis in oorvloed
Fragmentaries vier ek feeste
ek dans en omhels jou en jy –
jy blus my gees telkens met jou
magiese heildronke: een-vir-een
op ‘n toekoms – wat mag wees!
–Nikita –14/8/09 14:00
Sidewalk People
Sidewalk People Sidewalk People
Move like shadows in the street past me
Sidewalk People Sidewalk People
Move faceless past my heart
Sidewalk People Sidewalk People
Move like shadows in the street past me
Sidewalk People Sidewalk People
Move faceless past my heart
I wish I could look at a photo
to see what your world deep inside is like
borrow a piece of your dreams
I wonder who you are
I wish I could understand the language
in which you channelled your thoughts
I wish I could for a moment
share your path of life
Sidewalk People Sidewalk People
Move like shadows in the street past me
Sidewalk People Sidewalk People
Move faceless past my heart
perhaps it’s best for sure
‘cos if we know all of all
the sadness maybe
too hard too much
the love too beautiful
walk past one another
I stay I and you stay you
a single road leading somewhere
I wish I could understand
Sidewalk People Sidewalk People
Move like shadows in the street past me
Sidewalk People Sidewalk People
Move faceless past my heart
Sidewalk People Sidewalk People
Move like shadows in the street past me
Sidewalk People Sidewalk People
Move faceless past my heart
—translated–nikita
image: google
Sypaadjie Mense
Sypaadjie mense Sypaadjie mense
Beweeg soos skimme in die straat verby
Sypaadjie mense Sypaadjie mense
Beweeg gesigloos voor my hart verby
Sypaadjie mense Sypaadjie mense
Beweeg soos skimme in die straat verby
Sypaadjie mense Sypaadjie mense
Beweeg gesigloos voor my hart verby
ek wens ek kon ‘n kiekie kyk
hoe jou wêreld diep daar binne lyk
‘n stukkie van jou drome leen
ek wonder wie jy is
ek wens ek kon die taal verstaan
waarin jy jou gedagtes baan
ek wens ek kon ‘n oomblikkie
jou lewenspaadjie deel
Sypaadjie mense Sypaadjie mense
Beweeg soos skimme in die straat verby
Sypaadjie mense Sypaadjie mense
Beweeg gesigloos voor my hart verby
miskien is dit dalk beter so
want as ons iets van almal weet
die hartseer dalk te swaar te veel
die liefde dalk te mooi
stap maar bymekaar verby
ek bly ek en jy bly jy
‘n enkelpaadjie iewers heen
ek wens ek kon verstaan
Sypaadjie mense Sypaadjie mense
Beweeg soos skimme in die straat verby
Sypaadjie mense Sypaadjie mense
Beweeg gesigloos voor my hart verby
Sypaadjie mense Sypaadjie mense
Beweeg soos skimme in die straat verby
Sypaadjie mense Sypaadjie mense
Beweeg gesigloos voor my hart verby
I’m not a big fan of Walter Battiss, but do like some of his art. He got his inspiration from Picasso – some of his art appeals to me and other…well…appeals to other people…The art in this post is what appeals to me. What I really like about him, is his imagination! He created the fook characters and fook island, a fookian passport, fookian banknotes! His fookian drivers license was accepted in the USA , his colourful fookian passport has stamps from Australia, Britain and Germany and he exchanged a fookian banknote at the airport at Rome…hehe..I think it’s so funny. In these credit crunch days, why not trying your luck! You might just be lucky and your fookian banknotes will be accepted too..good luck!! This second piece of art is a self portrait by Battiss and I quite like the “fook gallooper” – done by another artist. He also created a fookian language, I wish I could see what that is like! Read what Wikipedia says about him in this post. Links in this post will open in a new window.
Somerset East is named after Lord Charles Somerset.[ image]
Read here about Somerset East and things to do and see.
Walter Wahl Battiss (January 6, 1906 – August 20, 1982) was a South African artist, generally considered the foremost South African abstract painter and known as the creator of the quirky “Fook Island” concept.
Born into English Methodist family in the Karoo town of Somerset East, [South Africa], Battiss first became interested in archaeology and primitive art as a young boy after moving to Koffiefontein in 1917. In 1919 the Battiss family settled in Fauresmith where he completed his education, matriculating in 1923. In 1924 he became a clerk in the Magistrates Court in Rustenburg. His formal art studies started in 1929 at the Witwatersrand Technical College (drawing and painting), followed by the Johannesburg Training College (a Teacher’s Diploma) and etching lessons. Battiss continued his studies while working as a magistrate’s clerk, and finally obtained his Bachelor’s Degree in Fine Arts at University of South Africa at the age of 35.
Battiss was a founding member of the New Group and was unique in that he had not studied overseas. In 1938 he visited Europe for the first time, and in 1939 he published his first book, “The Amazing Bushman”. His interest in primitive rock art had a very profound impact on his ideas and he regarded San painting as an important art form. He was also influenced by Ndebele beadwork, pre-Islamic cultures and calligraphy.
In a 1949 trip to Europe he befriended Picasso who would have an influence on his already quirky style.
He visited Greece in 1966-1968 and the Seychelles in 1972, which inspired his make-believe Fook Island.
Battiss published nine books, wrote many articles and founded the periodical “De Arte”. He taught Pretoria Boys High School students for 30 years at the Pretoria Art Centre, of which was the principal from 1953-58. He also taught at UNISA where he became Professor of Fine Art in 1964 and retired in 1971. In 1973 he was awarded a D. Litt et Phil (honoris causa) from UNISA.[University of South Africa]
In 1981 he donated all his work to the newly opened “Walter Battiss Museum” in his birthplace of Somerset East.
Walter Battiss died in Port Shepstone, KwaZulu-Natal of a heart attack on 20 August 1982.
Walter Battiss’ long career as an artist has been devoted to the study of man in his environment; first in the context of Africa and rock art, then, later, in the interpretation of this concept in its broadest sense. His versatility and influence as in innovator, and the incentive he has provided for many aspiring artists, have secured him a very special place among leading South African artists.
Walter Battiss was a legendary figure – to such an extent that Professor Neville Dubow of the Michaelis School of Art, University of Cape Town, once remarked that had Battiss not existed, we would have had to invent him!
Battiss’s weird and wonderful appearance, his colourful and eccentric persona, his insatiable curiosity about life, and his remarkable work ethic, continue to challenge intellectual exploration of his work and capture the imagination of art lovers both at home and abroad.
Fook Island This “island of the imagination” was a materialisation of Battiss’ philosophy for which he created a map, imaginary people, plants, animals, a history as well as a stamps, currency, passports and driver’s licences. He created a Fookian language with a full alphabet as well. This utopian ‘island’ was a composite of the many islands he visited – which included Zanzibar, the Seychelles, Madagascar, Fiji, Hawaii, Samoa, the Greek Isles and the Comores – blended together in his customary imaginative fashion. In Battiss’s words, “It is something that does not exist. I thought that I would take an island – the island that is inside all of us. I would turn this island into a real thing … I would give it a name”.
Fook was a result of his fertile imagination as well as his opposition to the Conceptualist Art movement of the 1960s and 70’s, in Europe and America. The movement espoused that the construction of art was confined to the ‘moment’ in which it was created. He believed on the contrary that all art exists in the now and this he argued to represent with Fook Island, which was always in the now and always an essential part of reality.
South Africans such as actress Janet Suzman, artist (and Battiss protegé) Norman Catherine, writer Esmé Berman and many others embraced the philosophy of Fook Island. The journalist Jani Allan interviewed Battiss in 1982 and also agreed to his request of becoming a ‘resident’ of the imaginary island.[1]
Battiss’ Fookian Driver’s License was accepted in America and the colourful pages of his Fookian Passport has official stamps from Australia, Britain and Germany. A Fookian banknote was also exchanged at a Rome airport for $10!
Source: Wikipedia
All links in this post will open in a new window. I’ve found at last what I was looking for! Tree interpretations!
The House-Tree-Person (H-T-P) projective technique developed by John Buck was originally an outgrowth of the Goodenough scale utilized to assess intellectual functioning. Buck felt artistic creativity represented a stream of personality characteristics that flowed onto graphic art. He believed that through drawings, subjects objectified unconscious difficulties by sketching the inner image of primary process….read on the link more…
Tree interpretations: The trunk is seen to represent the ego. sense of self, and the intactness of the personality. Thus heavy lines or shadings to represent bark indicate anxiety about one’s self, small trunks are limited ego strength, large trunks are more strength… (think about the saying that a tree that bends lasts through the wind, but one that doesn’t snaps, like the ego that is flexible and healthy lasts through the world, but the inflexible and neurotic ego ends up broken). A tree split down the middle, as if hit by lightening, can indicate a fragmented personality and serious mental illness, or a sign of organicity.
Limbs are the efforts our ego makes to “reach out” to the world and support “things that feed us” what we need. Thus, limbs detached are difficulties reaching out, or efforts to reach out that we can’t control. Small branches are limited skills to reach out, while big branches may be too much reaching out to meet needs. Club shaped branches or very pointy ones represent aggressiveness. Gnarled branches are “twisted” and represent being “twisted” in some efforts to reach out. Dead branches mean emptiness and hopelessness.
Leaves are signs that efforts to reach out are successful, since leaves growing mean the tree is reaching out to the sun and getting food and water. Thus, no leaves could mean feeling barren, while leaves detached from the branches mean the nurturing we get is not very predictable. Pointy leaves could be aggression, obsessive attention to detail on the leaves could be Obsessive Compulsive tendencies.
Roots are what “ground” the tree and people, and typically relate to reality testing and orientation. No roots can mean insecurity and no feeling of being grounded, overemphasized roots can be excessive concern with reality testing, while dead roots can mean feelings of disconnection from reality, emptiness, and despair.
Other details: Christmas trees after the season is over can mean regressive fantasies (thinking about holidays and family and good times to make yourself feel better). Knots or twists in the wood, like gnarled limbs, indicate some part of the ego is twisted around some issue. Knotholes are an absence of trunk, and thus an absence of ego control. Sometimes they are seen as indicating a trauma, and the height up the tree represents the age of the trauma (so, halfway up for a 10 year old is at age 5). Squirrels and small animals are an Id intrusion into an area free from ego control. Research does show that weeping willow trees are more common in depressed people. People with high needs for nurturance draw apples.
I’ve written about Learning Disabilities and Dyslexia. During my studies of this two year degree, we had to read widely too and I was very much interested in children’s art and how you can tell from their drawings what kind of emotional problems they experience in their lives. During my training as a Primary Teacher in South Africa, I had art as a specialist subject too and one task was to look at Pre-Primary children’s art and that triggered my interest. One little 5 year old boy didn’t draw something when I asked the class to draw anything. He took the purple wax crayon, put it down flat on his sheet, pressed very hard on it and press-pulled it from the top of his sheet to the bottom.
His teacher informed me about his circumstances at home, which was not very positive at the time. What I found in this one book, had me even more interested in the emotional difficulties-aspect. Some child psychologists might tell children to draw various things when they do their diagnostic tests in their first session with a child. Some might start with: “Draw me a human”, as they want to see who’s the dominant parent in the house or the parent the child relates best to or some other reasons. Some might also want to ask the child to draw a tree. Yes, a tree can tell you many things. A tree can tell you if the child experiences love or friendship at home, grieve, loneliness and many more!
These winter-tree photos were taken in our street where we lived in West London. They don’t look really beautiful as it’s winter now of course, but they look at least a bit “healthy”.
I’ve found two google-book-links for you to look at about the tree-drawing at the bottom of this post. I was also looking for more links about the tree-drawing activity and I came across a very interesting site with info about colour personalities. I think I’m a Group3-person here, some sort of an “expert” has told me that I’m an “autumn”-person and reading the Group3 -information, I think I sort of agree, but there is some of Summer to which I feel I relate to too. Take some time and enjoy reading it, the link is at the bottom of the post too…see the “Source”-link.
Colour Psychology — Personality Types There are just four personality types and each has its own distinctive characteristics and typical responses to a variety of situations. Each individual personality will be best supported and expressed with a specific palette of colours. Working in California, USA, in the early 1980s, Angela Wright realised the links between patterns of colour and patterns of human behaviour, when she put the four personality types together with the four colour families that Johannes Itten (an artist at the Bauhaus, earlier in the twentieth century) had noticed. This began to explain why individuals have such different responses to the same colour.
People say it is impossible to classify all the millions of people in the world into just four types. Yet the grand designer only divided humanity into two. The basic patterns are absolute, just as the basic male/female patterns, but equally, there are probably as many variations as there are people. Each of us contains elements of one or more of the other three, but understanding the archetype is the key to understanding ourselves and others.
These classifications indicate where humanity fits into the natural world. Human colour patterns are a reflection of nature’s patterns, and the constant play of light shows us wonderful colours and harmonies that change consistently. We rely on the colour signals in our environment to orient ourselves, so for example, in many parts of the world, when the leaves change colour and go through golds, reds, purples and browns before they fall off the trees, we know that the natural cycle is drawing to a close. We prepare for nature to shut down and hibernate, as regeneration begins under the earth. We ourselves instinctively draw in. As long as this happens in October and November, we are quite comfortable; but can you imagine how deeply disturbed we would be if it happened in June? We depend on the natural order more than we realise.
These patterns are fundamental to nature and are demonstrated in a variety of ways: for example, the play of light in any one day gives us four distinct moods – at sunrise, noon, sunset and night. The most spectacular and readily identifiable manifestation is in the four seasons of the year, in many parts of the world. Although this does not occur in the same way everywhere, the yearly cycle is recognisable everywhere and we react in similar ways.
It is important to understand that all four personality types can be found all over the world; however, Group 3 predominates, worldwide, in the indigenous populations of Australia, New Zealand, the Americas and Africa – as well as most of Europe. Group 4 personalities predominate in the Orient and parts of the Middle East. Group 1 people are particularly to be found in Scandinavia, but they are everywhere. Group 2 personalities are rare, but they can be found everywhere – oddly, they predominate in Norway. (It is interesting that, at the time of writing, Norway has been making tremendous diplomatic efforts for some years to bring peace to the Middle East).
The archetypal Group 1 personality reflects the patterns of springtime.
If you go out and look at nature in spring, it has a very specific colour scheme and an unmistakable personality. Everything is coming back to life after the long dark winter months and it is very lively. Birds make a lot of noise and the whole animal kingdom is busy; bright warm colours burst forth and spirits lift. The melting snow and ice fill the earth with water and create a sparkling awareness of the fresh and the new.
The personality that reflects all this is externally motivated and eternally young. They can be blonde, brunette or redhead, but they will never be very dark or heavy – even when they put on too much weight, they are light on their feet, love to dance and have an indefinable quality of lightness to their being. Their features tend to be rounded and delicate. They need plenty of light in their lives and are particularly prone to SAD (Seasonal Affective Disorder). They have great charm and the kind of career that this type should ideally pursue will be working with many people – nursing, caring, communications and media, sales, entertainment (particularly musical comedy). They have a natural affinity with the young and they love the outdoors, so they make wonderful PE and sports teachers. They are often very clever, but not interested in heavy, deep academic debate. They like to get on with things; they have a strong practical streak and inexhaustible energy. They do not respond well, for example, to the beauty of linen, as it never looks properly ironed (unless their subordinate influence is autumnal). They like, and suit, crisp fresh fabrics and small patterns, such as polka dots.
The challenge for this type is single-mindedness; they have the gift of attending to many things simultaneously, but might be accused of being superficial and frivolous. Their emotions can be very fragile.
Examples of famous people who appear to reflect this pattern are: Tony Blair, the late Princess Diana and Bill Clinton.
The colours that reflect and express these characteristics are warm and clear; they can be bright, but not necessarily. Just as everyone does, the spring personality needs ease as well as stimulus, so their ideal palette of colours will include soft peach, cream or turquoise, alongside the brighter scarlets, cobalt or sky blues, warm emerald greens and pure yellows that express their varying moods. Neutral colours to support them are light camel, French navy and light warm greys.
The archetypal Group 2 personality is linked to the natural patterns of the summertime in many parts of the world.
As the year progresses and the earth begins to dry out, a softening process sets in. The vivid green leaves tone down to a cooler, darker green that perfectly enhances the soft colours of roses, sweet peas and wisteria. Our instinct is to break off and relax after so much energy has been expended. When the sun beats down, the colours are bleached out; the concept of coolness becomes very attractive and the colours of summer flowers echo that feeling. Imagine a quiet summer afternoon sitting under a tree, contemplating the peaceful countryside and the heat haze in the distance.
The archetypal Group 2 personality is cool, calm and collected. This person is internally motivated, but equally very sensitive to what others are feeling. Their features are gently curved and their eyes have a misty quality to them – they are most often blue, with no flecks or lacy patterns in them, but they can be grey, cool green or brown. Group 2 eyes do not dance, as Group 1 eyes so often do – they are still and serene. Their hair is unlikely to be predominantly red, although there could be warm lights in it; it will probably be cool brown or blond. Summer related people abhor vulgarity and their humour is subtle and often dry; they can be very witty. Ideal careers for this type are any that involve creating order out of chaos, and keeping the peace – diplomats, administrators, human resources – and, since they have an acute sense of touch, particularly in their fingertips, they are often gifted artists or musicians. Their gentle nature and keen analytical skills also make them good general practitioners (medical). They need order. They are very uncomfortable with poor-quality fabrics and love pure silk jersey (with its slight sheen and the flowing lines it creates), chiffon and cashmere.
The challenge for the summer personality is in appearing aloof and unfriendly – and the need to resist the efforts of their livelier friends to jazz them up!
The Group 2 personality does not seek the limelight, but some famous people who appear to demonstrate these characteristics are HM The Queen and Prince Charles (who had it thrust upon them), the late Princess Grace of Monaco and Nelson Mandela.
The colours of the Group 2 palette are cool and subtle; they can be dark, but never heavy. Some typical Group 2 colours are maroon, raspberry, oyster, rose pink, grapefruit, powder blue, lavender, viridian and sage green. Good neutrals to support them are mushroom, taupe, dove grey and cool navy.
Archetypal Group 3 personalities are linked to the autumnal pattern.
Go back again to the countryside and see how things have changed since the first warmth of spring. The temperature might be the same, but nature’s mood is quite different and so is her apparel. The bright, perky spring flowers, in warm blue, lilac, orange, and yellow, have been replaced by rich golds, fiery reds, purples, burnt orange and brown – and not in flowers, but in the leaves. Autumn is abundant, as we harvest all the fruits of the year’s cycle; it is mature and ripe, with great drama in the landscape.
The Group 3 personality is, like Group 1, externally motivated. However, there are great differences – autumnal people are intense and strong. They are all fiery, to a greater or lesser degree (depending on their subordinate influences); if they have a strong summer influence, this might not be apparent, but it is there; they can also be flamboyant. They could be blond, brunette or redhead and their eyes could be blue, brown or green and almost invariably have flecks of gold or tan in them. However, the Group 3 eyes are more often brown or green; hazel eyes do not occur in any other type. The textures that appeal to the Group 3 personality are those where the interest is inherent, rather than printed on a smooth finish – raw silk, linen, and tweed. Group 3 personalities have a strong sense of justice and are constantly fascinated with academic questions and how things work. They are very aware of environmental issues. Good careers for them are anything requiring detection and digging beneath the surface – police officers, psychiatrists and archaeologists and lawyers. They are attracted to the armed forces. They are often good writers, particularly in investigative journalism. Physical comfort and solid substance are important to them and they abhor anything flimsy, whether ideas or physical objects (such as furniture).
The challenge for Group 3 personalities is to keep their wish to save the world in proportion. They might be perceived as bossy and tedious.
Famous personalities who appear to be linked to Group 3 abound: they include Sir David Frost, Germaine Greer and Bob Geldof.
The autumnal palette is offbeat – there are no pure primary colours. Examples are vermilion, tomato, burnt orange, olive green, moss green, golden yellow, terracotta, petrel blue, and aubergine. Good neutrals to support these colours are most shades of brown.
Archetypal Group 4 personalities are an expression of the natural pattern of winter.
The winter landscape is hushed and when snow falls heavily, it is virtually achromatic – everything disappears under a blanket of pure white. But under the surface there is powerful energy as the regeneration process develops. Without leaves on the trees, outlines are stark and minimal, with strong contrasts. Imagine a snowy field, where you see an expanse of white and the apparently black shape of a leafless tree, its bare branches etched against an icy blue, or cold grey, sky. We treat the winter with respect, and when a storm breaks out, we run for cover. We view dramatic snow-covered mountain peaks or a majestic icy terrain with awe.
Similarly, Group 4 personalities automatically command respect. Physically, their features are usually well defined and their eyes compelling, whether they are blond or brunette; redheads rarely occur in this type. They are internally motivated and have a gift for seeing the broader picture and for delegation. They set their sights on the objective and they are not easily diverted. They are often very efficient, and precise in everything they do. They can’t stand clutter, or cluttered minds and they do not suffer fools. Their response to foolishness will often be sarcastic and, unlike Group 3 – who will stop and explain, fifty ways if necessary – they will simply move on. In difficult times they are very stoical. They do care, but they are unsentimental and do not get bogged down with emotional issues. They are self-assured and ideal careers for them are usually at the top – they are very effective in government and finance. They also shine in the theatre and films, as well as PR, and in fashion (they do not follow fashion – they are usually arbiters of it), they are perfectly suited to the catwalk. If they choose to pursue a medical career, they will be wonderful surgeons. If they decide to pursue a legal career, they make brilliant barristers. The textures that echo this pattern are shiny – glass and chrome in interiors, pure silk and satin for themselves. They never need to create a drama, as they are innately dramatic – but it is the drama of a frozen snowflake, or a flawless diamond on a black velvet cushion.
The challenge for Group 4 personalities is to pay attention to other people’s feelings. They can be perceived as elitist, cold and uncaring. Famous personalities who appear to embody the winter pattern are Sean Connery, Gordon Brown, Margaret Thatcher and Diana Ross.
The colours of winter in the natural world are few – and a winter personality instinctively recognises this. They often favour simply wearing black all winter and white all summer. They are the only type who look good, and are supported by, unrelieved black or white. Other colours in the tonal family are crimson, lemon yellow, Persian orange, jade green, cold emerald, magenta, royal purple, midnight blue and flag blue. These colours work particularly well in strong contrasts and the best neutrals for this palette are black, white and clerical grey.
Pierneef is a South African artist and I like his style, have a look at his trees in these paintings. You can read more about him on the Wiki-link at the bottom of this entry.
Pierneef received numerous honours and awards during his lifetime, including:
1935 – The Medal for Visual Arts for his Johannesburg Station Panels as well as for his panels in South Africa House in London. 1951 – Honorary Doctorate, University of Natal. 1957 – Honorary Doctorate of Philosophy, University of Pretoria. 1957 – Honorary Membership of the South African Academy for Science and Art.
Please click onthis link to read about exceptional trees of South Africa. The link will open in a new window.
Nadine…Song for the World…
Nadine is a young South African artist. In the following video you can listen to a song in Afrikaans with the English sub-titles. The song was written by Nadine and it’s about South Africa…enjoy!
Painting celebrating African and European influences –2008
Danie de Wet
The Way (2005)
Oil on board
Roelof Rossouw
Blaauwklippen Estate from Jamestown
The Red Boat, Hout Bay
Roelof Rossouw
Walter Koch
“untitled”
His inspirations come from African Rock and Graffiti
Francois Krige…Blue Cranes (they are South Africa’s national bird)
I was sent this link earlier this week by a relative of mine. Her hubby is an artist and a very talented person when it comes to art and music and I’ve thought to blog a few artists from this site as I think that we have wonderful artists in South Africa and apart from that, we have such a beautiful country and I personally think that SA is a paradise for any artist. I’d wished many times that I was a natural artist. I want to sit down and start a drawing and after five minutes I want a master piece! But, unfortunately, I was at the end of the line when God handed out that gift! By looking at all these masterpieces then I’m really rubbish when it comes to art! although I’ve done some fabric painting, but that’s easy peasy…it’s like colouring a picture with paint! and I’ve done some Chinese painting….that’s painting on plates…even easier than fabric painting! ….nothing really difficult about that and you don’t even have to be an artist to do that! In my school in SA I used to do that with my gr3’s…and they did some wonderful paintings on small plates as a Mothers’ day-gift. One of my gr3’s even taught her mum how to do it and they started a club at home painting plates as Christmas presents…so, you see, you don’t have to be an artist and I want to be one!! lol! The first two piece of art is from her hubby and the others are just some of the beautiful art which I like…the first one in particular reminded me about chess…if you know what I mean…the bottom half….and I do love any beautiful painting with boats…and it’s even better with a South African mountain on the background!! ….I know I will find more pieces of art which I will like by spending more time on the site…so, here’s the link for you to play around! Please click HEREfor more South African artists and their art work.
Enjoy this piece of painted fabric… I might scan one more later…if you have your image transferred on your fabric…it’s….dead easy…almost like “colour-by-the-numbers”…. On THIS SITE you can view a gallery of art from many well-known artists of South African e.g. Maggie Laubscher, Walter Battis, W H Coetzer, etc. Francois Krige’s “Blue Cranes” is from this gallery…do enjoy!
This song is one of my favourites, sung by Laurika Rauch, also one of my favourite South African artists. Laurika is a legend in South Africa and many South Africans love her for her music…and I’m definitely one of them. If you click on the page-link that says…”don’t miss this song”, you can listen to her singing another song together with Valiant Swart…and I’ve translated that song for you to understand the song that’s about a sun catcher… This song is about her as a young girl, where she says she used to believe in Santa ….she saw Santa walking through the corn fields one day and her brother asked if Santa was from Clocolan….then one day she saw Santa’s suit…and she realised that he wasn’t real…all her dreams were scattered… she also sings about girls having dreams about their future partners and she wrote a letter to Santa …describing him her dream partner…
WOW! This image is from THIS SITE where you can see more fantastic breathtaking images! This is the road to Clocolan…the small town Laurika mentions in her song…in her song her little brother asks her if Santa was from Clocolan…
EK HET IN MY KINDERJARE VAS GEGLO IN KERSFEESVADER
IN WERKLIKHEID RY HY MOS MET ‘N SLEE
MAAR HIER STAP HY DEUR DIE MIELIES, MET ‘N STREEPSAK
EN ‘N KIERIE
EN MY BOETIE VRA, “BOER HY BY CLOCOLAN?”
KOOR:
WAAR IS JOU RENDIER EN SILWER SPORE?
WAAR IS ONS DROME VAN GISTERAAND?
VLIEG OOR DIE BOME MET MY DROME
KYK HOE GLINSTER DIE MAAN
DIE WINDE VAN DIE WINTER HET MY KINDERHART ONTNUGTER
EK EN BOETIE KRY ‘N ROOI JAS IN DIE LAAI
JONK VAN JARE, OUD VAN DAE, HUIL EK HARTSEER
IN MY KAMER
WANT DIE FANTASIE HET SOOS ‘N DROOM VERDWYN
KOOR
IN ‘N BRIEF VAN LATER JARE, SKRYF EK “LIEWE KERSFEESVADER
ELKE MEISIE HET ‘N SPESIALE WENS
VIR ‘N MAN SO SOET SOOS SUIKER, MET ‘N MOTOR SONDER DUIKE
EN SOEN HY JOU DINK JY DIS NET ‘N DROOM”
KOOR
EK STAP TOE OP ‘N AAND LAAT, MET ‘N KÊREL UIT DIE VRYSTAAT
AL BESTUUR HY ‘N OU BAKKIE, SÊ EK “KERSFEESVADER, DANKIE!”
WANT AL SY SOENE IS SOOS SUIKER, EN IN SY HANDE ‘N DIAMANT
VLIEG OOR DIE BOME MET MY DROME
KYK HOE GLINSTER DIE MAAN
HIER’S ONS KINDERS OM DIE BOOMPIE, HULLE WAG NOU VIR DIE OOMPIE
MY DOGTERTJIE IS NET ‘N BIETJIE BANG
MAAR HY STAP SOMMER UIT DIE BRANDERS, JA DIE TYE HET VERANDER
MY SEUNTJIE VRA, “WOON HY IN JEFFRIESBAAI?”
KOOR Read what Wipneus says in her post about “dreams” HERE , but it’s an entry in Afrikaans. The link will open in a new window.
Image:Childrenshospital.org
On THIS LINK you can read about dreams….The link will open in a new window.
From the book “Dreams”…by Olive Schreiner…
And God laughed at me; and I wondered why he laughed.
God said, “Come, and I will show you Heaven.”
…
And partly I awoke. It was still and dark; the sound of the carriages had
died in the street; the woman who laughed was gone; and the policeman’s
tread was heard no more. In the dark it seemed as if a great hand lay upon
my heart, and crushed it. I tried to breathe and tossed from side to side;
and then again I fell asleep, and dreamed.
God took me to the edge of that world. It ended. I looked down. The
gulf, it seemed to me, was fathomless, and then I saw two bridges crossing
it that both sloped upwards.
I said to God, “Is there no other way by which men cross it?”
God said, “One; it rises far from here and slopes straight upwards.
I asked God what the bridges’ names were.
God said, “What matter for the names? Call them the Good, the True, the
Beautiful, if you will–you will yet not understand them.” Please click HEREto read the entire book …”Dreams” online written by a South African writer…Olive Schreiner….the link will open in a new window….and on THIS LINK you can read more about her…the link will open in a new window.
The Story of an African Farm as Ralph Iron, 1883
Dreams, 1890
Dream Life and Real Life, 1893
The Political Situation (with S C Cronwright-Schreiner), 1896
Trooper Peter Halket of Mashonaland, 1897
An English South African’s View of the Situation, 1899
Women and Labour, 1911
Stories, Dreams and Allegories, 1923
From Man To Man, 1926
Undine, 1928
Olive Schreiner rose to international fame as the first major South African writer of fiction, as an eloquent advocate of feminism, socialism, pacifism and free thought, as a trenchant critic of British imperialism and racism. Perhaps best known for her novel ‘The Story of an African Farm’, Schreiner wrote political and social treatises as well as allegories and short stories.
She was born into a poor family of a Boer father and English mother, the ninth of 12 children. She lived a life of incredible hardship: her father was a missionary of implacable religious zeal and her mother aggressively attempted to maintain a European sensibility as the family nomadically wandered from mission to mission throughout the Transvaal. Schreiner was self-educated; her early influences included the philosophers Herbert Spencer and John Stuart Mill, and the naturalist Charles Darwin.”..read on the link I’ve given about her…more…
On THIS LINK you can visit the site of the movie based on her book…”The Story of an African farm”…
The link will open in a new window.
by Gustavus Hindman Miller.
Fireside; 1st Fireside Ed edition, 1985 | 592 pages | PDF | 1.4MB Click on the link to download the dictionary of dreams…the link will open in a new window. the_dictionary_of_dreams_10_000_dreams_interpreted
What do you believe about dreams….read this interesting article if you want to dream like an Egyptian! I’ve got a Dutch dream book…more like a dictionary, but quite old…unfortunately packed away in SA…would love to have it so I could blog it..it was always interesting to read what they say if you dream about something, what it means… it has happened to me twice that I dream about people and funerals..then it was when there was really going to be a funeral in the family! The first time it happened was when I was a student…and a couple of days later, my beloved grandma died! After the second time, I really believe that there is some meaning we can attach to dreams!
Image: eso-garden.com
DREAMING LIKE AN EGYPTIAN
by Robert Moss
The ancient Egyptians understood that in dreams, our eyes are opened. Their word for dream, rswt, is etymologically connected to the root meaning “to be awake”. It was written with a symbol representing an open eye.
The Egyptians believed that the gods speak to us in dreams. As the Bible story of Joseph and Pharaoh reminds us, they paid close attention to dream messages about the possible future. They practiced dream incubation for guidance and healing at temples and sacred sites. They understood that by recalling and working with dreams, we develop the art of memory, tapping into knowledge that belonged to us before we entered this life journey, and awakening to our connection with other life experiences.
The Egyptians also developed an advanced practice of conscious dream travel.
Trained dreamers operated as seers, remote viewers and telepaths, advising on affairs of state and military strategy and providing a mental communications network between far-flung temples and administrative centers.
They practiced shapeshifting, crossing time and space in the dreambodies of birds and animals.
Through conscious dream travel, ancient Egypt’s “frequent flyers” explored the roads of the afterlife and the multidimensional universe. It was understood that true initiation and transformation takes place in a deeper reality accessible through the dream journey beyond the body.
Please click on THIS LINK to read the entire article. The link will open in a new window.
DO BABIES DREAM?
Babies dream, says Dr. Charles P. Pollak, director of the Center for Sleep Medicine at NewYork-Presbyterian/Weill Cornell hospital in the New York Times.
In what seems like a rather gutless attempt to explain why he thinks babies dream, Dr. Pollack says, babies sleep because babies experience REM sleep (I have experienced REM sleep, too, any time you put in one of their last five albums). Because infants have REM sleep, Dr. Pollack says, “It is a well-based inference that babies are dreaming in REM sleep.”
Click HERE to read about babies’ dreams…The link will open in a new window.
This image: the cable car…Cape Town…Table Mountain…Lion’s Head…is the head you can see
Images: south-africa-tours-and-travel.com
On this image you can see the beach …near George…Wildernis-area.
On the chess site I was asked by a Capetonian….”What do you miss about South Africa?” and I replied to him this afternoon…EVERYTHING! … enjoy this beautiful nature video about South Africa…fantastic song too..Afrikaans lyrics of the song…maybe I should try and translate this song ……it’s one of those beautiful Afrikaans songs…with a bit of a mix with Zulu/Xhosa…
Halala Afrika
Toe die wêreld hier nog jong was en die horison wyd en oop
Was dit groen hier in die halfrond, suid van die ewenaar
En in die skemer as die son sak en die beeste huis toe loop
Klink die roepstem van die vroue oor die heuwels van die land:
Halala, ewig is ons Afrika.
Tula tula mtanami, tula tula sanaboni, tula tula mtanami,
Ubab uzobuya sihlale naye, ubab uzobuya sihlale sonke, Hmmm-Hmmm
Toe kom die skepe uit die weste, wit seile oor die see
Om te vra vir koos en water en te bly vir so veel meer.
En die land wat een tyd oop was, die land het ons verruil
Vir die ghetto’s van die stede is ons koperdraad gegee.
Halala, ewig is ons Afrika
Halala, sasiphila, kamnandi, halala, mayibuye Afrika
Tula tula mtanami, tula tula sanaboni, tula tula mtanami,
Ubab uzobuya sihlale naye, ubab uzobuya sihlale sonke, Hmmm-Hmmm
Daar was rykdom in die maag van ons moeder Afrika
Diamante en ook steenkool, goud, edel metaal
En die mense word die slawe hier want die mense word betaal
Om te tonnel in die aarde elke greintjie uit te haal
En die groot en oop grasvlaktes span dit toe met doringdraad
En van die olifant tot die gemsbok al die diere moes kom buig
Voor die mag van die grootwildjagter voor die mag van sy groot geweer
Totdat net die stilte oorbly, totdat net die stilte heers.
Halala, ewig is ons Afrika.
Halala, sasiphila, kamnandi, halala, mayibuye Afrika
Sasidjapolutjoloythina
Halala, sasiphila, kamnandi, halala, mayibuye Afrika Source: southafrica.com/forums/language/5041-zulu-translation-request.html
Read this newspaper clip below – where an Englishman described how kind the Boers were and that everything that was said in England about the Boers, was not true.
From the Boer War Facebook page
From the Boer War Facebook page
Artist: Ron Wilson….
LW: This post gets updated every now and then – more then than now – when I find more resources and information…new information and links will be added at the bottom of this post. Most links will open in a new window. When you see this link icon – you will know there’s a link to follow up. I hope this helps. I apologise and know it must be very confusing. Please check the bottom of this page for most of the links – without this icon. This post was written 12 years ago! I hope that all links will still be active.
Boer War Diary
The following extracts from a diary, of the authenticity of which we have obtained sufficient assurance, illustrate one aspect of the process of “clearing” tracts of the country occupied by the enemy.
Amsterdam, New Scotland, February 14 1901. This morning, about eight o’clock, the cavalry of the enemy entered the town, the infantry following.
Every garden and tree was stripped of everything. All the livestock was taken. General Campbell arrived; he was very abrupt. He said they, the English, had come to give us food and protection.
Mother replied that we were quite satisfied with the food and protection our own people afforded us. Then he said we were to be ready to leave the following day at 10 a.m.
Feb. 15. Worse than ever. The Provost Marshal, Capt. Daniels entered the house and began searching. They took what they wanted – soap, candles, mealies & c. even to white sewing cotton. When mother came in, Capt. Daniels turned to her and said, ‘Those devils of Boers have been sniping at us again, and your two sons among them, I suppose. If I catch them, they will hang.’
Feb. 17. At dawn Capt. Ballantyne said we would be allowed a quarter of an hour to load, and only to take the most necessary things. Beds, clothing, mattresses, chairs, chests & c., odds and ends of all kinds were burnt. Foodstuffs were also taken. At 9 p.m. we out-spanned in a hard rain. It was pitiful to hear the children crying all night in the wet wagons for water and food.
March 5. Annie very sick. Must be the food, as we have only meat, and mealies (corn) when we can pick them.
March 6. Annie very ill all day. A driving misty rain. Oxen with lung sickness are made to pull until they fall down in the yoke to die.
April 19 [in captivity at Volksrust]. Message that Major Watt, Assistant District Commissioner, wanted to see [Mother] at once. Mother, Annie and Polly Coltzer went with the policeman. Major Watt was in a dreadful rage.
‘You are Mrs. Cameron?’ ‘Yes.’ ‘You are a most dangerous woman, you have been speaking against the British Government. You are an English woman.’ ‘All my sympathies are with the Boers.’ ‘Make a note of that. All the concessions we intended making you will be withdrawn. You will not be allowed to receive any parcels.’
April 25. We received the following: ‘I beg to inform you that you are to proceed to Maritzburg tomorrow by the 11p.m. train. A wagon shall convey your luggage to the station.’
B. R. Cameron, Prisoner of War, May 31 1901. Green Point, Pietermaritzburg, Natal.
“When is a war not a war?” — “When it is carried on by methods of barbarism in South Africa,” referring to those same camps and the policies that created them.
–see my link in this post: “Churchill makes me smile”– for more on this…see bottom of the page for the link.
Image: anglo-boer.co.za
Image: Tararualibrary…Wording on back:
“Boer war 1900 Troops parading prior to their departure.
Site: Cnr Millers Rd and Stanley St Paynes house on the right still there HBF garage on left hand corner”
Above image: HERE on the site of Tararualibrary. The link will open in a new window.
The British controlled government implemented Pass Laws in 1923 paved the way for further restrictions on non-Whites social and political freedoms when Afrikaner-led political parties gained control of the government in 1948 (the birth of Apartheid). This segregation along racial lines has further widened the gap between the White Afrikaans speakers and Coloured Afrikaans speakers…
Source:Diversity South Africa
Since the people were of white European descent, nobody was seriously punished for their part in the war….so…if they were black??
The Boer War shaped the destiny of South Africa and, as Rudyard Kipling remarked, taught the mighty British Empire ‘no end of a lesson’.
It was said to be the last of the ‘gentleman’s wars’, a ‘white man’s war’ and it would be over by Christmas. It was none of these things. The Boer War was brutal, racially explosive and it took the greatest empire in the world nearly three years to beat a Boer army smaller than the population of Brighton.
The Boer War capitulated the world into the 20th Century, prefiguring the worst excesses of modern conflicts: the indiscriminate bombing of civilians, scorched earth, rape, concentration camps. It was a civil war dividing families, communities and races.
It was a bitter conflict between two small Boer nations fighting for their life and freedom and a great empire asserting what it saw as it’s legitimate authority.
I often get people who got directed here – via google – with the search engine term: Boer – well, I would like to suggest you go back to google, put in a search the following: ‘South African farmer[s]‘ – you might like what you’ll see. Good Luck.
THE BOER NATIONS (“boer” is the Dutch word for “farmer”)
Take a community of Dutchmen of the type of those who defended
themselves for fifty years against all the power of Spain at a time
when Spain was the greatest power in the world. Intermix with them a
strain of those inflexible French Huguenots who gave up home and
fortune and left their country for ever at the time of the revocation
of the Edict of Nantes. The product must obviously be one of the most
rugged, virile, unconquerable races ever seen upon earth. Take this
formidable people and train them for seven generations in constant
warfare against savage men and ferocious beasts, in circumstances
under which no weakling could survive, place them so that they acquire
exceptional skill with weapons and in horsemanship, give them a
country which is eminently suited to the tactics of the huntsman, the
marksman, and the rider. Then, finally, put a finer temper upon their
military qualities by a dour fatalistic Old Testament religion and an
ardent and consuming patriotism. Combine all these qualities and all
these impulses in one individual, and you have the modern Boer — the
most formidable antagonist who ever crossed the path of Imperial
Britain. Our military history has largely consisted in our conflicts
with France, but Napoleon and all his veterans have never treated us
so roughly as these hard-bitten farmers with their ancient theology
and their inconveniently modern rifles. See link at the bottom of this page to continue reading… Concentration Camps
In early March 1901 Lord Kitchener decided to break the stalemate that the extremely costly war had settled into. It was costing the British taxpayer 2,5 million pounds a month. He decided to sweep the country bare of everything that can give sustenance to the Boers i.e. cattle, sheep, horses, women and children. This scorched earth policy led to the destruction of about 30000 Boer farmhouses and the partial and complete destruction of more than forty towns.. Thousands of women and children were removed from their homes by force.They had little or no time to remove valuables before the house was burnt down. They were then taken by ox-wagon or in open cattle trucks to the nearest camp.
Conditions in the camps were less than ideal. Tents were overcrowded. Reduced-scale army rations were provided. In fact there were two scales. Meat was not included in the rations issued to women and children whose menfolk were still fighting. There were little or no vegetables, no fresh milk for the babies and children, 3/4 lb of either mealie meal, rice or potatoes, 1 lb of meat twice weekly, I oz of coffee daily, sugar 2 oz daily, and salt 0,5 oz daily (this was for adults and children who had family members on commando).
In the camps – image – photosearch
hmmm….not very nice of them burning down people’s houses, hey… we all know war is war…but…to take away from women and children! That’s really not very humane!
On this next link, you can read extracts from the Parliamentary debates that were going on during the War in the British Parliament…you will see the death numbers too – not sure if that is correct, you know what politics are like…they will of course hide the exact figures as we all know – anyway..children’s deaths are about 10 times more than adults and women were held as prisioners as they were not allowed to leave the camps if they wished too. I’m sure more of the deaths could be prevented if people were not held in the camps. To say they were “fed” is just an excuse! They knew it was the only way to force the Boers to surrender, as the Boers couldn’t let these women and children dying in the camps like sheep on their way to a butcher!
http://www-sul.stanford.edu/depts/ssrg/africa/hansxcv1.html
Concentration Camps
In early March 1901 Lord Kitchener decided to break the stalemate that the extremely costly war had settled into. It was costing the British taxpayer 2,5 million pounds a month. He decided to sweep the country bare of everything that can give sustenance to the Boers i.e. cattle, sheep, horses, women and children. Read more on the link I’ve given you. — What a shame for the Britain! Putting women and children in concentration camps to starve… that’s just as cruel as Hitler’s gass chambers! Killing people in this way when you know you can’t defeat them….And what’s more… Britain has already got more experience in fighting and wars than the South Africans, a small upcoming nation…..Hierdie Engelse sal ook nooit “jammer” se oor wat hulle weet hulle gedoen het nie. Hierdie konsentrasiekampe was vir my net so erg soos die Duitsers met hulle gaskamers! Ek het ‘n boek gekoop by ‘n museum op Lady Smith and daarin lees ook toe die naam raak van ‘n niggie van my ouma wat in ‘n kamp was! As jy die link “great grandad” volg, sal jy verstaan waarom ek so ‘n passie vir die oorlog-geskiedenis het en gedurig weer terugkeer na iets wat daarmee te doen het. Ek sal graag meer kuns en gedigte wil kry om hierdie week te plaas, veral kuns en ek was nogal verbaas om hierdie een van Coetzer te kry. Ek het afgekom op ‘n baie oulike webbladsy van ‘n ou in die USA en ek gaan die link hier plaas, daar is verskillende
Sources: Enslin Vosloo painting…
Ladysmith Town hall image: tokencoins.com/book/boer.htm#zar04
“Duty called the Cordons to South Africa and the plains of the Transvaal to fight the Boers. The Boers were regarded as an easy enemy and naturally would be overcome quickly. Boers were self reliant farmers dressed in civilian khaki suitable for the vast veldt. Most of British Army still favoured red jackets, white pith helmets and Crimean War tactics. Whereas the Boers formed commando groups to move across country swiftly and stealthily living off the land. They were extremely good shots armed with the accurate Mauser rifle and a common cry was Victory through God and the Mauser.”…from the same site as the site where the image comes from…
On THIS LINK you can read more about the War…read these poems too….see more pictures…some very upsetting…the link will open in a new window. C Louis Leipoldt (excerpt)
A poem written by Leipoldt in Afrikaans and it was translated…
You, who are the hope of our people;
You, who our people can barely spare;
You, who should grow up to become a man;
You, who must perform your duty, if you can;
You, who have no part in the war;
You, who should sing and jump for joy –
You must perish in a children’s camp
You must be eliminated for peace:
Fold your hands tight together,
Close your eyes and say amen!
Whooping-cough and consumption, without milk:
bitter for you is the fate of life!
There is your place, at the children’s graves –
Two in one coffin, a wedding couple!
Al you gain is that we will remember:
Our freedom more precious than woman or child!
~~~~~ also the next one…by Leipoldt
In the Concentration Camp
(Aliwal North, 1901) C Louis Leipoldt (excerpt)
You are cringing away from the gusts of the wind
The chill seeping through the hail-torn tent –
Your scanty shield against torturing torrents;
The June chill bursts over the banks of the Vaal –
And all you can hear are the coughs from your child, and the
ceaseless patter of rain on the canvas.
A candle stub, just an inch before death
faintly flickering in a bottle
(a sty offers more comfort and rest)
But here, at night every thought is
a round of torture and tears.
Here, the early-born child flounders
Here, the aged fades away
Here, all you can hear is wailing and sighs
Here, every second is a lifetime of dread;
Every minute leaves scars on your soul, sacrifice without end.
Forgive? Forget? Is it possible to forgive?
The sorrow, the despair demanded so much!
The branding iron painfully left its scar
on our nation, for ages to see, and the wound is too raw –
Too close to our heart and to deep in our souls –
“Patience, o patience, how much can you bear?”
~~~
Leipoldt also wrote heart-breaking verses on a soap box to the memory of children who could at least be buried in this luxury:
Image: http://appiusforum.net/hellkamp.html – where I refer to hellkamp at an image, it refers to this site (update 2019 – site link is dead – don’t bother to visit!) They made you in England, little soap box
To serve as coffin for our children
They found little corpses for you, soap box
And I have witnessed you as coffin
Equally unforgettable is AG Visser’s description of an orphan in the concentration camp in his poem,
The Youngest Burgher:
The camp of women is ruled by silence and darkness
The misery kindly concealed by the night
Here and there a minute light is flickering
Where the Angel of Death is lingering.
In this place of woe and of broken hearts
A young boy’s muffled whimpers quiver through the night
Who can count all the tears, who can measure the grief
of an orphan alone in the world
Later on in the poem De Wet describes the struggle to the escaped child who wishes to join the commando:
Freedom demands from our ranks
Men of courage who taunt mortal danger.
But also in the camp, the mother, the nurturer
And the innocent child on her breast.
And the reward? Perhaps on the plains
A lonesome grave doused by no tears.
Sometime, perhaps, posterity might honour our heroes…
Boy, do you feel up to it? General, I do!
This Afrikaans poem is about a solder that was beheaded…by a bomb.
Die ruiter van Skimmelperdpan
Op die pad wat verdwyn in die Skimmelperdpan,
By ‘n draai in die mond van die kloof,
Het ‘n bom in die oorlog ‘n vlugtende man
Op ‘n perd soos ‘n swaardslag onthoof.
Aan die saalboom krampagtig die hande verstyf,
Met ‘n laaste stuiptrekkende krag,
En die bene geklem soos ‘n skroef om sy lyf,
Op die perd sit die grusame vrag.
Met sy neusgate wyd en die ore op sy nek,
Soos die wind yl verbysterd die dier,
Met die skuim in wit vlokke wat waai uit sy bek,
En gespan soos ‘n draad elke spier;
By die huisie verby waar ‘n vrou staan en kyk …
In die afkopding ken sy haar man …
Met ‘n onaardse geil val sy bleek soos ‘n lyk …
Perd en ruiter verdwyn in die Pan!
Wee die reisiger wat daar onwetend kom skuil
Waar bouvallig die huisie nog staan,
En vreesagtig by wyle ‘n nagdiertjie huil
By die newelige lig van die maan!
Want by middernag waai daar ‘n wind deur die kloof,
Waai en huil soos ‘n kindjie wat kerm,
En dan jaag daar ‘n perd met ‘n man sonder hoof …
Wie dit sien, roep verskrik: “Heer, ontferm!”
Want die vuurvonke spat waar die hoefslae dreun,
En dit vlam uit sy neus en sy oog;
Styf en stram sit die ruiter na vore geleun,
En die bloed uit sy nek spuit ‘n boog;
En dan eensklaps van uit die vervalle gebou
Kom ‘n vreeslike skrikbeeld gevaar,
Al die hare orent – ‘n waansinnige vrou
Met ‘n hande-wringend gebaar:
“Waarom rus jy nie, rus jy nie, Jan van der Meer?
Waarom jaag jy my elke nag op?
Sal daar nimmer ‘n einde kom … altyd maar weer
Die galop … die galop … die galop?!”
Die afgryslike klank – nog gehuil nog gelag –
En die perd met die romp van ‘n man …!
Dis geen plek vir ‘n Christenmens daar in die nag
Langs die pad na die Skimmelperdpan!
A.G. Visser
Uit: Die Purper Iris.
Slagveld – Majuba
So sing die jonges vol van vreugde,
maar ag, oom Gert se hart is seer
as hy straks diep en dieper peinsend
gaan langs die slagveld van weleer.
Dáár lê Majuba, donker kleurig,
sy sye een en al terras;
dis of die berg van alle eeue
vir wonderdaad geskape was.
Daar lê Laingsnek; dis of Gods hande
dit vir ‘n skanswerk uit wou bou.
En daar’s Ingogo’s kronkelbedding—
net om die vyand op te hou.
Daar’s nog die wonderlike hoeke,
net om die vyand vas te keer;
maar ag, oom Gert voel nou so anders,
sy hart is onverklaarbaar seer.
Hy sien nou oral groot kanonne,
hy weet nie of die ding sal gaan.
Die treine voer nou alle soorte
van wapens uit die hoofstad aan.
Daar is hom ook so baie mense,
en baie goed word aangevoer;
voorheen was daar so min maar nodig:
‘n ryperd, biltong en ‘n roer.
Dis nodig, ja, die tyd die vorder,
en daarom swyg hy maar en kyk.
Maar heel die Amajuba-wêreld,
alles wil hom so anders lyk.
Tog leef hy weer, die troue krygsman,
al trek hy nou maar same net:
‘n oorlogsperd die stamp en runnik
wanneer hy hoor die krygstrompet!
Uit Goue Gode…XV : Verse van Totius
C. Louis Leipoldt: DIE KOPERKAPEL Die koperkapel kom uit sy gat
En sluip die randjie rond:
“Dit het gereën; die veld is nat,
En nat is die rooi-geel grond.”
Die meerkat kom, en sy ogies blink,
En hy staan orent en wag.
En die stokou ystervark sê: “Ek dink
Die reën kom weer vannag.”
Maar die geitjie piep: “Dis glad nie reën!
Dis kollerig, swart en rooi:
Kom jy sulke reën in jou lewe teen –
So glad, so styf, so mooi?”
En die wyse steenuil waag sy woord:
“Dis bloed, dis mensebloed!
Dis die lewensbloed wat hierdie oord
Se bossie-wortels voed!”
Wittekind in die Konsentrasiekamp
(Aliwal Noord, 1901) O, pazienza, pazienza che tanto sostieni! Dante. Jou oê is nat met die trane van gister; Jou siel is gemartel, deur smarte gepla; Van vrede en pret was jy vroër ‘n verkwister; En nou, wat bly oor van jou rykdomme? Ja, ‘n Spreekwoord tot steun–daar’s geen trooswoord beslister: “Geduld, o geduld, wat so baie kan dra! Hier sit jy te koes teen die wind, wat daar suie Yskoud deur die tentseil, geskeur deur die hael– Jou enigste skuil in die nag teen die buie; Die Junielug stort oor die stroom van die Vaal– Jy hoor net die hoes van jou kind, en die luie Gedrup van die reendruppeltjies oor die paal. ‘n Kers, nog maar anderhalf duim, voor hy sterwe, Brand dof in ‘n bottel hier vlak naas jou bed. (‘n Kafhuis gee makliker rus: op die gerwe Daar lê ‘n mens sag, en sy slaap is gered!) En hier in die nag laat jou drome jou swerwe ‘n Aaklige rondte met trane besmet. Hier struikel die kind, wat te vroeg was gebore; Hier sterwe die oumens, te swak vir die stryd; Hier kom ‘n gekerm en gekreun in jou ore; Hier tel jy met angs elke tik van die tyd; Want elke sekond van die smart laat sy spore Gedruk op jou hart, deur ‘n offer gewyd. En deur elke skeur in die seil kan jy duister Die wolke bespeur oor die hemel verbrei; Geen ster skyn as gids; na geen stem kan jy luister– (Eentonig die hoes van jou kind aan jou sy!) Wat sag deur die wind in jou ore kom fluister: “Geduld, o geduld, wat so baie kan ly! Vergewe? Vergeet? Is dit maklik vergewe? Die smarte, die angs, het so baie gepla! Die yster het gloeiend ‘n merk vir die eeue Gebrand op ons volk, en die wond is te na, Te na aan ons hart en te diep in ons lewe– “Geduld, o geduld, wat so baie kan dra!” Uit: Oom Gert Vertel en Ander Gedigte, C. Louis Leipoldt, Uitg. Mij. v/h. J. Dusseau & Co, Kaapstad 1921
Images..:south-africa-tours-and-travel.com
Read on THIS LINK about Jan Smuts. The link will open in a new window.
The title of a painting,” said Marcel Duchamp, “is another colour on the artist’s palette.” He also talked of treating the title “like an invisible colour”. Duchamp’s remarks were part of his ongoing argument with the art of painting…………………………….
The painting shows – well, what it obviously doesn’t show is the Boer War, or any individual episode from Britain’s Imperial war in South Africa, which had ended the year before this picture was painted. But the likely link between words and image isn’t hard to find. A lone woman stands by a stream at the bottom of a field or garden. She was the fiance or wife or sister of a man killed in the war. She’s lately heard the news, and gone off on her own. Or she’s been in mourning some time, but the place – this is where they used to walk, and never will again – calls out a sudden pang of memory and grief.
The Boer War is her back story, then, her motivation, the reason for her state of mind. It is the content of her invisible thought bubble. It is, in a sense, a perfectly straight descriptive title for this picture. For how do you show the Boer War except by depicting scenes from the war? And why shouldn’t those scenes include, not only battlefields and sieges, but also the scenes of bereavement and desolation that were the immediate consequence back home?
Read the complete article… HERE …. This next poem was written by Totius and it’s about the Afrikaner nation/Afrikaans that was stepped upon/damaged by the English and his message in this poem for the Afrikaner nation/Afrikaans is: “you’re strong, you will get up again, you will be a strong nation again and you should forgive what was done to you. The scars will be there, but you should grow to be strong again.”… a very deep poem… Vergewe en vergeet
Daar het ‘n doringboompie
vlak by die pad gestaan,
waar lange ossespanne
met sware vragte gaan.
En eendag kom daarlanges
‘n ossewa verby,
wat met sy sware wiele
dwars-oor die boompie ry.
“Jy het mos, doringstruikie,
my ander dag gekrap;
en daarom het my wiele
jou kroontjie platgetrap.”
Die ossewa verdwyn weer
agter ‘n heuweltop,
en langsaam buig die boompie
sy stammetjie weer op.
Sy skoonheid was geskonde;
sy bassies was geskeur;
op een plek was die stammetjie
so amper middeldeur.
Maar tog het daardie boompie
weer stadig reggekom,
want oor sy wonde druppel
die salf van eie gom.
Ook het die loop van jare
die wonde weggewis –
net een plek byl ‘n teken
wat onuitwisbaar is. Die wonde word gesond weer
as jare kom en gaan,
maar daardie merk word groter
en groei maar aldeur aan.
Totius The Concentration Camps
1. Introduction The concentration camps in which Britain killed 27,000 Boer women and children (24,000) during the Second War of Independence (1899 – 1902) today still have far-reaching effects on the existence of the Boerevolk. This holocaust once more enjoyed close scrutiny during the visit of the queen of England to South Africa, when ten organizations promoting the independence of the Boer Republics, presented her with a message, demanding that England redress the wrongs committed against the Boerevolk.
Women and children in the camps – image:hellkamp
2. Background The Second War of Independence was fought from 1899 to 1902 when England laid her hands on the mineral riches of the Zuid-Afrikaansche Republiek (Transvaal) under the false pretence of protecting the rights of the foreigners who swarmed to the Transvaal gold fields. On the battlefield England failed to get the better of the Boers, and decided to stoop to a full-scale war against the Boer women and children, employing a holocaust to force the burghers to surrender. 3. Course of the holocaust 3.1. The war against women and children begins Under the command of Kitchener, Milner and Roberts, more than homesteads and farms belonging to Boer people were plundered and burned down. Animals belonging to the Boers were killed in the cruellest ways possible while the women, whose men were on the battlefield, had to watch helplessly.
Leaving sheep to rotten – image: hellkamp
The motive behind this action was the destruction of the farms in order to prevent the fighting burghers from obtaining food, and to demoralize the Boers by leaving their women and children homeless on the open veld.
Before the blast – images:hellkamp
The Blast
After the blast
Destroyed for king and country
However, England misjudged the steel of the Boer people. Despite their desperate circumstances, the women and children managed to survive fairly well in the open and their men continued their fight against the invader.
Women and children on the run…away from the English
More severe measures had to be taken. The English hoarded the Boer women and children into open cattle trucks or drove them on foot to concentration camps.
3.2. False pretences
To the world England pretended to act very humanely by caring for the fighting Boers’ women and children in “refugee camps”. An English school textbook published in 1914 in Johannesburg, but printed in England, Historical Geography: South Africa, by JR Fisher, makes the following claim:
“During the later stages of the war, the relations, women and
children, of those Boers still in the field, were fed and cared
for at the expense of Great Britain, a method of procedure which,
though humane, postponed the end of the war, at the expense of
many valuable lives and much money.”
This statement is contradicted by various sources. The Cape Argus of 21 June 1900 clearly states that the destitution of these women and children was the result of the English’s plundering of farms: “Within 10 miles we (the English) burned not less than six farm homesteads. Between 30 and 40 homesteads were burned and totally destroyed between Bloemfontein and Boshoff. Many others were also burned down. With their houses destroyed, the women and children were left in the bitter South African winter in the open.” The British history text book says nothing about this.
Awfully generous of the English to care for those whose houses they destroyed!
Breytenbach writes in Danie Theron: “The destruction was undertaken in a diabolic way and even Mrs Prinsloo, a 22 year old lady who gave birth to a baby only 24 hours ago in the house of Van Niekerk, was not spared. A group of rude tommies (British soldiers), amongst whom a so-called English doctor, forced their way into her room, and after making a pretence of examining her, they drove her out of the house. With the aid of her sister, she managed to don a few articles of clothing and left the house. Her mother brought a blanket to protect her against the cold. The soldiers robustly jerked the blanket out of her mother’s hands and after having looted whatever they wanted to, put the house to fire. Afterwards the old man was driven on foot to Kroonstad by mounted kakies (British soldiers), while his wife and daughter (Mrs Prinsloo) were left destitute on the scorched farm.”
England’s claim of caring for the Boer women reminds one of somebody who boasts to have saved the life of someone he himself has pushed into the water. However, there is one vital difference: The holocaust on the Boer women and children began in all earnest once they had been forced into the concentration camps under the “care” of the British!
Family at the beginning – newly arrived with tea and bread (Nasty English Propaganda)
Despite the English claims that the concentration camps were “voluntary refugee camps” the following questions must be asked:
– From whom did the refugees flee? Certainly not from their own husbands and sons!
– How can the fact that the “voluntary” women and children had to be dragged to the concentration camps by force be explained?
– Why should the “voluntary refugee camps” be enclosed by barbed wire fences and the inmates be overseen by armed wardens? Kimberley camp had a five meter high barbed wire fence and some camps even had two or three fences!
– Why would one of the camp commanders make the following statement quoted by Emily Hobhouse: “The wardens were under orders not to interfere with the inmates, unless they should try to escape.”? What kind of “voluntary refugee” would want to escape?
Perhaps the words of the Welsh William Redmond are closer to the truth: “The way in which these wretched, unfortunate and poor women and children are treated in South Africa is barbarous, outrageous, scandalous and disgraceful.”
3.3. Planning for death
The English claim of decent actions towards the Boer women and children are further contradicted by the location of the concentration camps. The military authorities, who often had to plan and erect camps for their soldiers, would certainly have been well aware of the essential requirements for such camps. Yet the concentration camps were established in the most unsuitable locations possible.
Boer-family in the camps
At Standerton the camp was erected on both banks of the Vaal River. It was on the Highveld, which ensured that it was extremely cold in winter and infested with mosquitoes in summer. The fact that Standerton had turf soil and a high rainfall, ensured that the camp was one big mud bath in summer, even inside the tents.
The same circumstances were experienced in camps such as Brandfort, Springfontein and Orange River. At Pretoria, the Irene Camp was located at the chilly southern side of the town, while the northern side had a much more favourable climate. Balmoral, Middelburg and other camps were also located on the south-eastern hangs of the hills to ensure that the inhabitants were exposed to the icy south easterly winds.
Merebank camp was located in a swamp where there was an abundance of various kinds of insects. Water oozed out of the ground, ensuring that everything was constantly wet and slimy.
By October 1900 there were already 58 883 people in concentration camps in Transvaal and 45 306 in the Free State.
The amenities in the camps were clearly planned to kill as many of the women and children as possible. They were accommodated in tattered reject tents which offered no protection against the elements.
Emily Hobhouse, the Cornish lady who campaigned for better conditions for the Boer women, wrote: “Throughout the night there was a downpour. Puddles of water were everywhere. They tried to get themselves and their possessions dry on the soaked ground.”
(Hobhouse: Brunt of the War, page 169.)
Dr Kendal Franks reports on the Irene Camp: “In one of the tents there were three families; parents and children, a total of 14 people and all were suffering from measles.”
In Springfontein camp, 19 to 20 people where crammed into one tent.
There were neither beds nor mattresses and nearly the whole camp population had to sleep on the bare ground, which was damp most of the time.
One person wrote the following plea for aid to the New York Herald: “In the name of small children who have to sleep in open tents without fire, with barely any clothes, I plea for help.”
According to a British journalist, WT Stead, the concentration camps were nothing more than a cruel torture machine. He writes: “Every one of these children who died as a result of the halving of their rations, thereby exerting pressure onto their family still on the battle-field, was purposefully murdered. The system of half rations stands exposed and stark and unshamefully as a cold-blooded deed of state policy employed with the purpose of ensuring the surrender of people whom we were not able to defeat on the battlefield.”
3.4. Let them die of hunger
The detainees received no fruit or vegetables; not even milk for the babies.
The meat and flour issued were crawling with maggots. Emily Hobhouse writes: “I have in my possession coffee and sugar which were described as follows by a London analyst: In the case of the first, 66% imitation, and in the case of the second, sweepings from a warehouse.”
In her book, Met die Boere in die Veld (With the Boers in the field), Sara Raal states that “there were poisonous sulphate of copper, grounded glass, fishhooks, and razor blades in the rations.” The evidence given on this fact is so overwhelming that it must be regarded as a historical fact.
3.5. No hygiene
The outbreak of disease and epidemics in the camps were further promoted by, inter alia, the lack of sanitary conveniences. Bloemfontein camp had only 13 toilets for more than 3 500 people. Aliwal North camp had one toilet for every 170 people.
A British physician, Dr Henry Becker, writes: “First, they chose an ill-suited site for the camp. Then they supplied so little water that the people could neither wash themselves nor their clothes. Furthermore, they made no provision for sufficient waste removal. And lastly, they did not provide enough toilets for the overpopulation they had crammed into the camps.”
A report on a Ladies’ Committee’s visit to Bloemfontein camp stated: “They saw how the women tried to wash clothes in small puddles of water and sometimes had to use the water more than once.”
3.6. Hospitals of homicide
Ill and healthy people were crammed together into unventilated areas conducive to the spreading of disease and epidemics. At first there were no medical amenities whatsoever in the camps.
Foodline
Later doctors were appointed, but too few. In Johannesburg there was one doctor for every 4 000 afflicted patients.
A report on the Irene camp states that, out of a population of 1325 detainees, 154 were ill and 20 had died during the previous week. Still this camp had only one doctor and no hospital.
In some camps matters were even worse. The large Bloemfontein camp did not have a single doctor; only one nurse who could not possibly cope with the conditions. During a visit to Norvalspont camp Emily Hobhouse could not even find a trained nurse.
The later appointment of medical personnel did not improve the conditions. They were appointed for their loyalty towards the British invasion; not for their medical capability. They maltreated the Boere.
Emily Hobhouse tells the story of the young Lizzie van Zyl who died in the Bloemfontein concentration camp: “She was a frail, weak little child in desperate need of good care. Yet, because her mother was one of the ‘undesirables’ due to the fact that her father neither surrendered nor betrayed his people, Lizzie was placed on the lowest rations and so perished with hunger that, after a month in the camp, she was transferred to the new small hospital. Here she was treated harshly. The English disposed doctor and his nurses did not understand her language and, as she could not speak English, labeled her an idiot although she was mentally fit and normal. One day she dejectedly started calling: Mother! Mother! I want to go to my mother! One Mrs Botha walked over to her to console her. She was just telling the child that she would soon see her mother again, when she was brusquely interrupted by one of the nurses who told her not to interfere with the child as she was a nuisance.” Shortly afterwards, Lizzie van Zyl died.
Treu, a medical assistant in the Johannesburg concentration camp, stated that patients were bullied and even lashed with a strap.
Ill people who were taken to the camp hospitals were as good as dead. One woman declared: “We fear the hospitals more than death.”
The following two reports should give an idea of the inefficiency of the camp hospitals: “Often people suffering from a minor ailment were violently removed from the tents of protesting mothers or family members to be taken to hospital. After a few days they were more often than not carried to the grave.”
“Should a child leave the hospital alive, it was simply a miracle.”
(Both quotations from Stemme uit die Verlede – a collection of sworn statements by women who were detained in the concentration camps during the Second War of Independence.)
3.7. The highest sacrifice
In total 27 000 women and children made the highest sacrifice in the British hell camps during the struggle for the freedom of the Boerevolk.
Mrs Helen Harris, who paid a visit to the Potchefstroom concentration camp, stated: “Imagine a one year old baby who receives no milk; who has to drink water or coffee – there is no doubt that this is the cause of the poor health of the children.”
Should one take note of the fact that it were the English who killed the Boers’ cattle with bayonets, thereby depriving the children of their food sources, then the high fatality rate does not seem to be incidental.
Despite shocking fatality figures in the concentration camps, the English did nothing to improve the situation, and the English public remained deaf to the lamentations in the concentration camps as thousands of people, especially children, were carried to their graves.
The Welshman, Lloyd George, stated: “The fatality rate of our soldiers on the battlefields, who were exposed to all the risks of war, was 52 per thousand per year, while the fatalities of women and children in the camps were 450 per thousand per year. We have no right to put women and children into such a position.”
An Irishman, Dillon, said: “I can produce and endless succession of confirmations that the conditions in most of the camps are appalling and brutal. To my opinion the fatality rate is nothing less than cold-blooded murder.”
One European had the following comment on England’s conduct with the concentration camps: “Great Britain cannot win her battles without resorting to the despicable cowardice of the most loathsome cure on earth – the act of striking at a brave man’s heart through his wife’s honor and his child’s life.”
The barbarisms of the English is strongly evidenced by the way in which they unceremoniously threw the corpses of children in heaps on mule carts to be transported to the cemeteries. The mourning mothers had to follow on foot. Due to illness or fatigue many of them could not follow fast enough and had to miss the funerals of their children.
According to PF Bruwer, author of Vir Volk en Vryheid, all the facts point out that the concentration camps, also known as the hell camps, were a calculated and deliberate effort by England to commit a holocaust on the Boerevolk
4. Consequences
4.1. “Peace”
As a direct result of the concentration camps, the “Peace Treaty” of Vereeniging was signed, according to which the Boer Republics came under British rule.
4.2. Called up by the enemy
It is a bitter irony that during World War I England laid claim to the same boys who survived the concentration camps to fight against Germany, which was well-disposed towards the Boerevolk.
Thereby they had to lay their lives upon the line for the second time to the benefit of England.
Kroniek van die Kampkinders (Chronicle of the camp children) by HS van Blerk describes how, after World War I, this generation were, in addition, kept out of the labor force and how they were impoverished – all simply because they were Boers.
4.3. Immortalised in our literature
In this modern world it seems as if few people realize the hardships our forefathers had to endure in order to lose our freedom only without forfeiting the honor of our people.
Therefore, it is proper to look at the reflection of the concentration camps in our literature, where the nobility of our forefathers is immortalized.
4.4. We may not forget
In total there were 31 concentration camps. In most cases, the adjoining cemeteries are in still in existence and are visited as often as possible by Boer people to mentally condition themselves to continue their struggle towards freedom.
There were concentration camps at: Irene, Barberton, Volksrust, Belfast, Klerksdorp, Pietersburg, Potchefstroom, Vereeniging, Turffontein, Balmoral, Nylstroom, Standerton, Heilbron, Kimberley, Bloemfontein, Middelburg, Kroonstad, Heidelberg, Krugersdorp, Vryburg, Vredefort, Brandfort, Springfontein, Bethulie, Norvalspont, Port Elizabeth, Aliwal North, Merebank, Pinetown, Howick and Pietermaritzburg.
4.5. Pillars of support
Amidst all the misery brought upon our people by the English, there were pillars of support: firstly the certainty that our cause was just and fair and based upon faith. However, there also were people who made major sacrifices in an effort to ease the burden of Boer women and children.
No study of the concentration camps could possibly be complete without mention of the name of Emily Hobhouse. This Cornish lady was a symbol of light and decency for Boer women and children.
Emily Hobhouse did everything within her power to assist the women and children. As a result of her efforts to persuade the invaders towards an attitude of humanity and reason, she was banned from South Africa by the British authorities.
However, the Boerevolk remains grateful towards Emily Hobhouse for her efforts and her remains are resting in a place of honor under the Women’s Monument in Bloemfontein.
Other people who spoke out against the barbaric methods of England were: J Ellis (Irish), Lloyd George (Welsh), CP Scott (Scottish), William Redmond (Welsh) and Ramsey McDonald (Scottish).
5. Effects
Today, the numbers of the Boerevolk are at least 3 million less that it would have been, had the English not committed genocide on the Boerevolk. This robs our people of our right to self-determination in the new so-called democratic system. (In truth, democracy means government by the people and not government by the rabble as is presently the case in South Africa.”)
The holocaust, together with treason committed by Afrikaners (take note: not Boere) such as Jan Smuts and Louis Botha, forced the Boerevolk to sign the peace accord of Vereeniging which deprived our volk of its freedom.
The alien and inferior British culture was forced onto our people.
The various indigenous peoples of South Africa were insensitively bundled into one Union without giving a thought to their respective identities and right to self-determination.
As in the case of the Boerevolk, the local black nations were effectively robbed of their freedom, which gave rise to the establishment of the ANC in 1912 (two years after the foundation of the Union) to struggle for black nationalism.
The British system of apartheid, which they applied all over the world (for instance also in India, Australia and New-Zealand), had to be imported to control the mixed population. The first manifestation of this were signs reading “Europeans” and “Non-Europeans”. No Boer ever regarded himself as a “European”. Apartheid invoked racial friction and even racial hatred which has in no means abated to this very day, and the bitter irony is that the Boerevolk, who had not been in power since 1902 and who also suffered severely under apartheid in the sense that apartheid robbed them of their land and their work-ethics, are being blamed for apartheid today.
England’s pretence for the invasion was the rights of the foreign miners. Yet after the war, these very same miners were treated so badly by their English and Jewish bosses that they had to resort to general strikes in 1913 and 1922 (3 and 12 years after the establishment of the British ruled Union), during which many mine-workers were shot dead in the streets of Johannesburg by the British disposed Union government. So much for the rights of the foreign miners under English rule.
The efficient and equitable republican system of government of the Boer Republics was replaced with the unworkable Westminster system of government, which led to endless misery and conflict. 6. Summation
The concentration camps were a calculated and intentional holocaust committed on the Boerevolk by England with the aim of annihilating the Boerevolk and reeling in the Boer Republics.
Comparing the killing of Jews during World War 2, proportionately fewer Jews were killed than Boer women and children during the Second War of Independence.
Yet, after World War 2, England mercilessly insisted on a frantic retribution campaign against the whole German nation for the purported Jewish holocaust. To this day, Germany is being forced to pay annual compensation to the Jews, which means that Germans who were not even born at the time of World War 2, still have to suffer today for alleged atrocities committed by the Germans. Should England subject herself to the same principles applied to Germany, then England must do everything within her power to reinstitute the Boer republics and to pay annual compensation to the Boerevolk for the atrocities committed against the Boerevolk.
“Their only crime was that they stood between England and the gold of Transvaal.”
Sources
http://www.boer.co.za/boerwar/hellkamp.htm
Message of Vryheidsaksie Boererepublieke to the queen of England.
Mediadienste. –1995–P 1 – 7.
Suid-Afrikaanse en Algemene Geskiedenis vir Senior Matriek, (Tweede Uitgawe) by BG Lindeque. Juta —1948– Pp 235, 239, 240, 249 – 258, 268 – 272.
Juta se Nuwe Geskiedenisleesboeke vir primêre Skole, Standerd IV by Alice Jenner. Juta. (Date of publication unknown) Pp 41, 42, 49 – 54.
Russia and the Anglo-Boer War 1899 – 1902 by Elisaveta Kandyba- Foxcroft. CUM Roodepoort. –1981– P 254.
Vir Volk en Vryheid by PF Bruwer. Oranjewerkers Promosies. –1988– Pp 346, 348, 407, 411 – 413, 416 – 455.
Die Laaste Veldslag by Franz Conradie. Daan Retief Publishers. —1981—Pp 62, 77, 78, 83, 123 – 126, 129 – 132.
Historical Geography of South Africa. Special edition for Standard III of South African Schools edited by F Handel Thompson. Henry Frowde, Oxford University Press, Hodder & Stoughton, Warwick Square EC. –1914– Pp 160, 165, 167 – 168.
Gewapende Protes by PG Hendriks. Oranjewerkers Promosies. –1988–Pp 8, 11, 12, 21, 24, 27, 29, 30, 46, 53 – 62, 94, 95.
Kroniek van die Kampkinders by HS van Blerk. Oranjewerkers Promosies. –1989– Pp 35 – 38, 49, 65 – 67, 70, 74, 75, 152.
From Van Riebeeck to Vorster 1652 – 1974. An Introduction to the History of the Republic of South Africa by FA van Jaarsveld.Perskor.—1975—Pp 197, 199, 202 – 205, 209, 217 – 220, 253.
Vyftig Gedigte van C Louis Leipoldt, ‘n keur deur WEG Louw. Tafelberg Publishers. (First edition 1946–Pp 19 – 23.
Gedigte by AG Visser (third print). JL van Schaik. –1928– Pp 57 -61.
Family narrations as recounted since the Second War of Independence from generation to generation. (Author’s great-great-grandmother was detained and tortured in the concentration camp at Heilbron.) Source …….. http://appiusforum.net/hellkamp.html[if the link doesn’t open on this link, type “hellkamp.html” in after the main url and you will find the actual link of the Source]
Recently a kind lady from Louisiana mailed me a copy of the “History of the Boers in South Africa,” written in 1887 by a Canadian missionary with no political axe to grind: namely George McCall Theal.
It contains a map showing the territories which were being farmed by the Boers: from the Olifants/Limpopo rivers in the north to below the Orange River in the South (Colesburg).
It shows the names of the towns they had started wihich carried names such as Lydenburg, ( Place of Suffering) Vryheid, ( Place of Freedom) Pietermaritzburg, (named after the famous Voortrekker leader) Pilippolis and Bethulie, (named after their beloved Bible) and Potchefstroom, Rustenburg, Winburg and Bloemfontein… as they Trekked, the Boers named the map of South Africa, and many of its vegetation and wildlife as well.
All these Boer names are now being wiped off the map of South Africa in one fell swoop by the ANC-regime — even though the Boers’ official history had ended in 1902, long before the elitist-Afrikaners who ran the secret Afrikaner Broederbond cabal had started apartheid in 1948.
Yet this is not the first time that the Boers are facing such an ethnic cleansing campaign by a nation which is hell-bent to remove their very rights to exist in South Africa – this is actually already the third time in Boer history.
The first time the British tried to eradicate them from the map of South Africa with their vicious war and their even more vicious concentration camps where many tens of thousands of Boer women, children and elderly starved to death within just a few months.
After this first genocide to target the Boer nation, their descendants still managed to cling to their identity for at least another generation – until …..
Drummer Hodge ~Thomas Hardy
They throw in Drummer Hodge, to rest
Uncoffined – just as found:
His landmark is a kopje-crest
That breaks the veldt around;
And foreign constellations west
Each night above his mound.
Young Hodge the Drummer never knew –
Fresh from his Wessex home –
The meaning of the broad Karoo,
The Bush, the dusty loam,
And why uprose to nightly view
Strange stars amid the gloam.
Yet portion of that unknown plain
Will Hodge forever be;
His homely Northern breast and brain
Grow to some Southern tree,
And strange-eyed constellation reign
His stars eternally.
Boer War and the movies…
Sean Mathias is directing Colossus, based on Ann Harries’ Manly Pursuits, a novel about the Boer War. According to The Hollywood Reporter, the film’s scored a pretty impressive cast, considering that its budget is a relatively small $15 million: Colin Firth, Rachel Weisz, Ian McKellen and Susan Sarandon are all on-board. Though it’s not yet been announced which roles the stars will play, the movie “tells of ailing arch-colonist Cecil Rhodes’ [probably McKellen] belief that he can only recover his health if he can hear the sound of English song birds outside his window in Cape Town.” Get this: Someone is sent from England with 500 freaking songbirds. When he gets there, he falls in love and decides he needs to stop the Boer War from happening. Ah, if only all men in love would immediately resolve to end wars — what a lovely world this would be.
Source:
Please click HERE for the Gutenberg-files about the Boer Women during the War and then click on this file-number: files/20194/ Click HERE for a list of Africana books about the war, there’s a list of about 177…English as well as Afrikaans.
Available below is a 1901 recording of the Boer War sentimental favourite Goodbye Dolly Gray. An extract of the song’s lyrics are also provided.
The song was written by Will D. Cobb (lyrics) and Paul Barnes (music). Although it gained widespread fame during the Boer War it had earlier been sung in the U.S. during the U.S.-Spanish War of 1898. The song saw renewed airings with the onset of the First World War in 1914.
Listen to the song here:
Goodbye Dolly Gray
I have come to say goodbye, Dolly Gray,
It’s no use to ask me why, Dolly Gray,
There’s a murmur in the air, you can hear it everywhere,
It’s the time to do and dare, Dolly Gray.
So if you hear the sound of feet, Dolly Gray,
Sounding through the village street, Dolly Gray,
It’s the tramp of soldiers’ true in their uniforms so blue,
I must say goodbye to you, Dolly Gray.
Goodbye Dolly I must leave you, though it breaks my heart to go,
Something tells me I am needed at the front to fight the foe,
See – the boys in blue are marching and I can no longer stay,
Hark – I hear the bugle calling, goodbye Dolly Gray.
Image and caption: nzhistory.net.nz/media/photo/boer-soldiers-posing
General Joubert’s unit of Boer soldiers and their African servant stop for lunch at Newcastle, Natal, less than a week after war was declared in 1899. Several of the soldiers are leaning against Dr Visser’s travelling medical wagon. Photographed by Robert Gell, 17 October 1899.
British tactics during the South African War included the burning of farmhouses and destruction of livestock so that they would not fall into the hands of Boer commandos. Here members of New Zealand’s Seventh Contingent pose with the carcasses of chickens and sheep.
Fashion could be important, even out on the veldt, as the garments of these Boer women suggest. Photographed by Rough Rider John McGrath
Drummer Hodge…poetry of the Anglo-Boer War.
Drummer Hodge: Poetry of the Boer War—van Wyk Smith, M.
Clarendon Press, Oxford 1978
ISBN: 0198120826 Source: elizabethsbookshop.com.au
These people were as near akin to us as any race which is not
our own. They were of the same Frisian stock which peopled our own
shores. In habit of mind, in religion, in respect for law, they
were as ourselves. Brave, too, they were, and hospitable, with
those sporting instincts which are dear to the Anglo-Celtic race.
There was no people in the world who had more qualities which we
might admire, and not the least of them was that love of
independence which it is our proudest boast that we have encouraged
in others as well as exercised ourselves.Source:
The title of a painting,” said Marcel Duchamp, “is another colour on the artist’s palette.” He also talked of treating the title “like an invisible colour”. Duchamp’s remarks were part of his ongoing argument with the art of painting. His point was that painting should not be understood as a purely visual or optical or (to use his favourite jibe), “retinal” art. That was the state to which Impressionism had reduced it. But painting should mobilise all its resources of meaning, among them the title. This verbal component shouldn’t be neutrally descriptive, nor be seen as something extraneous. It could be an integral effect, like another colour.
Comparing titles to colours was, of course, provocative, because colour is often considered the least verbal, the most inarticulate and untranslatable factor in a painting. But Duchamp’s phrase is more than a tease. It suggests that the title should be liberated. It should be used, not as a caption that presides over the whole picture, but as one more ingredient in the mixture, an active element in the picture’s drama.
Titles were to be given free play. Duchamp’s own were often spectacularly lateral, puzzles and mini-poems in their own right. There was Tum’. There was The Bride Stripped Bare by her Bachelors, Even. And other 20thcentury artists, Dadaist, surreal, abstract, conceptual, took up the challenge, putting the oblique title through all its possible paces.
But the device itself was not the invention of modern art. In the 19th century, while Impressionism flourished in France, another kind of painting had sprung up in England, which would later be criticised, not as “retinal”, but on the contrary as “anecdotal”. In the works of the pre-Raphaelites and their contemporaries, the title of the picture was often made to do crucial extra business.
The Last of England, The First Cloud, The Awakening Conscience, Our English Coasts – these titles are vital ingredients. They introduce story, symbolism, state of mind and always something more or something other than what the picture shows. They make the viewer’s mind jump from the image to an idea behind or beyond the image. And sometimes the jump itself, the sense of distance between the title and the rest of the picture, is where the work’s real power lies.
John Byam Shaw’s The Boer War is far from being a great work. But it’s a work that understands the rich possibilities of the oblique title. The ways that its title performs in the viewer’s mind, both connecting and disconnecting to the image, makes it a kind of masterpiece.
The painting shows – well, what it obviously doesn’t show is the Boer War, or any individual episode from Britain’s Imperial war in South Africa, which had ended the year before this picture was painted. But the likely link between words and image isn’t hard to find. A lone woman stands by a stream at the bottom of a field or garden. She was the fiancée or wife or sister of a man killed in the war. She’s lately heard the news, and gone off on her own. Or she’s been in mourning some time, but the place – this is where they used to walk, and never will again – calls out a sudden pang of memory and grief.
The Boer War is her back story, then, her motivation, the reason for her state of mind. It is the content of her invisible thought bubble. It is, in a sense, a perfectly straight descriptive title for this picture. For how do you show the Boer War except by depicting scenes from the war? And why shouldn’t those scenes include, not only battlefields and sieges, but also the scenes of bereavement and desolation that were the immediate consequence back home?
So the title fits. But at the same time, clearly, we’re to feel a great rupture and estrangement between those words, The Boer War, and the scene before us. And this distance can stand for and stress the various other distances – geographic, experiential – that the work evokes.
There is the distance between peace and war. There is the distance between the green English countryside and the dusty South African veldt. There is the distance between the woman and the man who was absent far away and is now absolutely dead and gone. There is the distance between the woman, with her mind fixed on loss and death, and the burgeoning natural world around her – further emphasised by the way her figure slightly sticks out against the landscape like a piece of collage.
The classic pre-Raphaelite manner of Byam Shaw’s painting, with its manic eye for the proliferating detail of nature, contributes to this effect. You can see it as how the woman herself sees her surroundings. Shock and grief can cause the mind to become blankly transfixed by the minutiae of the physical world, seeking something clear and particular to hold on to – as the narrator in Tennyson’s poem “Maud” focuses on a tiny sea shell after his world has fallen in.
Or again: the way the title, The Boer War, fails to “mean” the picture is like the way those words might become a malignantly empty phrase in the woman’s mind, words she must continually reiterate to herself and to others – the Boer War, the Boer War, he was killed in the Boer War – but which call up nothing and have no purchase on her loss.
Reading things into it? Yes, exactly. That’s what this kind of picture, this word image-juxtaposition, invites you to do. Reading things in, letting scene and title interact in the mind, is the way it works. In more than one way, Byam Shaw’s painting about a remote Imperial war has a rather contemporary feeling.
THE ARTIST
John Byam Shaw (1872-1919) was the second wind and last gasp of true pre- Raphaelitism. By the end of the 19th century, the movement had moved away from the Ruskin-Millais ideals of intense observational realism and moral commitment. It had drifted towards an airy-fairy religiose symbolism. Byam Shaw recovered some of the old ground – just at the point when this kind of art was about to go completely out of fashion, even in Britain. His name is now too small to get into all but the very biggest artdictionaries. But it is preserved in the north London art school that he founded, The Byam Shaw, which exists to this day.
Source:
(Interviews with Errol Lincoln Uys,1970)Johanna, or Joey as she was later called, was born in July 1892. Her mother was killed in a train crash in 1896, and Joey and her sister went to live with an uncle and aunt in Bethulie, Orange Free State, Magiel and Lettie Roux. When the Second Anglo-Boer War broke out in October 1899, Magiel joined the Bethulie Commando.
In September 1900, as British troops rolled over the veld, Magiel and thirty commandos attempted to flee the Orange Free State for the Transvaal. Joey and her cousins, the child Magiel and Johann, were in the convoy when it was attacked and captured by the British “Tommies” near Springfontein in the Free State.
We trekked with fourteen wagons, seventy women and children, escorted by thirty Boer commandos. Three days after leaving Bethulie, the Tommies found us.
“O, God, ons is nou gevang!” – (“O, God, now we’re caught!”)
It was daylight. I hid under a wagon. Magiel and Johann lay on the wagon floor. They couldn’t understand what was happening. There was confusion. People screaming. Shouts. “Rooinek vark!” – (“Redneck pig!”)
Women were shooting and killing Tommies. Tant (aunt) Lettie was a crack-shot. She kept firing till she’d no more bullets.
Several Boers were killed. Then we ran out of ammunition. We surrendered with a white flag on a stick.
I still see the red faces of the Tommies. They wore khaki, brass buttons, and leggings. Their heavy boots thudded as they walked.
They gathered our men together and took their guns and horses.
Before they were led away, our commandant warned us to obey the Tommies or be shot.
My uncle said goodbye. We were all crying.
Magiel looked at me. “Never desert her,” he said to my aunt. “If you’ve one crust of bread, break it in half and give it to her.”
As Joey recounted the attack on the wagons to me, she sang a line of an old Boer War song: “Zij geniet die blouwe bergen op die skepe na Ceylon.” — “They enjoy the blue mountains on the ships to Ceylon.”
Magiel went as POW to Sri Lanka where five thousand Boer guerillas were interned during the war. The British shipped four times that number to other camps in India, St. Helena and Bermuda.
At the wagons, the Tommies searched the women and went through their belongings.
The soldiers weren’t cruel. They hadn’t tasted real war yet.
While they searched our stuff, my aunt sat on a trommeltjie filled with bottles of Lennon’s home remedies. The Tommy’s never looked inside the medicine chest.
Tant Lettie had hidden gold sovereigns under the bottles.
After they took our men away, they made us get back into the wagons. We trekked across the veld to a station. We stayed there all night, some lying down, others sitting up in the wagons. In the morning, they pushed us into boxcars.
I couldn’t see anything. There were vents on top and one of these slammed onto my aunt’s head. When the train moved off, the boxcar shook so much we fell against each other.
My mother’s reference to a boxcar is unusual. Most women and children were herded into fetid cattle trucks to be shunted across the Free State under a boiling sun or through frigid nights.
We realized we were going to Bloemfontein.
“You’ll get food, everything you need in the camp,” the Tommies said.
At Bloemfontein, we were placed in carts. We were taken three miles outside town and dumped down on the veld.
They put up bell-tents for us, one next to the other. Hundreds of round tents, far as the eye could see. We met one of Tant (aunt) Lettie’s sisters and stayed together for a while.
A woman in the tent next to us went into labor. Her baby was born that night. The child contracted some disease and died soon after.
We slept on the bare ground. No bedding, no pillows, only some blankets from the wagon. It rained heavily. In the beginning, we didn’t know we had to loosen the tent ropes and let the water run off. We got sopping wet. Tant Lettie and I went outside in the rain. We released the ropes and knocked in the pegs again. It was a quagmire. Exhausted, we lay down in the mud to sleep.
We lit a paraffin lamp in the tent at night. At nine o’clock, all lights had to be out. Women were kicked and beaten if they disobeyed the orders of the Tommies. We obeyed.
We were issued ration cards and stood in line for food. We got meat, sugar, mealie meal, condensed milk. The meat was chilled. Even after cooking, it had chunks of ice in it. We used a paraffin tin outside the tent for a stove, same as a ‘kaffir-koggel ,’ with holes in the sides and irons to hold pots. We collected firewood on a kopje next to the camp. Water was brought from a river by cart. Every morning we stood in line to fill our buckets. We were always short of water.
Tant Lettie, the two boys and Johanna were designated “Undesirables,” a term applied to Boers who don’t go voluntarily into captivity or had family members on commando. “Refugees” described displaced Boers who surrender, the “hands-uppers” and their dependants. The latter are rewarded with a few extra spoonfuls of sugar, condensed milk and the luxury of the occasional potato. In either case, rations are insufficient to stave off starvation and disease.
If we had grievances, we were taken in front of the camp commandant. Usually, we kept quiet. We didn’t want trouble with the Tommies.
During the day, the women visited each other. We walked around the camp. The sun burnt us black. Our shoes wore out. Our clothes were unironed and filthy. Afterwards we got blue soap to wash our things. The toilet was horrible. A big hole with plank seats and sacking around it, you climbed up on top of the planks. No newspaper, no rags.
The camp was lice-infested. I watched Tommies take their leggings off, unwinding them like strips of bandages. They used broken glass to scrape the lice from their legs. My aunt had to cut all my hair off.
There was a church but I don’t remember going to it or to a school begun in the camp. Tant Lettie read to us from the Bible.
Theft was rife. There were fights between women.
Prostitutes carried on with Tommies and Boers in the camp. Most of the men were elderly. One old man called De Wet was a bastard. He wanted to interfere with my aunt. She chased him out of the tent. Tommies also interfered with the women.
I remember a short man with a gray beard. I hated him.
My aunt became friendly with one of the Tommies. She stole someone else’s skirt and walked with him.
Thousands of newcomers arrived at Bloemfontein camp. Thousands became sick. The marquee hospital tents were always full. The doctors worked day and night.
We found pieces of blue stone vitriol in the sugar. Lots of people were poisoned.
People died like rats. Carts came down the rows of tents to pick up the dead. There were funerals every day.
In the eighteen months Johanna and her family were in Bloemfontein concentration camp, the population soared to six thousand three hundred and twenty two. Of this number, one thousand six hundred and ninety-five perished from want and sickness.
British propagandists alleged that Boer mothers were killing their children through their own stupidity and carelessness. When seven-year-old Lizzie van Zyl died of hunger at Bloemfontein, a report said her mother starved her.
Emily Hobhouse, an English activist, spent six months in South Africa from January to June 1901 visiting Bloemfontein and six other camps. She saw Lizzie van Zyl die on an airless April day.
“I used to see her in her bare tent lying on a tiny mattress which had been given her, trying to get air from the raised flap, gasping her life out in the heated tent. Her mother tended her. I got some friends in town to make a little muslin cap to keep the flies from her bare head. I was arranging to get a cart made to draw her into the air in the cooler hours but before wood could be procured, the cold nights came on and she died. I found nothing to show neglect on the mother’s part.”
Emily returned to England to campaign against “a gigantic and grievous blunder caused not by uncaring women but crass male ignorance, helplessness and muddling.” Her militancy brought the scorn of the British people who called her a rebel, a liar, an enemy of the nation, hysterical and worse.
No one hated Emily more than Lord Kitchener, whose troops burnt down 30,000 farm houses, torched a score of towns and interned 116,572 Boers, a quarter of the population.
“It is for their protection against the Kaffirs,” said the British War Secretary, oblivious to the fact thatAfricans were being armed and encouraged by the English to attack a mutual enemy. Also ignoring the fact that 115,000 “black Boers” were sent to their own concentration camps, loyal servants who saw twelve thousand of their number die.
Miss Hobhouse was banned from visiting the most terrible of all camps that had been established just outside Bethulie, a place name meaning “Chosen by God.” My mother considered it a blessing of the Almighty that they weren’t interned at Bethulie where twelve hundred died in one six-month period from pneumonia and measles and from hunger.
The concentration camps claimed the lives of 27,972 Boers. Of these, 22,074 were children like Lizzie van Zyl.
We guarded the gold sovereigns day and night. After lights out, we slept next to the box where Tant Lettie had hidden the coins.
Women could apply to the camp commandant for a pass to go into Bloemfontein. Tant Lettie went to buy extra food. This was all that kept us alive.
I think of the thousands who died in the camps. I thank God that we survived.
In summer 1902, as Kitchener’s cordon strangled Boer resistance, Tant Lettie got notice that she and the children were going to another camp.
My mother was too young at the time to know why they were moved, whether Tant Lettie’s Tommy friend pulled strings or what other reason was behind the transfer. They went from Bloemfontein to a camp at Kubusie River near Stutterheim in the Eastern Cape, nestled in the green hills of the Amatola Range, a world away from the horrors of the dumping ground at Bloemfontein.
This time, Johanna recalled making the two-hundred-and-fifty mile journey in a cattle truck. According to one report, some of the refugees were supplied with tents, which they ingeniously erected on the beds of railroad cars. Others were covered with tarpaulins like so much baggage.
“The former arrived more contented and less sullen. All were provided with hot water and cocoa en route.”
We were vaccinated on arrival at Kubusie. Our arms swelled up. Magiel and Johann became sick but after a while we were all OK.
We lived in a one-roomed house. A big room with a plank table, plank chairs and three plank beds with straw mattresses.
Our days at Kubusie were happier. Farmers in the district helped the Boers. The camp was small, nothing like Bloemfontein. I don’t recall anyone dying at Kubusie.
A Miss O’Brien taught school in the camp. I learnt English from her. After school, she invited me to her room. My dress was in rags. Miss O’Brien cut up her own clothes to make dresses for me. She taught me how to knit and gave me a ball of wool for a pair of socks.
Who was Miss O’Brien? Was she English or Irish as her name might suggest? Was she one of Emily Hobhouse’s angels of mercy? It matters not, just that she was there, sitting with a child pretty as a flower, teaching her to knit a pair of socks.
Today, the site of Kubusie Concentration Camp has been turned into a car park and the surface area graveled and curbed.
“The socks were yellow,” Johanna said a lifetime later. She never forgot Miss O’Brien’s kindness.
Update: October 2008…this poem is an Afrikaans poem about the concentration camps…very sad poem, maybe I should try and translate it sometime for English readers…
C. Louis Leipoldt (1880-1947)
In die konsentrasiekamp
Aliwal-Noord, 1901
O, pazienza, pazienza che tanto sostieni! – Dante
Jou oë is nat met die trane van gister;
Jou siel is gemartel, deur smarte gepla;
Van vrede en pret was jy vroeër ’n verkwister;
En nou, wat bly oor van jou rykdomme? Ja,
’n Spreekwoord tot steun – daar’s geen trooswoord beslister:
“Geduld, o geduld, wat so baie kan dra!”
Hier sit jy en koes teen die wind wat daar suie
Yskoud deur die tentseil, geskeur deur die hael –
Jou enigste skuil in die nag teen die buie;
Die Junie-lug stort oor die stroom van die Vaal –
Jy hoor net die hoes van jou kind, en die luie
Gedrup van die reëndruppeltjies oor die paal.
’n Kers, nog maar anderhalf duim voor hy sterwe,
Brand dof in ’n bottel hier vlak naas jou bed.
(’n Kafhuis gee makliker rus: op die gerwe
Daar lê ’n mens sag, en sy slaap is gered!) –
En hier in die nag laat jou drome jou swerwe
’n Aaklige rondte met trane besmet.
Hier struikel die kind wat te vroeg was gebore;
Hier sterwe die oumens te swak vir die stryd;
Hier kom ’n gekerm en gekreun in jou ore;
Hier tel jy met angs elke tik van die tyd;
Want elke sekond’ van die smart laat sy spore
Gedruk op jou hart, deur ’n offer gewyd.
En deur elke skeur in die seil kan jy duister
Die wolke bespeur oor die hemel verbrei;
Geen ster skyn as gids; na geen stem kan jy luister
(Eentonig die hoes van jou kind aan jou sy!)
Wat sag deur die wind in jou ore kom fluister:
“Geduld, o geduld, wat so baie kan ly!”
Vergewe? Vergeet? Is dit maklik vergewe?
Die smarte, die angs het so baie gepla!
Die yster het gloeiend ’n merk vir die eeue
Gebrand op ons volk; en dié wond is te ná –
Te ná aan ons hart, en te diep in ons lewe –
“Geduld, o geduld, wat so baie kan dra!”
–uit: Groot Verseboek, 2000
Die Oorwinnaars By die kindergrafte uit die Konsentrasiekamp van Nylstroom
Oorwinnaars vir ons volk,
bly u vir al wat beste in ons is ‘n ewig’ tolk;
nooit weer sal vyandsvoet u stof so diep vertrap en smoor
dat ons u langer nie kan sien – en hoor.
Nie onse Helde, wat die magtig’ leër
op glansryk’ velde kon weerstaan en keer;
nie onse Seuns, wat aan die galg en teen die muur
die diepe liefde vir hul eie moes verduur;
nie onse Moeders, wat met bloeiend hart en seer,
in swart Getsemane die ware smart moes leer;
nie onse Generaals, vereer met krans en riddersnoer;
– was waardig vir ons volk die hoë stryd te voer
en te oorwin.
Nie ons, met vuile hand en hart ontrou was waardig
om die vaandel hoog te hou.
Maar u, o bleke spokies, in U kermend’, klagend’ wee,
staan voor ons ewiglik beskermend – uit die lang verlee.
Eugene Marais
Boer internees were separately held from black Africans. There were a total of 45 tented camps built for Boer internees and 64 for black Africans. Of the 28,000 Boer men captured as prisoners of war, 25,630 were sent overseas. The vast majority of Boers remaining in the local camps were women and children, but the camps established for black Africans held large numbers of men as well. A number of the black African internees were used as a paid labour force as they were not considered by the British to be hostile, although they had been forcibly removed from Boer areas. The majority of the black African internees however languished in the camps and suffered a high mortality rate.—so, “apartheid” by the British during the Boer/British war!
Danie Theron: The man picked for the job was Danie Theron, who was a lawyer from Krugersdorp. Even before the outbreak of the war he had formed a bicycle corps of Scouts believing that the effectiveness of horse mounted men was being undermined because modern bicycle technology was not being utilized properly.
He made a submission to Transvaal President Paul Kruger and General Joubert requesting the formation of a bicycle corps by pointing out that a horse needs rest and food, whereas a bicycle needs only a pump and oil.
To support his belief in the superiority of the bicycle he had planned a race between a bicycle and a horse from Pretoria to the Crocodile River a distance of 75 km.
The man he picked to ride the bicycle against the horse was cycling champion JP Koos Jooste.
The Cape Argus of 21 June 1900 clearly states that the destitution of these women and children was the result of the English’s plundering of farms: “Within 10 miles we (the English) burned not less than six farm homesteads. Between 30 and 40 homesteads were burned and totally destroyed between Bloemfontein and Boshoff. Many others were also burned down. With their houses destroyed, the women and children were left in the bitter South African winter in the open.” The British history text book says nothing about this.
An old man sits in front of his house with a few saved belongings. On this next link you can order some books and I’ve found these three images on this link too. The link will open in a new window. The books are in English, but the site in Afrikaans, you can give me a big shout if you need any help with the site! If you click on the link “kontak ons”, on this site where you can order the books, – it means “contact us” – you will find an email address and contact details.
Lord Alfred Milner – Rothschild front man, executor of the “Scorched Earth Policy” and concentration camps for Boer women and children in 1899-1902; and spokesman for the Royal Institute of International Affairs, which branched into such organizations as the CFR and the Trilateral. His spirit and his legacy lives on in the present genocide of the Boers.
Apartheid is properly the legacy of Britain –- which has been under the control of the Rothschilds and his London Elite for centuries, and which refused to give independence to the Black nations currently within present-day SA, as it did to the cannibal Basuto tribe (Lesotho), and to the Swazis (Swaziland), before forming the Union of South Africa in 1910 out of the two former Boer republics of the Transvaal and the Orange Free State; and her two SA colonies viz: …read more on this link, but be warned, a very upsetting image…on this link. On the following link: Deirdre Fields – reports on the heroic Boer struggle for survival and self determination.
The Boer Republics had no organised force. In the event of war against natives or against some foreign Power, the burghers were called up from their farms, the husbands, fathers, sons of the nation, to fight for home and fatherland. This left the women and children unprotected on the farms, but not unprovided for, for it is an historical fact that the Boer women in time of war carried on their farming operations with greater vigour than during times of peace. Fruit trees were tended, fields were ploughed, and harvests brought in with redoubled energy, with the result that crops increased and live-stock multiplied.
Read on the Gutenberg-link more from the book written by Johanna Brandt.
The following update: 26/9/09 – from an Afrikaans blogger and her grandma who survived the Irene Concentration camp and she blogged today about things her grandma told her when she was little. I will translate for you in short.
Trisia says the following: Her grandad was put in jail and they were given food with worms in it. After the war he worked for a sjieling per day to reconstruct/rebuild the burnt-down farms. Her grandma told her some gruesome stories and one is where the English took her little cat, swung it on its tail and smashed it against the wall. [POOR KITTY!] Also, they took her grandma’s dolls and burnt it with all their other stuff. [I can imagine their grusame smiles on their faces while doing it] Please find “Maankind”-s link (Trisia) if you want to read the entry on her blog – of course it is in Afrikaans only.
Oupa het graag vertel hoe hy as seun saam geveg het, en van sy hoed met die koeëlgaatjie in waar hy rakelings aan die dood ontkom het. Sy baadjie se moue het te kort geword gedurende die oorlog, en ek sien steeds die prentjie van die rankerige boerseun met die baadjie met driekwart moue in my kop. Hy het ook grusame verhale vertel van sy verblyf in die tronk as rebel, en van die wurms in die sop. Dan ook hoe hulle later na die oorlog op die paaie gewerk het teen ‘n “sieling” ‘n dag om hulle plase weer te kon opbou.
Ouma se stories was meer hartseer. Sy het die oorlog as dogtertjie beleef, wat gehuil het oor haar poppie, wat die Engelsman gegryp het en in die vuur geslinger het, en hoe hulle moes staan en kyk hoe hulle huis met alles daarin, in vlamme opgaan.
Wanneer ouma se oë sonder uitsondering vol trane geraak het, en haar stem gebewe het, is elke keer as sy vertel hoe die “Ingelsman haar katjie gegryp het en aan sy agterpootjies geswaai het, en sy koppie teen die muur papgeslaan het.
South of the Line, inland from far Durban,
A mouldering soldier lies—your countryman.
Awry and doubled up are his gray bones,
And on the breeze his puzzled phantom moans
Nightly to clear Canopus: “I would know
By whom and when the All-Earth-gladdening Law
Of Peace, brought in by that Man Crucified,
Was ruled to be inept, and set aside?
And what of logic or of truth appears
In tacking ‘Anno Domini’ to the years?
Near twenty-hundred liveried thus have hied,
But tarries yet the Cause for which He died.”
Christmas-eve 1899. – Source:
Follow this link to read about the “stalemated” Boer/British War and you will find a link to the Canadian War museum. The link will open in a new window.
On my blog HEREyou can read about the Boer/British-War and Melrose House . The link will open in a new window. On this link you can also read about the role my great grandad played during the war.
A very good site about the Boer-war HERE …the link will open in a new window.
Please click HEREto read the complete online book of Arthur Conan Doyle about the Boer War…the link will open in a new window.
Vandag is sommer net een van daardie dae wat ek Suid-Afrika mis! En dan maak dit die verlange nog groter as jy na Steve luister! Ai, hierdie man het darem ‘n stem aan hom en ‘n manier van dinge doen wat ‘n mens se hart warm laat klop vir Suid-Afrika. Ons het hom in 2006 hier in London gesien sing in die Palladium en dit was ‘n fantastiese optrede gewees. Ons het ook daar ander SA’s ontmoet met wie ons nou groot vriende is. Ek wens ek kon ‘n video kry van daardie aand se optrede. Nadat ek BiB se brief op sy blog gelees het wat hy aan Stefan geskryf het, Stefan wat nie meer daar is nie, het hy my baie bewoe gehad! ‘n Mens se hart is maar altyd in Suid-Afrika, al is jy waar in die wereld, jy sal ALTYD ‘n Suid-Afrikaner bly…murg en been… dit is IN jou, niks of niemand kan dit uit jou kry nie, wat hulle ook al se of doen. Dit is net jammer dat sekere dinge ‘n mens wegdryf en jy nie eens jou eie land kan geniet soos jy wil nie, dat jy nie vry kan wees en voel daar is ‘n toekoms vir jou kinders nie. Jy voel jammer vir jou kinders, want jy wens hulle kon daar grootword, jy wens hulle kon deel wees van die kultuur. Alhoewel jy in die vreemde jou taal praat en vir hulle vertel van die dinge, is dit anders, hulle beleef dit nie soos hulle dit sou beleef het nie. Miskien eendag, ons hoop almal en glo dat dinge positief sal uitwerk vir almal, almal in die vreemde sowel as almal daar. Niemand in die vreemde wil dit regtig he soos dit is nie, elke mens besluit vir homself op daardie oomblik wat is goed en jy dink aan jou kinders. Jy dink aan die toekoms. Jy dink aan alles! Hiermee wil ek nie se dat mense wat daar in SA is, dink nie soos ons nie. Nee, glad nie. Ons het die geleentheid gehad om te kom, baie mense wil, maar het nie die geleentheid nie. Mens wil graag he dat almal wat wil , die geleentheid moet he. Ek sal graag my hele familie hier wil he. Al wat jy in die vreemde kan doen is om jou kinders positief te hou teenoor Suid-Afrika sodat hulle eendag daarheen sal wil terugkeer. Ek praat later weer.
Leone and Pieter live in Aberystwyth and we met them here in London. Leone is a fantastic artist and some of her work can be seen in Embassies in some countries. I took two pictures – bear in mind that I’m not a professional photographer- but I think it is still good enough to admire and to share. The first two pictures are the two which I photographed and I found the others by a search on Yahoo….Links in this post will open in a new window.
We visited them in Wales and you can follow this link (and go down with the slider) to look at the pictures in Aber and read more about our visit there.
Tretchikoff is a South African artist, born in Russia, spent some of his childhood years in China and lived in Cape Town. He died in August 2006 in Cape Town. I can remember, I was 11 years old and we were told by our teacher to prepare a speech about any artist. The first and best artist’s information I found – was in a household magazine, called Huisgenoot , was about Tretchikoff! I can remember I said a lot about him and there were pictures of women he painted…naked! … and a couple of flowery-ones in the magazine. Of course I didn’t show all those pictures in class to the children, but the teacher did look at it.
Report from the BBC:
It’s one of the most popular prints ever made and yet many art critics dismiss it as rubbish. The death of its creator Vladimir Tretchikoff has again cast the spotlight on the mysterious Green Lady. She looks unsmiling down and to her left. She has luxuriant black hair. Dressed in an exotic gold-collared robe, her hands are folded out of sight. So far, so unremarkable, except for her skin, a strange blue-green.In the 1960s and 70s, Chinese Girl – to give the 1950 portrait its proper title – graced many a living room wall across the globe.The Russian-born South African artist Tretchikoff toured the world on the back of his painting’s popularity. He generated controversy in interviews, exhibited his work in department stores and became one of the first artists to target the “ordinary” public as the true audience for his work. BBC report:
Read the entire report HEREon the BBC’s news site….
On THIS LINK you can read the South African Broadcasting Company’s report about his death…there’s also a video report which you can watch with his granddaughter too speaking. Vladimir Tretchikoff dies aged 92
August 26, 2006, 13:15
Vladimir Tretchikoff (92), a world renowned artist, has died at a frail care centre in Cape Town. Tretchikoff was a self-taught artist. He and his family fled the Russian Revolution in 1917, moving to Manchuria, Shanghai and Singapore, before eventually settling in South Africa in 1941. He is viewed by many as one of South Africa’s greatest artists. His most famous piece was the portrait titled Chinese Girl. Tretchikoff painted ultra-realistic portraits – many of women. His other subject matter included animals and flowers. He worked with oil and water paints, as well as in charcoal and other media
“Miss Wong”
Read HERE more about Tretchikoff on Wikipedia.
Weeping Rose “Horse race” by Tretchikoff
"The Americans fight for a free world, the English mostly for honour, glory and medals, the French and Canadians decide too late that they have to participate. The Italians are too scared to fight, the Russians have no choice. The Germans for their Fatherland. The Boers? Those sons of Bitches fight for the hell of it." American General, George 'Guts and Glory' Patton.
Chessalee 