Research Outputs (Afrikaans and Theory of Literature)https://hdl.handle.net/10500/36412024-03-28T16:12:57Z2024-03-28T16:12:57ZMagrita Prinslo (1896), Magdalena Retief (1938) and Mies Julie (2012): from historical Afrikaner Mothers of the Nation to a modern Afrikanermeisie (girl): a postcolonial reading of Farber’s Mies JulieKeuris, Marisahttps://hdl.handle.net/10500/268392020-11-09T12:37:46Z2019-01-01T00:00:00ZMagrita Prinslo (1896), Magdalena Retief (1938) and Mies Julie (2012): from historical Afrikaner Mothers of the Nation to a modern Afrikanermeisie (girl): a postcolonial reading of Farber’s Mies Julie
Keuris, Marisa
2019-01-01T00:00:00ZMigration theatre in South Africa with reference to Mike van Graan’s When swallows cryKeuris, Marisahttps://hdl.handle.net/10500/268362020-11-09T12:33:24Z2020-01-01T00:00:00ZMigration theatre in South Africa with reference to Mike van Graan’s When swallows cry
Keuris, Marisa
In this article a discussion on migrant theatre in South Africa is given, with special reference to Mike van Graan’s play When Swallows Cry (2017). In the introduction a short background is given in terms of migration statistics and issues (notably xenophobia) pertaining to the South African state and society. Against the background of an international and national upsurge in migrant theatre the view is expressed that though we have had migrant theatre pre-1994 during the heyday of Nationalist apartheid ideology, a change has occurred since 1994 when the political dispensation changed in South Africa and the African National Congress (ANC) came into power. The situation today is more complex where intra-continental and cross-continental migrancy is now part of everyone’s lives, as portrayed in Mike van Graan’s When Swallows Cry.
Van Graan’s play thus reflects a changing focus in migrant plays in South Africa: from the very early plays concerned with internal migration in the country to plays that today reflect a more complex world (i.e. the often violent and xenophobic experiences of African migrants – also within a so-called new South Africa, but also in the rest of Africa and the bigger world).; In hierdie artikel word ʼn bespreking van migrasieteater in Suid-Afrika gegee met spesiale verwysing na Mike van Graan se drama, When Swallows Cry (2017). In die inleiding word ʼn kort agtergrond gegee van migrasie-statistieke, asook die probleme geassosieer daarmee (onder meer, xenofobie) met verwysing na die Suid-Afrikaanse regering en gemeenskap. Teen die agtergrond van ʼn internasionale en nasionale toename in migrasieteater word die beskouing gehuldig dat, hoewel ons migrasieteater gehad het voor 1994 gedurende die hoogbloei van die Nasionale Party se apartheidsideologie, ʼn verandering ingetree het sedert 1994 toe die ANC die politieke mag in Suid-Afrika oorgeneem het. Die situasie is tans meer kompleks met intra-kontinentale en kruis-kontinentale migrasie wat nou deel is van ons almal se lewens, soos wat Mike van Graan in When Swallows Cry ook uitbeeld.
Van Graan se drama weerspieël dus ʼn veranderende fokus in migrasieteater in Suid-Afrika: vanaf die vroeë dramas wat hoofsaaklik gehandel het oor interne migrasie in die land tot dramas wat vandag ʼn meer komplekse wêreld reflekteer (naamlik die dikwelse geweldadige en xenofobiese ervarings van Afrika-migrante binne die sogenaamde nuwe Suid-Afrika, maar ook in die res van Afrika en die wêreld daar buite).
2020-01-01T00:00:00ZNicola Hanekom’s Land van skedels – A Remembrance of Things Past and PresentKeuris, Marisahttps://hdl.handle.net/10500/268242020-11-09T12:45:09Z2018-01-01T00:00:00ZNicola Hanekom’s Land van skedels – A Remembrance of Things Past and Present
Keuris, Marisa
Nicola Hanekom’s Land van Skedels had its premiere at the Clover Aardklop National
Arts Festival in October 2013 and this production, as well as later ones, received
glowing receptions from both theatre audience and theatre critics. She was
commissioned by an Afrikaans newspaper (Die Burger) and an Afrikaans television
channel (kykNET) to write Land van skedels. She was requested to focus in the play
on the Anglo-Boer War, as well as the role played by Emily Hobhouse in this war. The
main theme is, as can be expected, in a play that works with historical material, the
theme of remembrance. The play is not a realistic depiction of the war and the
concentration camps where many white (and black) women and children often died
after a period of drawn-out suffering. Her play is a subjective and sensory depiction of
traumatic memories and makes use of both historical and literary references to evoke
these memories. These references are discussed within the context of theatre memory
studies. It is clear from the references to other wars and camps in this play (i.e.
Rwanda, Auschwitz) that humanity seems doomed to repeat its own mistakes and that
Hanekom’s play is thus emblematic of all wars and all concentration camps.; Nicola Hanekom se Land van skedels het sy première gehad op die Clover Aardklop
Nationale Kunsfees in Oktober 2013, waar dit (sowel as latere produksies) deur beide
teatergehore en teaterkritici besonder goed ontvang is. Sy het die werk in opdrag van
ʼn Afrikaanse dagblad (Die Burger) en ʼn Afrikaanse televesiekanaal (kykNET) geskryf,
met die versoek om te fokus op die Anglo-Boere-oorlog en veral ook op die rol wat
Emily Hobhouse daarin gespeel het. The hooftema is soos te verwagte in ʼn drama wat
werk met historiese materiaal, die tema van herinnering. Die drama is nie ʼn realistiese
uitbeelding van die oorlog en die konsentrasiekampe waarin baie wit (en swart)
vrouens en kinders na ʼn periode van uitgerekte lyding gesterf het nie. Haar drama is
ʼn subjektiewe en sensoriese uitbeelding van traumatiese herinneringe, wat deurgaans
gebruik maak van beide historiese en literêre verwysings om hierdie herinneringe op
te roep. Hierdie verwysings is bespreek binne die konteks van teater-herinneringstudies.
Dit is duidelik uit die verwysings na ander oorloë en konsentrasiekampe (bv
Rwanda, Auschwitz) dat die mensdom gedoem is om sy foute te herhaal en dat
Hanekom se drama dus emblematies is van alle oorloë en konsentrasiekampe.
Please follow the DOI link at the top of this record to navigate to the official published version of this article
2018-01-01T00:00:00Z'n Huldiging Reza de Wet:die dramaturg as dromerKeuris, Marisahttps://hdl.handle.net/10500/268222020-11-08T07:47:31Z2020-01-01T00:00:00Z'n Huldiging Reza de Wet:die dramaturg as dromer
Keuris, Marisa
2020-01-01T00:00:00Z