DEKAT DIGITAL 2019 - 2020

DEKAT – 2019 

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CONTENTS 

BRUTALISME 

PIETER MATHEWS 

20 

JOU HUIS VERTEL ‘N STORIE 

MELANIE TAIT 

MINDSPACE 

DANIEL VAN DER MERWE 

28 

32 

CONTEMPORARY AFRICAN ART 

WILHELM VAN RENSBURG 

RUAN HUISAMEN 

GERARD SCHOLTZ 

FANIE NAUDÉ 

LEON VAN NIEROP 

42 

60 

74 

AN AFRICAN PILGRIMAGE 


THE LOST BOTANIST 

MARTIE BESTER 

92 

79 

THE ARTISTIC ANTIQUARIAN 

DEKAT 

KANSVATTERS 

CAREL VAN DER MERWE 

STERF ONS KUNSTEFEESTE? 

THEO KEMP 

113 

98 

119 

12

CONTENTS 

WERF MET STYL 

MIMI GREYLING 

FOR THE PEOPLE, BY THE PEOPLE 

130 

136 

MET LAAGWATER KAN JY SIEN WIE KAAL SWEM 

DEON MAAS 

QUO VADIS AFRIKAANSE MUSIEK? 

SCHALK VAN DER MERWE 

140 

146 

TAAL EN KULTUUR IS ’N TROJAANSE PERD 

PIET CROUCAMP 

152 

ALL THE WORLD’S A STAGE 

MARTIE BESTER 

MEERMIN VAN DIE KAROO 

MARTIE BESTER 

THE MAESTRO OF SMOOTH 

WILMA DE BRUIN 

FOR THE BIRDS 

MARTIE BESTER 

WATCHMAKING: A SUSTAINABLE FUTURE? 

DEBBIE HATHWAY 

160 

176 

156 

170 

180 

KAMERS VAN KOOPHANDEL 

THEO KEMP 

PEARLS OF WISDOM 

200 

194 

14

Experience 21 Moments 

at 21 Nettleton

CONTENTS 

THE FINER THINGS IN LIFE 

GOURMET PLAASKOS 


THE LAST EMPRESS 

MARTIE BESTER 

IT’S ALL ABOUT THE EXTRAORDINARY AT THE ORIENT 

A GLORIOUS TRIBUTE TO SOUTH AFRICAN IMPRESSIONISTS 

220 

244 

205 

210 

238 

ALCHEMIST AT WORK 

250 

EXPERIENCE AMAZING 

CHARLEEN CLARKE 

261 

SUPERCAR SENSATION 


MARRIAGE OF DESIGN WITH QUALITY 


RARE AVIS 


275 

267 

280 

THE DIFFERENTIATOR 


A CULTURE OF EXCELLENCE 


290 286 

16

Strauss ad

18

DESIGN 

PHOTOGRAPHER: PETRI HEISKANEN 

19

BEELD 

SKONE 

BRUTAL 

ISME 

20

VOORTREKKERMONUMENT 2 WINBURG 

21

VOORTREKKERMONUMENT 2 WINBURG. SUILE 

Brutalisme, wat letterlik verwys na die brute, eerlike gebruik van 

boumateriaal in ’n gebou, was ’n omstrede beweging in die argitektuur 

van die middel 20ste eeu en is wyd gekritiseer oral waar sulke geboue 

verrys het. Dit het ook in Suid-Afrika geland waar dit neerslag in 

verskeie jong argitekte se werk gevind het, maar ook hier is dit nie met 

ope arms ontvang nie, soos PIETER MATHEWS verduidelik. 

22

In die vroeë sestigs is die NG Gemeente Welkom-Wes op pad om te skeur. Die kwessie wat gemeentelede 

so verontwaardig het, het niks met geloofsideologie te doen nie, maar die ontwerp van die nuwe kerkgebou 

deur die jong en relatief onbekende argitek Roelof Uytenbogaardt. Uytenbogaardt was ’n goeie vriend van 

die nuwe jong dominee, wat saam met ’n klein groepie raadslede besluit het op die ontwerp, ten spyte van 

ontsettende teenstand vanaf ’n groot deel die gemeente en raad. 

Uytenbogaardt was ’n besonder talentvolle argitektuurstudent, wat in 1961 onder David Crane in Pennsilvanië 

studeer het. Hy het ook in hierdie tyd meestersklasse van Louis Kahn bygewoon. Crane het in ’n brief aan 

Uytenbogaardt se pa geskryf: “Everyone on the Faculty of the School of Fine Arts has recognized that Roelof is 

perhaps the most talented designer we have ever graduated out of this school.” (Uittreksel uit ’n brief wat prof. 

David Crane van die Universiteit van Pennsilvanië aan Uytenbogaardt se pa in Kaapstad geskryf het en aangehaal 

is in Architect and Builder July 1961:32) 

Indien die gemeentelede van Welkom-Wes bewus was van Uytenbogaardt se talent, het hulle nie omgegee nie – 

hulle wou nie die kaal en lelike dik muurkerk hê wat hy ontwerp het nie. In 1964, na menige vertragings en ver oor 

begroting, word die nuwe kerkgebou vir die NG Gemeente Welkom-Wes weldra voltooi en ingewy. 

Volgens my is hierdie kerk die enigste ware brutalistiese religieuse gebou in ons land. Van die preekstoel tot die 

doopvont is deur Uytenboogaardt ontwerp en uit beton gegiet. Net soos die brutalistiese ontwerp van hierdie 

kerkgebou die NG gemeentelede byna tot ’n koeksisteroorlog gedryf het, is brutalistiese argitektuur nog altyd ’n baie 

verdelende argitektuurtaal, veral in Suid-Afrika. 

So wat op aarde is brutalisme? hoe herken mens die eienskappe van so ’n gebou, en hoekom is dit so kontroversieel? 

Brutalisme verwys na die (letterlik “brute”) eerlike gebruik van boumateriaal in ’n gebou. So word beton byvoorbeeld 

gegiet en net so gelaat. Estetika word dus bepaal deur die metode van konstruksie, in die geval van beton: vormwerk 

en “furule holes” (gaatjies in beton). Die kern van die estetika word uitgedruk deur die metode van konstruksie. Elke 

materiaal word in rou en brute vorm gebruik. Reyner Banham skryf: “The aesthetic for which they strove was the 

uncompromising ruthlessness, intellectual clarity and honest presentation of structure and materials.” Eenvoudige en 

platoniese vorms en ook geometrie vorm ’n belangrike deel hiervan. 

Brutalisme het in Suid-Afrika hoogty gevier vanaf die middel sestigs tot middel /einde sewentigs – hoë apartheid, 

wat natuurlik baie mense se assosiasie met die styl is. Dit is ook in hierdie tydperk dat verskeie Afrikaanse 

universiteite soos byvoorbeeld die Randse Afrikaanse Universiteit gebou is en mens kan op hierdie kampus vandag 

nog uitstekende brutalisme beleef. 

Die gerekende wêreldleier van brutalisme was die argitek Louis Isadore Kahn, ’n Amerikaanse argitek gesetel in 

Philadelphia waar hy sy eie ateljee in 1935 gestig het en ook klas gegee het in Pennsilvanië. (Waar ons vriend 

Uytenbogaardt ook gewerk het) (Wikipedia.) Een van Kahn se bekendste aanhalings was “even a brick wants to 

be something”. 

Daar loop ’n goue draad vanaf Kahn in Pennsilvanië in Amerika reg deur tot ons eie argitektoniese erfenis in Suid- 

Afrika. Heelwat van ons gerekende argitekte het meesterklasse van hom bygewoon of is regstreeks deur hom en sy 

tydgenote beïnvloed. 

23

NG KERK WELKOM-WES PREEKSTOEL 

24

Alhoewel mens aanvanklik dalk vir die kaal en ongenaakbare aansig van ’n brutalistiese gebou wil 

terugdeins, is dit moontlik om hierdie unieke boustyl wel te waardeer as mens vir ’n oomblik ’n 

argitektuurbril opsit, en in Suid-Afrika is daar baie sulke geboue om te waardeer. Hierdie geboue 

is ontwerp deur ’n groep uitmuntende argitekte van die tyd. ’n Paar name wat dadelik opduik is 

Willie Meyer, Bannie Britz, Roelof Uytenbogaardt, Hans Hallen, Karel Jooste en Jan van Wijk. 

Willie Meyer van Meyer en Pienaar argitekte is op 31-jarige ouderdom aangestel as die hoof 

ontwerpargitek vir die destydse Randse Afrikaanse Universiteit (nou die Universiteit van Johannesburg). 

Die aanstelling volg sommer ná ’n telefoonoproep van die eerste rektor dr. Gerrit Viljoen. Hierdie 

aanstelling was waarskynlik een van die grootste openbare projekte sedert die Uniegebou meer 

as ’n half eeu van tevore, en so kry brutalisme ’n houvas op Suid- Afrika, kort op die hakke van die wêreld. 

Jan van Wijk se argiteksfirma het vir Meyer en Pienaar met die enorme taak van RAU bygestaan, en Bannie 

Britz was ’n assistent in die kantoor. In Jan van Wijk se kantoor het Britz ook aan die Taalmonument en die 

Universiteitsoordkerk gewerk. 

In vennootskap met Meyer ontwerp Bannie Britz later ses geboue op die Noord-Wes Universiteit se Potchefstroomkampus 

(voorheen PU vir CHO) Pukke. Die brutalisme is duidelik sigbaar in die studentesentrum in groot sirkelvormige 

openinge in ’n steenmuur, asook die gebruik van beton en hout. 

Hans Hallen beskryf RAU ook as een van die kragtigste voorbeelde van ’n moderne wêreldklas universiteit in die 

tydsgees. Van hom is gesê: “He believes that architecture is an art, and that to have universal validity the work must 

have its roots in the particular.” (Artefacts.co.za; Hallen, Hans Heyerdahl) 

Hallen wen op sy beurt ’n kompetisie vir ’n tweede Voortrekkermonument (ja, ons het twee Voortrekkermonumente, 

glo dit of nie!). Die monument is beslis een van ons land se crescendo’s van die brutalisme, ’n beton silo met oordrewe 

detaillering soos spuiers, meesterlik gegiet uit beton. Dit staan op die Winburg ABO-konsentrasiekampterrein. 

Die silotipologie is so gepas vir die Vrystaatse landskap dat jy dit dalk nooit eers in die verbygaan opgelet het nie. 

So as jy self wil gaan kyk en die pad tussen die Kaap en Gauteng wil onderbreek met iets anders as die normale 

russtop vir brandstof, gaan kyk gerus en staan ’n rukkie stil buite hierdie Voortrekkermonument. Indien die hek gesluit 

is, druk net jou toeter en Moeketi sal uit die noord-ooste aangehardloop kom met die hek se sleutel. (Ek weet 

nie van toegangsgeld nie, maar ek het hom maar ’n ietsie gegee vir die hardloop). 

Indien jy die brutalisme eerstehands en tasbaar weer van nader in Pretoria wil ervaar, kan jy gerus gaan uiteet by 

die Franse restaurant Brasserie de Paris. Hierdie woonhuis deur Karel Jooste is omskep in ’n bistro sonder om inbreuk 

te maak op die oorspronklike argitektuurtaal. Dit is sensitief omskep – let mooi op na die betonbruggie, die 

deure, balustrades, detaillering, teëls, skakelaars en die komplementerende en eerlike materiaalgebruik deurgaans. 

Ons firma het plaaslik in Pretoria met die ontwerp van die Javett – UP Kunsgalery in Lynnwoodweg ’n abstrakte en 

brutalistiese “berg” uit beton ontwerp. Ons het op ’n plaaslike bekistingsfirma besluit in plaas van ’n duur Europese 

sisteem. Nie net het dit baie geld gespaar nie, dit het ook kapitaal in die land gehou en werkgeleenthede geskep. 

Die resultaat is ’n berg met rowwe fasette wat handgemaaktheid vier. Dit vereer die brutalistiese gees en eerlikheid 

van konstruksiemetodes. Die natuurlike gedrag van beton kan gesien word in hierdie “lewendige” tekstuur en die 

berg gaan op natuurlike wyse verouder. 

25

LINKS BO:VOORTREKKER MONUMENT 2 WINBURG REËNSPUIERS | REGS BO: NG KERK WELKOM-WES TRAPSKRAG | ONDER: JAVETT-KUNSSENTRUM BY 

UNIVERSITEIT VAN PRETORIA. FOTOGRAAF: ALET PRETORIUS MET VERGUNNING VAN DIE JAVETT-STIGTING | ALLE ANDER FOTO’S: PIETER MATHEWS 

26

SANLAM-OUDITORIUM OP DIE NUWE POTCHEFSTROOMKAMPUS 

Ek sluit af met woorde van die kunstenaar en Bauhaus-argitek Jean Welz (Stephan Welz se vader): “Jy sien nie wat jy 

sien nie, jy sien wat jy weet en as jy meer weet sal jy ook meer sien.” Hopelik deur meer te weet van die beweging 

in ons argitektuurgeskiedenis sal jy beter en opnuut kyk na die geboue in jou omgewing. 

My pleidooi is dat ons ons brutalistiese argitektuurskatte bewaar deur dit te hergebruik soos die Brasserie de Paris 

in Karel Jooste se ou huis. Gaan kyk ook gerus die dokumentêre rolprent vervaardig deur Kahn se seun Nataniel, 

My Father the Architect. Dit sal jou baie beslis meer laat “sien”, so brutaal mooi. 

27

JOU HUIS IS ’N 

STORIEBOEK 

Karen Richards sê ’n huis moenie die indruk skep van ’n 

gevoellose katalogusfoto nie. Vir haar moet die dekor van 

die huis waar sy instap ’n weerspieëling wees van die 

huiseienaar se reise, woorde, avonture, humor en fantasieë. 

MELANIE TAIT het met haar gesels. 

28

KAREN RICHARDS, HOOFONTWERPER VAN LIVING DIVANI INTERIORS. DIE BOETIEK AGENTSKAP IS IN KEMPTON PARK GESETEL, MAAR HULLE IS BEDRYWIG OOR DIE 

HELE KONTINENT. FOTOGRAAF: MERWELENE VAN DER MERWE 

29

Opaalblou en ou meubels maak Karen Richards dolgelukkig.“Gee my 50 skakerings 

van blou en ’n ou stoel en ek is in my noppies.” 

Haar werk as binnenshuise ontwerper is ’n liefde wat wortel geskiet het tydens 

haar brugjaar in Jerusalem, Israel, 24 jaar gelede. “Jerusalem het my geboei. Dit 

is ’n stad van kontras tussen oud en nuut. Dit is ’n stad wat ek elke dag opnuut 

ontdek het en waar die geskiedenis van die Ou Stad homself soos ‘n ui afskil. Dit 

is ook ’n stad ryk aan diverse kulture en waar alles in die detail lê. As jy mooi kyk, 

vertel elke hek, muur, gebou en hoeksteen ’n storie.” 

En jou huis moet ook ’n storie vertel, sê Richards. “Jou huis moet vol lewe wees en staaltjies van jou liefdes deel. Ek 

wil nie in ’n koue katalogusfoto instap nie. Met die intrapslag wil ek weet wat jou huis se dekor van jou openbaar – is 

dit ’n verhaal van reise, van woorde, van avonture, van struktuur, van humor of van fantasie?” Sy sê jou huis se dekor 

is ’n direkte uitvloeisel van jou persoonlikheid en dit vertel stories van waar jy was, wat jy gesien het en waarvoor jy 

lief is. “My eerste vraag aan ’n kliënt is: waarvan hou jy in jou huis? Wat is jou hartsgoed?” Dalk is dit die Vladimir 

Tretchikoff teen jou kombuismuur, die Africana-versameling in jou gang, die riempiestoel in jou kamer of ’n stuk lap 

uit Peru wat oor jou bank hang. Die Koningin Anne-sitkamerstel in Richards se huis verklap sy hou van oudhede. Die 

lang tafel op haar stoep spreek van samesyn. “ ’n Huis moet die eienaar se belangstellings op ’n mooi en funksionele 

manier reflekteer. Dít wat tot jou spreek en dit wat jou gelukkig maak.” 

Richards is lief vir stories waar oudhede en moderne goed mekaar aanvul en komplimenteer. Of waar ’n matchymatchy 

vertrek met ’n wispelturige element gebreek word. “Ek hou van ’n mengelmoes van bykomstighede en meubels. 

Ek is ’n voorstander van ’n huis vol karakter en waar die ongewone my laat glimlag, soos ’n splinternuwe kombuis 

wat die wortels van ’n Victoriaanse boustyl behou, erfstukke wat langs moderne meubels staan of ’n stoel met bal-enkloupote 

wat nuwe lewe kry met ’n laag glansverf. Ek meng en pas patrone, kulture en teksture, oud en nuut, en ek 

probeer altyd om ’n kliënt se huis met siel en betekenis in te kleur.” 

Die natuur is ook vir Richards ’n eindelose bron van inspirasie en speel ’n belangrike rol in haar binnenshuise 

ontwerp. Sy is bedag op die natuur se ritme en patrone – van die oogvlek op ’n pou se stertveer en die spiraal in ’n 

dennebol tot die geometriese patrone in ’n byekorf. “Net soos die ritme in die natuur, skep ’n visuele herhaling in jou 

huis ook balans.” Met haar fyn waarnemingsoog sien Richards ook meer as net kleur in die wêreld raak. “Ek sien 

skakerings van blou in die hemel, skakerings van groen in die park se gras en skakerings van bruin in die geboue 

in Eloffstraat. Is dit die wysheid in blou of die passie in rooi …? Is dit die speelsheid in geel, die kalmte in groen of 

die tydloosheid van wit wat jou aantrek? “Kleur het ’n geweldige uitwerking op ’n mens se psige en daarom is kleur 

gewoonlik die wegspringplek van my projekte, want kleur verklap dadelik iets van jou persoonlikheid en identiteit.” 

Richards onthou die kleurpalet in haar ouerhuis. “Ek het in die vroeë tagtigs grootgeword, in ’n huis waarvan die 

dekor kenmerkend van daardie tyd was: bruin matte met bonkige patrone, liggroen gordyne, oranje linoleumvloerbedekkings 

en baie vierkantige glastafeltjies. Ek het gereeld geskenkpapier opgesny en dit onder die tafels se 

glasblaaie geplak om sodoende die dekor bietjie op te tower!” Richards lag terwyl sy dié prentjie oproep en sê 

dekorelemente van die jare sewentig het reeds weer kop uitgesteek. “Dink aan macramé-planthouers en macramémuurbehangsels, 

rottangmeubels, kurk, ’n huis vol plante en geometriese patrone.” 

En wat hou die toekoms vir die dekorlandskap in? Baie huise is reeds “slimhuise” sê Richards en die toekoms van 

binnenshuise ontwerp sien volhoubare en ekovriendelike ontwerp, die verskynsel van klein en kompakte spasies wat 

in tuistes omskep word vir ’n minimalistiese leefwyse, virtuele realiteit en 3D-ontwerpe. 

“Stel jou ’n huis voor waar elke item, van jou kas tot jou koffiepot met jou in wisselwerking is – sulke futuristiese 

binnenshuise ontwerp is ons voorland,” sê Richards. “Solank ons huise net altyd ’n storie sal vertel.” 

30

FOTOGRAAF: MARY WILLEMSE 

31

mindspace 

a sense of place 

Humans perceive the world through the five major senses and good 

design keeps this in mind. DANIEL VAN DER MERWE discusses the 

balance between our senses and our surroundings. 

32

PHOTOGRAPHER: MARC STEENBEKE 

33

Architecture touches us from the day we are born, and buildings become the stage for most of our 

human dramas, routines and rituals. Our spaces should therefore be more than just functional; 

they should emphasise our identities, respond to our social needs, and assist in our emotional and 

mental wellbeing. 

Carl Jung, the father of analytical psychology, described buildings as diagrams of the human 

psyche. Our homes are perhaps the most primal of our collective symbols and it is often said that 

your home is your castle and sanctuary. You could even describe home as your third skin, after 

clothing, and we should feel safe and held in our homes. Viewing homes in this light goes a long 

way towards explaining the status society places on the house and, to some extent, the trauma of 

a burglary or an invasion. Your home and work environments directly influence the daily business of living, and reveal 

a great deal about your inner state. However, many spaces influence the emotional and social state of individuals in 

ways that are not easily noticeable. 

Psychology researcher Dr Harald Deinsberger-Deinsweger notes that spaces can influence our behaviour and emotions 

in ways we don’t often perceive, and researcher Millicent Gappell writes that “the mind, brain and nervous systems 

are directly influenced by sensory elements in our spaces”. Our environment is interwoven with our psychological 

state, and has an important influence on our behaviour and reactions. Individuals have instinctive reactions to different 

materials and finishes, colours and windows, lighting and acoustics. 

Open spaces create different feelings compared to intimate settings. In many cases, living or working spaces are 

reflections of trends and the taste of others. However, few people stop to consider whether their surroundings give 

them comfort, which is essential to wellbeing. 

Humans perceive the world through our five major senses and good design keeps this in mind, engaging vision through 

aesthetics, hearing through acoustics, and taking smell, touch and taste into consideration. Designers positively 

engage our senses and any person who has spent time in a beautiful interior can confirm this. 

The sense of sight is the most important to our survival and, therefore, the one that most impacts our behaviour. Light 

is made up of different wavelengths of electromagnetic light, which our brain turns into colours. Within that range, we 

can differentiate 150 hues, translating into seven million colours. Each wavelength stimulates the brain in a slightly 

different way, meaning each colour has a different impact on us. 

Researcher Dr Roger Ulrich has proven that natural light regulates body rhythms that affect hormone production and 

blood flow, which affects mood and productivity. It therefore makes sense to optimise natural light and minimise 

artificial light to make a difference to human wellbeing. In addition, in his publication Colour for Healing, Antonio 

Torrice writes that when there is natural light, each colour is balanced. Designers can play with the poetry of light to 

increase our sensory experiences. North- and east-facing spaces are good for living and bedroom spaces, generating 

heat gain and loss. South-facing spaces provide more diffused light, which is ideal for kitchens and bathrooms. 

In her publication Colour, Helen Varley writes, “The colour wavelengths entering our eyes affect the centre of emotions 

in the hypothalamus which directly affects the pituitary gland which controls our entire endocrine system, including our 

thyroid and sex glands and the moods consequent to them.” 

Research at the University of Bath investigated how the colour of interior walls influences imagination. Red walls seem 

to activate skills that require accuracy and attention to detail. Blue walls affect short-term memory tasks but substantially 

increase creativity. Red tones stimulate the sympathetic nervous system, increase brain wave activity, heart rate, blood 

pressure and respiration. Blue triggers the parasympathetic nervous system and is accredited with a tranquillising effect. 

34

PHOTOGRAPHER: WILD VIBEZ 

35

Colour can even make a difference to whether we feel warm or cold as warm 

colours seem to advance and cooler colours recede. Cooler colours make 

us forget time while making objects appear smaller and rooms larger. The 

opposite is true of warm colours. 

According to the studies of psychoacoustics, sound deeply affects us 

not only emotionally but also physiologically. Auditory neurologist Seth 

Horowitz says it can trigger deep emotions due to the connection between 

the auditory and limbic system, which regulates emotion. Most people have 

severe reactions to certain sounds such as nails scraping on a chalkboard 

due to the frequency of sound waves produced. 

Research suggests that smaller spaces are considered calmer and safer while big rooms trigger primal fears. Acoustic 

designers know ‘good acoustics’ require more than clarity of sound. For example, a reverberant dining room might 

be unnerving, and a highly damped room might be perceived as ‘dead’ or ‘oppressive’. Intuitively we all know the 

effects of calm versus fast-paced music on sleeping, dining, relaxation, working and even studying. 

Researchers have demonstrated that music triggers the release of dopamine, the feel-good chemical, in the brain. 

Wheat and other crops exposed to Bach’s sonatas increased their yield by 65%, whereas rock music had negative 

growth. While listening to music, our pupils dilate and our pulse and blood pressure rise; you could almost say music 

is the natural drug of happiness. Sound has a profound influence on humans. Natural sounds like birdsong, rain, or 

the ocean make us feel reassured while too much noise causes irritability and can even contribute to chronic diseases. 

Music or positive sound should be part of our daily experiences, not only to block out noise but also as an element 

in our spatial context. Research on ‘sonic seasoning’ or the effects of sound on tasting has found that high-frequency 

sounds enhance sweetness, and low sounds bring out bitterness. Loud background noise affects our taste buds, 

making food less salty or less sweet. This means sound actively impacts our enjoyment of food. 

36

PHOTOGRAPHER: PAVEL NEKORANEC 

37

Smell is one of our most primitive senses and triggers quick responses in the brain, which was essential to 

survival for early humans. Pleasant smells can enhance productivity and encourage us. Aromatherapy 

is even built around using smell to trigger positive physiological and psychological effects on humans. 

Think about the use of aromas in your space to allow for healing, calming, or concentration. 

Psychologist Joan Meyers-Levy examined the relationship between ceiling height and thinking styles. 

She concluded that low ceilings help people solve anagrams involving confinement. In contrast, rooms 

with high ceilings help them solve puzzles centred around themes of freedom and liberation. 

Our skin allows us to experience pressure, temperature and pain. Fireplaces and lit candles have a 

huge impact on these senses and on our mood. According to psychologist Frederick L Coolidge of the 

University of Colorado, fire can have an impact on the quality of sleep. Using fire to keep predators 

away would have allowed early hominids to enjoy more REM sleep, which helps the brain retain skills and repeat 

previously learned tasks. Fire can also help with meditation, which has been found to have many health benefits. 

Touching natural materials such as wood, stone and textiles seems to have a reassuring impact as the subconscious 

mind associates them with nature. The degree of hardness and softness, rigidity and flexibility and the heaviness of 

objects can have an impact on mood. Soft cushions allow for feelings of relaxation and wellbeing while marble tops 

can bring about feelings of achievement and stability. 

Buildings also have energies and the ancient Chinese practice of feng shui claims to use energy to make people feel in 

harmony with their surroundings. The ancient Romans believed building sites have a ‘genius loci’ or spirit, and would 

plan the positioning of buildings and even cities using ley lines and earth energies. Surroundings such as mountains, 

forests or the ocean can affect the energy of a place. 

Energy therapists believe the energy of our homes often reflects our own inner emotional states. In mainstream 

Rabbinic Judaism, a mezuzah is fixed to the doorpost of a residence to sanctify and protect it. Sage, rose, lavender, 

frankincense and patchouli are among the fragrances said to be specific for energy cleansing, and many believe 

that crystals can amplify the energy you need most in your environment. Everything from decorating your home with 

houseplants to burning sage or incense has a long history going back to ancient times in all cultures. A well-considered 

and designed space is an essential component of your everyday wellbeing. 

38

PHOTOGRAPHER: RICARDO GOMEZ ANGEL 

39

40

ART 

PHOTOGRAPHER: PETRI HEISKANEN 

41

ContemporAry AfricAn 

Art: A new dAwn in the 

globAl Art environment 

What makes Contemporary African Art uniquely African, other than 

the artist’s nationality or place of birth? And is it really ‘art’ or some 

other form of creative output such as ‘design’ or ‘craft’? WILHELM 

VAN RENSBURG, senior art specialist at Strauss & Co, explains. 

42

MOHAU MODISAKENG 

SOUTH AFRICAN 1986 – 

DITAOLA XII 2014 

INK-JET PRINT ON EPSON ULTRASMOOTH 200 X 150CM 

43

At face value it seems quite obvious: Contemporary African Art is art made by artists on 

the African continent and in the African diaspora. It is an art form that has gained such 

traction that it has conquered the international art world and art markets in the space of one 

generation. But one might ask, what exactly is ‘contemporary’, as opposed to ‘modern’ or 

‘traditional’? And what makes it uniquely African, other than the artist’s nationality or place of 

birth? And is it ‘art’ or some other form of creative output, say ‘design’ or ‘craft’, for example? 

The advent of contemporary art as a concept, and not just to mean art made at the present 

time, is commonly agreed among art historians, theorists and cultural workers to date from the 

year 1989. A number of significant events across the world that year had a profound effect 

on the art that has been made subsequently: The fall of the Berlin Wall effectively ended the Cold War and 

ushered in forms of late-capitalism and neo-liberalism globally, especially in Russia and the East, which were 

in part responsible for the subsequent buoyancy of the global art market. The Tiananmen Square massacre in 

Beijing in the same year focused the attention of the world on the importance of basic human rights and civic 

freedoms, and artists such as Nancy Spero, who based some of her abstract works on the media images of a 

blood-splattered square, responded. 

The world wide web enabled increasing electronic and digital connectedness that reinforced the notion of 

globalisation – NetArt, new media art, wikiart, electronic art, digital art, augmented reality art and intermedial 

art have all become commonplace. The aim of the Human Genome Project, to sequence and map all the bases 

in the human genome’s DNA, was also first articulated around this time and it has significantly expanded 

research in such diverse fields as medicine, anthropology and evolution, resulting in much closer connectedness 

between the fields of art and science. One interdisciplinary art event was Day Without Art on 1 December 

1989, when most American museums and galleries closed for the day and various forms of action and public 

mourning highlighted the AIDS crisis. The work of artists such as Félix González-Torres continues to draw 

attention to the crisis. Another significant event around this time was the release of Nelson Mandela on 

11 February 1990 after 27 years in prison, which signalled the imminent demise of apartheid in South Africa 

and the dawn of a new democratic era. 

Although sporadic exhibitions presented African art in Western art centres, it was perceived largely to exist on 

the periphery until two seminal exhibitions mounted in 1989 changed its reception internationally. The first of 

these, Magicians of the Earth (Magiciens de la Terre), curated by Jean-Hubert Martin at The Pompidou Centre 

and the Grande Halle de la Villette in Paris, was widely seen as a corrective to the controversial Primitivism 

in Modern Art, held at the Museum of Modern Art, New York, in 1984. The second, The Other Story: Asian, 

African and Caribbean Artists in Post-war Britain, curated by Rasheed Araeen, showed the work of 24 artists 

of Asian, African or Caribbean cultural heritage at the Hayward Gallery in London. These two exhibitions drew 

attention to the deep binary divide between ‘the West and the Rest’, ‘the Centre and the Periphery’, and ‘the 

Self and the Other’. 

In the Paris show, Martin was the first curator to address the imbalance of Western and non-Western artists in 

a major international exhibition, with 50 per cent of the artists represented coming from beyond Europe and 

North America. He questioned the so-called ‘primitivism’ of non-Western art forms and broadened the global 

art canon. Many contemporary artists from Africa were included, such as Esther Mahlangu, who exhibited 

an Ndebele homestead, decorated in her inimitable patterned style. The work of Aboriginal artists John 

Mawurndjul, Jimmy Wululu and Jack Wunuwun from the Yuendumu Art Community in Australia was juxtaposed 

with an installation by renowned British land artist Richard Long. 

In South Africa, a similarly groundbreaking exhibition contributed to the reassessment of local art practices and 

historical canons. 

44

IMAGE COURTESY OF SMAC GALLERY, COPYRIGHT THE ARTIST 

45

ZANELE MUHOLI 


ISILILO XX 

2014 

INKJET PRINT ON COTTON FIBRE-BASED PAPER, 

BARYTA COATED 

50 X 50CM 

46

The Neglected Tradition, curated by Steven Sack at the Johannesburg Art Gallery in 1988– 

1989, presented the work of many previously unknown or under-appreciated black artists in a 

major municipal art gallery for the first time, making the construction of a ‘new’, inclusive history 

of South African art possible. 

In the aftermath of these exhibitions, the term ‘contemporary’ gained currency, and suddenly 

Contemporary African Art, Contemporary Middle Eastern Art, Contemporary Eastern European 

Art, Contemporary Latin-American Art and Contemporary Chinese Art became common in the 

art world. 

Contemporary African Art shares properties with other global contemporary art practices and similarly feeds 

into and is shaped by the global art world and its art markets. But in addition, it draws on contemporary local 

art practices and reflects particularities specific to African aesthetics and unique to individual African cities and 

regions, sometimes drawing almost exclusively on locally known forms of ritual and masquerade. The subject 

matter of Contemporary African Art ranges from the quest for an African identity to interrogating colonial 

legacies and highlighting current social issues. It negotiates notions of Black Consciousness, Post-Independence, 

Post-Coloniality and Post-Ethnicity, and embraces modern cultural pluralism and hybridity. 

Theorists argue that Contemporary African Art is neither belated nor peripheral to the global art world, and 

does not exist ‘out of time’, but that it has antecedents in modernist African art made during the long quest 

for independence from colonial rule after World War II. Contemporary African Art has not emerged out of a 

succession of historical movements (such as Realism, Impressionism, Post-Impressionism, Fauvism, Cubism and 

Expressionism) because Africa’s history, though intertwined with Europe’s, is different. The stereotypical myths 

of the exoticism of ‘darkest Africa’ and its ‘authentic’, if now not so ‘exotic’ past, are therefore thoroughly 

debunked. Instead, contemporary African artists interrogate the chasm between notions of a post-colonial 

utopia and a post-colonial reality, focusing on the political economy of the continent and the body-politic of a 

hybrid culture that celebrates difference and diversity in terms of gender and sexuality among other concerns. 

Contemporary African Art now has a unique identity in the global art world, affirmed by an expansive network 

of artists, curators, art professionals, researchers and writers, in art industries, art sectors, academia, art 

galleries, museums, private art institutions and auction houses, through mega-exhibitions, biennales, art 

fairs, art prizes, books, journals, independent research projects, residencies and workshops, and a host of 

Contemporary African Art databases. 

Biennales, essentially political tools for national promotion, not necessarily social or cultural promotion, are 

not new in Africa. The oldest biennale on the continent is the Alexandria Biennale, which started in 1955 

and became the Cairo Biennale between 1984 and 2012. Today it is known as Something Else OFF Biennale 

Cairo. The best known is arguably the Dak’Art in Senegal, although it is a relative newcomer, having started in 

1990. Photography from the continent is featured at the Biennale de Bamako, Mali, which started in 1993, the 

PhotoFesto in Maputo, Mozambique, and the LagosPhoto Festival in Nigeria. 

In South Africa, the First Johannesburg Biennale in 1995 included art from many African countries, but was 

criticised for being too firmly based on the national pavilion approach taken by the Venice Biennale. One has 

to keep in mind, however, that South Africa was for all intents and purposes cut off from its African neighbours 

during the long apartheid years and the First Johannesburg Biennale was really an attempt to get to know and find 

a place in the contemporary art of Africa. Okwui Enwezor curated the Second Johannesburg Biennale in 1997 

along the theme of Trade Routes: History and Geography, both very pertinent issues in Contemporary African Art. 

47

In the 21st century there have been no fewer than 17 African biennales, including the East African 

Biennale, the Kampala Art Biennale, the Casablanca and Marrakesh Biennales and the Congo Biennale. 

African countries are increasingly making a noticeable impact at the Venice Biennale, arguably the 

Olympics of the art world. In 2013, the Angolan pavilion won the Golden Lion for best pavilion, and 

in 2017, the South African pavilion was considered one of the top 10 exhibits. In 2019, the Ghanaian 

exhibition, which featured the works of El Anatsui, was widely regarded as one of the most interesting 

shows at the event. During the Venice Biennale, an active platform known as The African Forum organises 

incisive talks and discussion programmes about Contemporary African Art. 

The Joburg Art Fair has been staged since 2008 and the Cape Town Art Fair since 2011. The aim of 

these two major events on the South African arts calendar is to promote Contemporary African Art. Many 

African galleries participate and European galleries specialising in Contemporary African Art exhibit regularly. 

Internationally, however, the most important fair is the 1:54 Contemporary African Art Fair (named for 1 

continent, 54 countries), which had its first iteration in 2013 at Somerset House in London. It was so popular 

with the global art community that another edition was launched in New York in 2015, and most recently, 

in 2018, another in Marrakesh, Morocco. In 2016, the AKAA (Also Known As Africa) joined the ranks of 

important art fairs. Held in Paris, it is the only art fair in France devoted to contemporary art and design centred 

on Africa. The new kid on the block is Latitudes: A New Fair for Art from Africa, which celebrated its first edition 

in Johannesburg in September 2019. 

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LEONCE RAPHAEL AGBODJÉLOU 

BENINESE 1965 – 

EGUNGUN MASQUERADES VII 

2015 

EDITION 5 OF 10 

PIGMENT INK ON HP PREMIUM SATIN PHOTOGRAPHIC PAPER, DIBONDED 

202 X 150CM 

49

Two South African art galleries feature prominently in the Contemporary African Art world, Goodman Gallery 

and Stevenson, with exhibitions that are often accompanied by informative publications. Stevenson’s 9 Weeks 

(2015) and 9 More Weeks (2018) documented interviews with their impressive list of contemporary African 

artists, including Serge Alain Nitegeka, Mawande Ka Zenzile, Pieter Hugo, Nicholas Hlobo, Nandipha 

Mntambo, Dineo Seshee Bopape and Meleko Mokgosi in the first publication, and Dada Khanyisa, Zander 

Blom, Bronwyn Katz, Kemang Wa Lehulere, Guy Tillim, Mame-Diarra Niang, Claudette Schreuders, Simphiwe 

Ndzube and Portia Zvavahera in the second. Most of these artists are now household names on the international 

art circuit, often being included in biennales and enjoying solo exhibitions at prominent galleries and museums 

all over the world. Goodman Gallery represents an equally impressive list of contemporary African artists: 

Ruby Onyinyechi Amanze, Ghada Amer, Kudzanai Chiurai, Haroon Gunn-Salie, Kiluanji Kia Henda, Kapwani 

Kiwanga, Gerald Machona, Mounir Fatmi, Misheck Masamvu, Moshekwa Langa and Nelisiwe Xaba are often 

included in its shows at the Basel Art Fair and Frieze in London. 

An internet search of the top 10 Contemporary African Art galleries lists Goodman Gallery first, followed by 

Afriart Gallery (Kampala, Uganda), First Floor Gallery (Harare, Zimbabwe), Banana Hill Art Gallery (Nairobi, 

Kenya), Zoma Contemporary Art Centre (Addis Ababa, Ethiopia), Omenka Gallery (Lagos, Nigeria), Eureka 

Gallery (Abidjan, Ivory Coast), Gallery El Marsa (El Marsa, Tunisia), Zamalek Art Gallery (Cairo, Egypt) and 

the Matisse Art Gallery (Marrakesh, Morocco). 

50

IGSHAAN ADAMS 

SOUTH AFRICA 1982 – 

UNTITLED 

COTTON TWINE, ROPE AND WIRE 

180 X 108CM 

51

The Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) in Cape Town is the most 

prominent of some very important new museums focusing on Contemporary African Art. 

Designed by Thomas Heatherwick in a spectacularly repurposed historic grain silo, it is 

included in Artsy’s list of 20 Essential Pilgrimages to Inspiring Art Destinations. Its exhibition 

programme centres primarily on work from African countries, the most recent show being 

Five Bhobh: Painting at the End of an Era, which featured contemporary art from Zimbabwe. 

The most recent museum to open its doors is the Museum of African Contemporary Art in 

Al Maaden, Morocco (MACAAL), which showcases art from Morocco and neighbouring 

countries across a range of media, and engages in a dialogue across the continent with 

African and international artists. 

Long-established museums such as The Africa Center in New York (formerly known as The Museum for African 

Art) and the National Museum of African Art at the Smithsonian Institution in Washington DC, carry the torch of 

Contemporary African Art in the Americas with such exhibitions as Inscribing Meaning: Writing and Graphic 

Systems in African Art (2007) and Earth Matters: Land as Material and Metaphor in the Arts of Africa (2014). 

Jean Pigozzi’s Contemporary African Art Collection, curated by Andre Magnin, has found a permanent home 

at the Museum of Modern Art in New York, after wide exposure at the Tate Modern in London, The Pompidou 

Centre in Paris, the Guggenheim Bilbao, the Cartier Foundation in Paris, the Saatchi Gallery in London and, 

most recently, at the Fondation Louis Vuitton in Paris. 

52

KUDZANAI CHIURA, WE LIVE IN SILENCE III, 2017 

53

Mega-exhibitions that reinforce and endorse the notion of Contemporary African Art 

have been staged by both museums and private contemporary art institutions. One 

of the most remarkable was Looking Both Ways: Art of the African Diaspora, at the 

Museum for African Art, New York, in 1999. Africa Remix: Contemporary Art of a 

Continent, opened at the Museum Kunstpalast, Dusseldorf, in 2004, then travelled 

to the Hayward Gallery in London, The Pompidou Centre in Paris, Mori Art Museum 

in Tokyo, and Moderna Museet in Stockholm, before ending at the Johannesburg Art 

Gallery in 2007. Other major exhibitions staged in South Africa include Take Your 

Road and Travel Along at the Joburg Art Fair in 2008, and Currents in Contemporary 

African Art at Museum Africa in 2012. The most recent, and currently the most 

prestigious exhibition, is Lumières d’Afrique, which was held at the Fondation Louis Vuitton in Paris in 2018, 

along with a separate exhibition called Being There: South Africa – A Contemporary Art Scene. 

In tune with the theoretical construct of the ‘Global South’, exhibitions such as Without Masks: Contemporary 

Afro-Cuban Art at the Johannesburg Art Gallery in 2008, and Making Way: Contemporary Art from Southern 

Africa and China at the Grahamstown Festival in 2012 are also noteworthy. 

Exhibitions of contemporary African art typically critique the facile distinction between art and design or craft. 

Major exhibitions such as The Global Africa Project: Contemporary Design, Craft and Art, at the Museum 

of Arts and Design in New York in 2010, and Making Africa: A Continent of Contemporary Design, at the 

Vitra Design Museum in 2016, routinely mix and juxtapose examples of work and problematise simplistic 

categorisation of contemporary African art and design. 

One of the most prominent Contemporary African Art curators, who presented many of these groundbreaking 

exhibitions, was Nigerian-born Okwui Enwezor (1963–2019). He cut his teeth on the Second Johannesburg 

Biennale in 1997, and went on to curate Documenta 11 in 2002 and the 2015 edition of the Venice Biennale, 

as well as the Making Africa exhibition mentioned above. His compatriot Bisi Silva was also a notable curator, 

as are Koyo Kouoh from Cameroon, who is involved in the 1:54 Contemporary African Art Fair, and Simon 

Njami, who is the curator of the Brooklyn Museum of Art in New York. South Africa also boasts a handful of 

dynamic young curators such as Gabi Ngcobo, Thembinkosi Goniwe, Khwezi Gule, Riason Naidoo and Same 

Mdluli, all with impressive curated exhibition CVs. 

These prominent curators include important established contemporary African artists in their exhibitions, and 

frequently contribute significantly to the growth of emerging artists’ careers by being the first to spotlight their 

work. They serve on contemporary African art prize judging panels, such as the newly established Emerging 

Painting Invitational Prize, founded by the Emerging African Art Galleries Association and awarded in Harare 

recently to the inaugural winner, Nelly Guambe. The Standard Bank Young Artist Awards have shaped the 

careers of many South African artists who now count among the major contemporary African artists, including 

Nicholas Hlobo (2009), Michael McGarry (2010), Nandipha Mntambo (2011), Mikhael Subotzky (2012), 

Mary Sibande (2013), Hasan and Husain Essop (2014), Kemang Wa Lehulere (2015), Mohau Modisakeng 

(2016), Igshaan Adams (2018) and Gabrielle Goliath (2019). 

54

TRACEY ROSE 


MAQEII 

2002 

LAMBDA PHOTOGRAPH 

IMAGE SIZE: 118,5 X 118,5CM 

55

JULIE MEHRETU 

ETHIOPIAN/AMERICA 1970 – 

UNCLOSED 

2007 

SIGNED AND NUMBERED 7/25 IN PENCIL IN THE MARGIN 

COLOUR HARD GROUND ETCHING WITH SPIT BITE AQUATINT AND DRYPOINT 

SHEET SIZE: 103,5 X 127,5CM; IMAGE SIZE: 91 X 113,5CM 

56

57

Olu Oguibe wrote his own textbook, The Culture Game (2004, University 

of Minnesota Press), for one of his courses at the University of Nigeria, 

Nsukka, because Contemporary African Art has only fairly recently 

become a field of study. But on the academic conference circuit, the 

notion of Contemporary African Art is better explored, and scholarly 

presentations and papers are adding to the rapidly growing archive of 

research. Noteworthy publications include Reading the Contemporary: 

African Art from Theory to the Market Place (1999, Institute of International 

Visual Arts, edited by Olu Oguibe and Okwui Enwezor), Antinomies of 

Art and Culture; Modernity, Postmodernity, Contemporaneity (2008, Duke 

University Press, edited by Okwui Enwezor, Nancy Condee and Terry Smith) and most recently, Former West: 

Art and the Contemporary After 1989 (2016, BAK, by Maria-Kyveli Mavrokordopoulou). 

The Goethe Institute has played an important role in the advancement of critical and intellectual thinking about 

Contemporary African Art and three major publications have been initiated by this organisation: Positions: 

Contemporary Artists in South Africa (2010), Über(w)unden: Art in Troubled Times (2012) and African Futures: 

Thinking about the Future in Word and Image (2016). The latter is particularly insightful about the different 

genres of Contemporary African Art, including, for example, graphic science fiction novels/comics set in 

the distant future in Cairo; music videos with singers dressed in what can only be described as a fusion of 

traditional and contemporary Zimbabwean dress; performance art pieces that are closely aligned to traditional 

masquerades; and contemporary African fashion design and photography. Another noteworthy publication is 

Ashraf Jamal’s In the World: Essays on Contemporary South African Art (2017, Skira). 

Academic and popular journals are growing the body of published scholarship. They include Nka: Journal of 

Contemporary African Art, Third Text, Art Africa, and Diptyk: Art from Africa and the Arab World. Independent 

projects such as Corrigall & Co’s research reports – A Decade of Curating (2018) and The Top 50 Artists and 

the Top 20 Curators who Validated Them (2019) – add significantly to our understanding of what they call 

the ‘Contemporary African Art Ecology’. The ArtTactic Market Analysis reports on the performance of modern 

and contemporary African artists in the auction market from 2016 to 2019, and Hans Ulrich Obrist’s ongoing 

research project, 89+, is also making a significant contribution. 

Leading auctioneers have added Contemporary African Art to their sales and Sotheby’s regularly sell work by 

artists such as William Kentridge, Pascale Marthine Tayou, Chéri Samba, Bodys Isek Kingelez, Ben Enwonwu, 

El Anatsui, Julie Mehretu, Yinka Shonibare, Chris Ofili and Wangechi Mutu, as does Bonhams, London, in 

its annual Africa Now sale. In South Africa, leading auction house Strauss & Co successfully launched a 

Contemporary Art sale in February 2018 to coincide with the annual Cape Town Art Fair, and this initiative 

grew in scope and value with the second iteration in 2019. 

The depth of attention being paid to contemporary African art and the growing understanding of the phenomenon 

is graphically illustrated by the new digital platform series initiated by Tate Modern, Yes, But Why? The first 

episode, on Zanele Muholi, provides 10 unequivocal answers to why she is currently regarded as the most highly 

rated contemporary artist: she was born at the height of apartheid in South Africa; she identifies as a visual 

activist, rather than an artist; her work represents and empowers the LGBTQIA+ community; she creates grassroots 

collectives to support the community; she photographs participants, not subjects; her early work creates a new 

picture of lesbian identity; her work celebrates black skin; she creates powerful portraits, shot internationally; her 

relationship with her mother is very important to her; and her practice is about inner and outer beauty. 

Contemporary African Art has come a long way, exemplified by the manner in which the centre of Western Art now 

acknowledges and celebrates art and artists from Africa. It has gained a strong identity over the past 30 years and the 

art metropole is in all likelihood shifting from Paris, Berlin, London and New York to Cairo, Lagos, Nairobi, Kinshasa 

and Johannesburg. We look forward to a second generation of contemporary African artists, curators and scholars, 

and a new wave of Contemporary African Art exhibitions, projects and publications, with excited anticipation. 

58

STUDIO #: 1581 

ARTIST: MIKHAEL SUBOTZKY 

TITLE: THE DUTCH GANGSTER #1 YEAR OF WORK: 2017 

SERIES: FOUR QUARTETS 

TYPE: PAINTING 

EDITION #: UNIQUE 

IMAGE SIZE: 102 X 76CM 

MEDIUM: OIL AND INK ON CANVAS 

59

RUaN 

SELFPORTRET 

60

61

Ruan Huisamen 

beperk, en onbeperk 

Op 25-jarige ouderdom is Ruan Huisamen ‘n deelnemende 

kunstenaar wat ’n werk moes lewer vir die 2016 US Woordfees 

se uitstalling, Bosch in Afrika, wat deur die 15de-eeuse 

kunstenaar Hieronymus Bosch geïnspireer is. Huisamen se Ship 

of Fools het ’n sensasie veroorsaak. ’n Haas onbekende jong 

kunstenaar sonder enige formele opleiding het die tonge los 

oor sy hiperrealistiese werk vol sosiale en politieke kommentaar. 

Skielik staan hy as kunstenaar sy aan sy in die teenwoordigheid 

van groot name. GERARD SCHOLTZ vertel van sy ontmoeting 

met die ongewone jong kunstenaar en hoe hy hom leer ken het. 

By ’n ete tydens ’n Kuns vir Kankerveiling sit ek langs ’n jong kunstenaar. Sy naam klink vaagweg bekend tot ek besef 

hy is die kunstenaar van Ship of Fools – die kunswerk in houtskool en wit kryt op Hahnemühle-papier waar Zuma en 

andere met ’n groot anguskoei op ’n houtskuit vaar. Ek en die skugter jong man sukkel om die gesprek te laat vlot, 

soos dit soms met vreemdes gaan, tot hy vra waar ek woon. Ek antwoord, Rooiels. Sy gesig helder op met: “Dit is 

waar ek kreef duik! Kan ek vir jou kreef bring?” 

Op elke mooiweer kreefduikdag daarna kry ek ’n oproep. “Dis Ruan. Is jy tuis?” Dan weet ek die motor staan alreeds 

in die koelte van die wildevyeboom. Dan kom hy druppend en half verleë om die hoek met ’n sak. Sy vangs vir die 

dag wat hy vir my gee, soos ’n offer. Vier krewe. ’n Grootse somergeskenk. So is hy. En so het ek hom leer ken. Half 

skaam, die oë ontwykend. Ernstig en soms afwesig asof hy aan groter dinge dink. Maar as hy eers aan die gesels 

kom, is daar geen keer aan onderwerpe of sy wye kennis nie. Dié buitengewone jong man met drie broers, wat vanuit 

sy ouerhuis in Durbanville werk, vertel dat hy gelukkige en gesonde kinderjare gehad het. 

“Met ’n wêreld vol geïllustreerde boeke, blou lug, kakofoniese geelvinke en glimlaggende gesigte.” Ek sê eendag vir 

hom toe hy so druipnat met die kreef voor my staan dat hy soos sy selfportret lyk, Idem II. Hy kry ’n trek om sy mond. 

“Die hoeveelheid detail wat ek daarin uitgebeeld het, is net soveel ’n simptoom van ydelheid as ’n poging om die 

uitbeelding so realisties as moontlik te maak.” 

62

Kyk ’n mens na die transkripsie van die werklikheid van daardie portretstudie is dit moeilik om 

dit van ’n superrealistiese foto te onderskei wat met die beste lens geskiet is. Elke waterdruppel, 

elke porie op sy vel, elke nat haar op die jong man se gesig en lyf is ’n werklikheid, ’n groter 

werklikheid as wat die kamera se lens kan weergee. Geskets met houtskool op Fabriano-papier. 

“Daardie selfportret is ’n studie wat standpunt inneem teen die massamedia waar daar die 

persepsie is dat fotografie, film of televisie realiteite die beste kan uitbeeld. Ek dink nie dit is waar 

nie. Hierdie is stadige kuns wat vir sowel my as kunstenaar en vir die kyker in ’n ander en dieper 

verhouding teenoor die kunswerk wil laat staan. Daardie nougesette aandag aan detail moet jou 

laat dink en voel,” sê hy en voeg by dat daardie selfportret, asook die Ecce Homo-reeks, se doel 

was om ’n ten volle besefde transkripsie van die werklikheid te skep. 

Huisamen vertel dat hy as kind die eensame gewoonte gehad het om gesprekke met denkbeeldige mense te voer. Dan 

het hy tweedimensionele beelde geteken in die hoop dat hulle tot lewe sou kom. Baie kere dwaal ons gesprekke weg 

van kuns en gooi ons wye draaie. Rolprente, ernstige leeswerk, geskiedenis, sake van die dag. Of dit nou oor die 

Japanse inval in Mantsjoerye is, of ’n rolprent wat in die 1950’s geskiet is met die naam van die regisseur en akteurs 

wat hy afrits. Waar kom hy aan al die kennis en insigte? 

“Op dieselfde manier as die jongmense van my generasie: die internet. Om te dink jy kan met ’n selfoon al die 

kennis van die menslike bestaan in jou handpalm vashou. Vir politiek, geskiedenis, kunskritiek, sosiologie en filosofie 

lees ek akademiese joernale. My gunstelingbronne oor rolprente is Sight and Sound, Criterion, Metacritic en die 

fliekblog They Shoot Pictures Don’t They? Alhoewel ek veral klassieke werke verkies, lees ek meer internasionale 

kontemporêre literatuur. Ek gebruik Chimurenga, The New York Review of Books, Paris Review en die London 

Review of Books as verwysings. 

Ek wil nie ’n kunstenaar oor sy eie interpretasies van sy werk vra nie, maar Ship of Fools bly by my spook. Hy is 

nie suinig om te deel nie. “Hieronymus Bosch se Ship of Fools het my geïnspireer vir die Bosch in Afrika-uitstalling. 

Die oorspronklike gelykenis van ’n skip van dwase dateer van Plato se Res Publica en dien as ’n allegorie oor hoe 

strukturele samelewing altyd in pandemonium verval. Ek het probeer om kommentaar uit te beeld op die kontemporêre 

Suid-Afrikaanse samelewing, waar die heersers hulle vergryp aan aardsondeugde.” 

Ek stel dit aan hom dat hy ’n paar doelbewuste motiewe bygebring het. “Ja, daar is die seksueel suggestiewe gebare 

by die jonger figure as ’n teken van verlore onskuld, of eerder die geperforeerde potensiaal van die toekoms. Die 

gevlekte hiëna heel voor simboliseer uiterlike dualiteit – die vroulike hiënas is bekend daarvoor dat hulle faux manlike 

genitalieë het om die manlike hiënas te verwar. Die swart angus dui op ’n donker en dreigende toekoms vir Suid- 

Afrika se kommersiële boerdery. In werklikheid kan die hele werk gelees word as ’n waarskuwing teen die gevare 

van ’n veranderende en vyandige klimaat vir die menslike samelewing.” 

Huisamen verkies om met ’n houtskoolpotlood te werk omdat dit die kenmerke van sowel potlood en houtskool het. 

Hy voel houtskool bied ’n meer dinamiese verskeidenheid lig en skaduwee as wat grafiet doen, en ook ’n ryker 

sielkundige ervaring vir die kyker. Ten spyte van houtskool se reputasie, vind hy die medium ook baie meer plooibaar 

as hy foute maak. 

“Het jy ’n eidetiese geheue?” vra ek hom eendag. “Nee, ongelukkig nie. Hoe ouer ’n beeld in my geheue word, hoe 

meer waarskynlik word dit verdraai en word dit vervang met ‘n geïdealiseerde weergawe van wat ek dink ek gesien het.” 

“Maar hoe gaan jy dan te werk?” 

“Ek val soms terug op die metodes van die antieke Grieke deur ’n groot tekening in klein roosters te verdeel. Dan 

begin ek gewoonlik van die boonste linkerhoek na die onderste regterhoek teken. Ek probeer nie om ’n foto met 

meganiese akkuraatheid te skep nie, want dit sal my kreatiwiteit inperk.” 

63

jy van foto’s af?” 

“Alhoewel ek aanvanklik ’n foto as verwysingspunt gebruik, gooi ek dit halfpad 

uit en vertrou op my intuïsie. En gee meer aandag aan sekere aspekte van die 

tekening. Hierdie hele proses word gewoonlik binne ’n maand voltooi. So 130 

uur per portret.” 

“Jy moet dan seker emosioneel verknog raak aan so ’n werk?” 

“Werk 

“Nie regtig nie. Ek beskou my werke as maniere om my denkproses visueel oor 

te dra. Selfs as ek die kunswerk verkoop, bly die inspirasie nog by my. Om die waarheid te sê, ek raak nie lief vir die 

werk nie. Ek hou van wat in die werk is.” 

Wanneer daar na Huisamen se werk gekyk word, is dit moeilik om te glo dat hy geen formele kunsopleiding gehad 

het nie. Hy het egter drie keer meesterklasse by Louis Jansen van Vuuren in Frankryk gevolg. 

“Dit was ’n interessante leerproses. Louis se benadering tot die visuele medium is versigtig, maar liries en uitbundig – 

’n metode wat in skerp kontras is met my eie stadige en noukeurige modus operandi. Louis dring aan op gedurige 

herinterpretasie en verandering van tegniek in vergelyking met my eie onbuigsame en beperkende metode. Miskien 

die mees waardevolle insig wat hy by my tuisgebring het, is volgehoue intellektuele nuuskierigheid en onbeperkte 

eksperimentering. Wanneer ek terugkyk op my eie werk sien ek hoe selftevrede ek geraak het, en dat ’n gevoel van 

stagnasie en ontevredenheid geleidelik ingetree het.” 

Wanneer die kreefman kom, is hy soms blou van die koue met: “Die water was rof en koud vandag.” Dan drink hy 

koffie met warm melk. Hy het al lankal aanspraak op ’n stoel op die stoep gemaak. Half in die hoek. 

Ons gesprekke keer altyd terug na letterkunde en flieks. Ek weet al dat hy fiksie en nie-fiksie lees, ook akademiese 

joernale en natuurlik opstelle oor rolprent- en literêre kritiek. Die nuutste op sy leeslys is Jamie O’Neill se poëtiese 

At Swim, Two Boys waar hy baie keer ’n woordeboek moes nadersleep – ongewoon vir hom wat soms verkies om 

na Engels oor te slaan. Hy vermy Twitter en Facebook en hy het nie ’n belangstelling in moderne poësie nie. 

Eenkeer kom sy pa saam. Bruingebrand. ’n Golfspeler. Huisamen is daardie dag stil in die teenwoordigheid van dié 

joviale man. Daar word oor alles behalwe Huisamen en sy kuns gesels. Ek begryp wat hy bedoel het toe hy my vertel 

het dat daar nie juis aanmoediging van familie of vriende was om sy kunstalent te laat ontwikkel nie. “Dit was my 

eie keuse, ek het self gekies. In my hoërskooljare was dit ’n bepalende kern van my identiteit. In 2018 moedig my 

kunsonderwyser my aan om aan die Tygerberg eisteddfod deel te neem. Ek kry toe hoogste lof, asook ’n trofee. Dit 

was die begin.” 

Huisamen raak altyd stil as ons groet. Asof hy buite die gesprek staan. Soos ’n vreemdeling. ’n Buitestander. Hy 

glimlag nie. Hy het eenkeer vertel: “Tydens ’n ysskaatsvoorval probeer ek ’n meisie beïndruk met ’n sprong wat 

verkeerd loop en ek val. Een van my snytande breek tot in die wortel en vir tien jaar dra ek ’n plastiekskerm oor my 

tande. Daar het ’n vrees ontstaan om te glimlag en dit bly steeds by my – tot vandag toe.” 

Dit is Huisamen. Beperk en onbeperk. 

64

The VINTAGE Great LITTLE GameGIRL 

65

Die kunstenaar se aantekeninge by Ship of 

Fools, Ecce Homo en The Great Game 

Oor Ship of Fools: Before and After Bosch, merk Huisamen 

onder meer op: die moontlik oorsprong van die Ship of 

Fools-gelykenis is boek ses van Plato se Republiek, waarin 

Socrates die analogie aan Adeimantus stel van die stiksiende 

en hovaardige bemanning wat probeer muit teenoor elke 

bemanningslid wat homself die waardige verdringer van hul 

kaptein ag; Plato se befaamde filosoofkoning. 

Plato se analogie van ’n gedoemde gemeenskap is in verskeie 

filosofiese en satiriese geskrifte aangepas en herbevestig, 

van Sebastian Brandt se Daß Narrenschyff ad Narragoniam 

van 1494, wat as die belangrikste inspirasie vir Hieronymus 

Bosch se ikoniese skildery gedien het tot Katherine Anne 

Porter se blitsverkoper Ship of Fools van 1962 wat die 

wedervaringe van passasiers en die bemanning weergee 

aan boord van ’n Duitse luukse boot wat oor die Atlantiese 

Oseaan gevaar het tydens die onheilspellende 1930’s met 

die opkoms van Hitler se Nazi-party. 

Moontlik is die mees vooruitsiende, maar ook ondermynende 

beskrywing van Socrates se gelykenis te vinde op die dekke 

van Herman Melville se gedoemde Pequod. In Moby Dick 

bied Melville aan lesers dieselfde blik op die onvermydelike 

einde van beskawings geskep deur mense se onversadigbare 

lus na materiële vergoeding, industriële uitbreiding, 

etniese sektarisme en die uitbuiting van die natuur. Maar 

anders as by Plato is daar nie ’n wyse filosoofkoning te 

vinde in die monomaniese kaptein Ahab nie. 

Ek maak geen beslissende uitspraak oor my idiosinkratiese 

gelykenis van die Suid-Afrikaanse gemeenskap nie. 

Allegorieë, simbole en openbaringe bly onduidelik en in 

pas met die kyker se interpretasie, omdat ’n kunstenaar nie 

moet voorgee om te weet waar die waarheid lê nie. 

Vir Ecce Homo gebruik ek ’n gedagte uit Friedrich Nietzche 

se Daybreak: Reflections on Moral Prejudice as verwysing: 

Ydelheid is die vrees om oorspronklik te probeer voorkom: 

dit is dus ’n gebrek aan trots, maar nie noodwendig ’n 

gebrek aan oorspronklikheid nie. 

VESTIGE 

66

67

SHIP OF FOOLS

Die term realisme is moeilik om te omskryf. Glans sonder 

defek omgeef uitbeeldings van mense in die populêre 

kultuur, wat die menslike liggaam transformeer tot goddelike 

volmaaktheid. Omdat my belangstelling nog altyd mense en 

hul persepsies was, beklemtoon en verskerp my werk die 

gelaatstrekke van die gesig, in ’n poging om my onderwerp 

se weerloosheid en tot ’n mate hul menslikheid uit te 

lok eerder as om hulle weg te steek agter ’n fasade van 

onbevlektheid. My modus operandi is om foto’s te gebruik 

as ’n verwysingspunt om op dié medium se vermoë te steun 

tot onmiddellike realiteit en om dit terselfdertyd te verwring. 

Al wat ek van die kyker vra, is om waar te neem. Ek probeer 

nooit om te bekeer nie. 

In The Great Game dien die titel weliswaar as ’n klaarblyklike 

metafoor vir die opstapeling van politieke mag. 

Terwyl elke uitgebeelde figuur vol allegoriese implikasies is, 

het sommige meer spesifieke historiese kontekste, die meer 

bekendes (Zuma, Mandela, Mbeki, Trump, Obama) en ander 

het meer metaforiese doelstellings (seuns, naakte vroue). 

Zuma se houding is ’n regstreekse eerbetoon aan Jacques- 

Louis David se Dood van Socrates en hy verberg ’n weggesteekte 

figuur gedeeltelik. Sowel Zuma as Mbeki kyk stip 

na Mandela, die mens wat hulle nie kon navolg wat leiding 

betref nie. Mandela se blik blyk teenstrydig te wees en is 

afsydig, ongeïnteresseerd en onbetrokke tot die gebeure 

wat voor hom afspeel. Naas hom bedek ’n jong mens sy 

gesig in ongeloof. 

Trump en Obama tref ’n vergelyking tussen Suid-Afrika en 

Amerika. Terwyl dit duidelik van Obama se ampstermyn 

verskil wat betref retoriek, instelling en die algemene openbare 

beeld, gaan die Trump-administrasie voort om eenvoudig 

die vorige voorbeeld en wette na te volg. Dit word 

uitgebeeld deur Obama se arm wat uitstrek na Trump s’n om 

die verborge figuur se hand te skud, wat die onderliggende 

chroniese strukturele prosesse onderstreep, wat so maklik 

verander kan word, ongeag die eienaardighede van 

individuele leiers. Hoe meer dinge verander, hoe meer bly 

hulle dieselfde. ’n Seun lê onder die tafel, hy kyk opwaarts 

na die spel en dink na oor die onderhandelinge. Sal die 

volgende geslag voortgaan of die huidige tendense verwerp? 

Terwyl sommige van bogenoemde keuses doelbewus is, kan 

ek nie ’n besliste antwoord gee oor die algemene betekenis 

van die stuk nie. Ek laat dié taak oor aan die kyker. 

NOVUS 

70

71

THE GREAT GAME

REIS NA ROEM 

Fanie Naudé het verlede jaar die Hertzogprys vir prosa ontvang 

vir sy roman Die derde spoel en LEON VAN NIEROP het meer gaan 

uitvind oor dié skrywer wat al met verskeie pryse weggestap het. 

’n Trein op pad na die suide van Frankryk. ’n Passasier plaas sy rugsak op ’n bagasierak. Binne-in is ’n sakrekenaar 

en geheuestokkie met sy roman op. Hy klim op die regte stasie af en reis verder na sy bestemming, net om te besef 

hy het sy rugsak op die trein vergeet met die enigste twee kopieë van sy roman daarin. 

Die skrywer is S.J. (Fanie) Naudé. Die roman: die driekwart voltooide Die derde spoel. Nie dat hierdie passasier 

maklik paniekerig raak nie. Maar 18 maande se werk is met die klap van ’n kompartementdeur daarmee heen. 

En toe verlossing. Hy onthou dat hy gelukkig die roman die vorige dag na homself ge-epos het. ’n Naelskraap 

oomblik. Fanie Naudé knik by die herinnering aan hierdie insident. Sou hy ook op ’n soortgelyke reis as sy protagonis 

gegaan het om die rugsak op te spoor? ’n Mens wonder. Dalk ’n insident vir ’n volgende kortverhaal? 

Die derde spoel wen verskeie gesogte toekennings – meer onlangs die Hertzogprys vir Prosa. Prof. H.P. van Coller 

verwys in sy oorhandigingsrede onder meer daarna as “(dit) skakel met ander belangrike motiewe in die eietydse 

Afrikaanse prosa, naamlik die aard van die moderne metropool én die soeke na identiteit.” 

Ná 16 jaar in die buiteland, waar hy ’n regspraktisyn was, is sy Afrikaans steeds plaaslug-suiwer. Beskryf hy emosies 

en waarnemings met dieselfde insig as sy protagonis Etienne. Hy onthou die honderde ure in raadsale en kantore 

terwyl hy aan saketransaksies gewerk het. Maar later eers die vryheid van skryf en die krag van die skeppingsproses. 

Hierdie proses het in alle erns begin toe Naudé Londen in 2009 verlaat het om plaaslik onder Marlene van 

Niekerk te studeer. Hy verwerf ’n meestersgraad in kreatiewe skryfwerk in 2012 met ’n kortverhaalbundel en 

’n verhandeling oor “Die uitbeelding van kreatiwiteit in die werk van J.M. Coetzee.” Die rol van rolprente in 

sy roman en die skeppingsproses skemer telkens deur in ons gesprek. Nie alleen verwys hy na die invloed van 

meesterrolprentmakers soos Werner Herzog, Rainer Werner Fassbinder en Kenneth Anger nie, maar ook na wat 

hy by Marlene van Niekerk geleer het. 

“Onder haar was dit ’n bevrydingsproses,” onthou hy. “Ek onthou dat iemand in die eerste klas by Marlene gevra 

het: ‘Mag ’n mens dit of dat?’, waarop sy gesê het: ‘Enigiets mag.’ ” 

Hy teug aan sy koffie (“is dit kafeïenvry?” het hy spesifiek gevra.) “Kreatiewe skryfkursusse het ’n element van 

psigoterapie. Marlene het ’n intuïsie gehad oor wat die kern is van dit wat ’n mens kreatief gesproke probeer doen. 

74

FANIE NAUDÉ. FOTOGRAAF: MERWELENE VAN DER MERWE 

75

Sy het dit op ’n subtiele manier uitgeterg – sy het kreatiewe energie losgeslaan, gekataliseer.” Sy onderbewuste 

roep ’n gletser op. “Jy kom op ’n punt in jou skryfwerk waar jy sukkel, asof jy aan ’n gletser bly kap, en dan 

skielik breek jy deur, sodat die pen begin skryf uit die onderbewuste en sy eie patrone maak.” 

Die onderbewuste speel ’n sterk rol in Naudé se skryfproses en hy verwys dikwels daarna. “Dis die soeke 

na opwinding wat my laat skryf. Die dwelm is die moontlikheid dat iets kan gebeur wat jou verras.” Ek 

onthou dat hy ook daarna verwys het as: “Jy skryf omdat jy wil uitvind wat jy wil sê.” 

Soos Naudé aan Rapport in die uitgawe van 17 Junie 2012 opgemerk het: “As mens skryf – vir my in elk 

geval – ondersoek jy nuanses van menslikheid. Dis heeltemal ’n ander soort waardestelsel as dié waar dit 

gaan oor geld.” Geen sepies of strooisages vir hom nie! Hy skryf wat hy graag wil skryf, dikwels in die anonimiteit 

van hotelkamers, en daardie ruimte inspireer hom, moontlik omdat hy as skrywer afgesonderd wil werk, maar steeds 

net duskant ’n stroom van menslike aktiwiteit wil funksioneer? 

Die derde spoel handel oor Etienne, ’n 22-jarige dienspligontduiker wat in 1986 (toe die destydse eerste minister 

van Suid-Afrika, P.W. Botha, ’n noodtoestand afgekondig het), in Londen verlief raak op ’n Boheemse Duitse 

kunstenaar, Axel. Hy ontdek dan die eerste van drie filmspoele wat tydens die dertigerjare in Duitsland verfilm is en 

hy begin obsessief na die ander filmspoele soek, veral wanneer Axel later vermis raak in Berlyn. Die leser ervaar 

hierdie stad as ontmens met ’n muur wat mense en gemeenskappe wreed van mekaar skei. 

Etienne beweeg dikwels van Oos- na Wes-Berlyn, soms ondergronds, waar stasies ontoeganklik en toegebou is of 

deur soldate bewaak word. Daarna reis Etienne deur ’n doolhof van strate waarin hy sy soektog amper koorsig 

voortsit. Maar dit word ook ’n soeke na identiteit – ’n sentrale motief in die roman. 

“Tussen die beklemmende wêrelde van apartheid, die Thatcher-era en Oos-Berlyn, soek hy (Etienne) na ’n soort 

ruimte wat vir hom ’n klein bietjie genade gaan bied.” Juis daarom is die ontmensde metropool, die doolhof van 

die stad as ’n soort niemandsland, so belangrik. “Omgewing is ’n sterk teenwoordigheid,” beaam Naudé. “Dié 

storie kan nét daar plaasvind. Die twee stede gee daaraan vorm. 

“Wat Etienne en sy vriende glo in die tagtigs, is dat die wêreld, die toekoms, anders kan lyk. Dat mens vry kan lewe, 

vryelik kan liefhê en kuns maak. Hulle is redelik naïef, gewaande jong revolusionêre. Dit is ironies hoe anders die 

wêreld toe uitgewerk het.” 

Hy dink. “Nou, vroeg in die 21ste eeu, is dit asof die Noordelike Halfrond klaar die 20ste eeu begin vergeet. In die 

wêreld van Brexit (en nou Boris Johnson), en Trump en die nuwe polarisasie, asook ’n nuwe soort populisme, met 

selfs die geur van fascisme wat begin deurskemer, is ’n ontstellend outoritêre klimaat aan’t broei.” Alles elemente wat 

beslag in sy roman kry. 

Maar tog loop rolprente soos ’n goue draad deur die roman. Is daar ook ’n romantiese element te bespeur aan die 

uitrol en -trek van die film, wat dan teen die lig gehou moet word om die beelde raampie vir raampie uit te maak? 

Dit herinner my aan my gevoel toe ek die roman amper filmies gelees het. 

My ervaring was dat die roman deurgaans in sogenaamde Dutch tilts verfilm/vertel is. (Hier word die kamera effens 

skeef gedraai om die kyker tegelyk te onthuts en uit hul gemaksone te neem en ’n toneel uit ’n ongewone perspektief 

te wys.) “Terwyl ek daaraan gelees het, het dit vir my gevoel ek stort in suur, en dat elke brand my suiwer,” waag ek. 

Naudé lag. Hy het inderdaad reeds verskeie sulke uiterste reaksies op sy werk gehad. Maar ek kry die indruk dat 

elke reaksie hom nie alleen amuseer nie, maar verbly omdat dit so uiteenlopend is. 

76

Ek vra hom uit oor die moontlikheid dat Etienne dalk ’n eerstepersoonverteller kon gewees het. Maar Naudé 

skud sy kop. En dis hier waar die kamera, wat op ’n kinematograaf (of in hierdie geval die skrywer) se skouer 

of selfs in sy hand gedra word, voorkom. Naudé verkies die afstandelikheid van die derdepersoonverteller 

wat vokaliseer. “Die leser moet min direkte toegang tot die karakter se denkprosesse kry. Ek het probeer om 

met woorde naby daaraan te kom om ’n rolprent te maak. Ek het sulke ontsag vir die tegniese kompleksiteit 

van rolprente. Ook die finansiële, bestuurs- en emosionele kompleksiteit daarvan. Jy kan dit amper ’n soort 

...” hy dink ’n oomblik, “afguns noem.” 

Hy verwys ook na die surrealistiese homo-erotiese beelde wat veral in die kultusrolprentmaker Kenneth 

Anger se rolprente voorkom. Ook die klem op lywe/mans wat seks het sonder om dit verglansend eksoties 

te maak. Weer eens hou die kamera/skrywer ’n nugtere afstand. Hy hou dop, maar manipuleer nie, of interpreteer 

ook nie namens die kyker om aan populêre verwagtings te voldoen nie. Want alhoewel karakters in Die derde 

spoel seks geniet, is daar nie ’n spoor van oppervlakkige lyflike clichés wat plesier oordryf nie. Naudé se teks is 

gestroop van enige resepmatigheid, gelaaide beskrywings of voorspelbaarheid. 

Elke woord tel. Elke waarneming, selfs van reise deur strate, en elke gevolgtrekking word duidelik gestel sonder 

oorbodige woorde. Hier word geen uitroeptekens of pronkerige leestekens geplaas nie. Dit is nugtere waarnemings 

wat inslag vind in die leser se onderbewuste, sodat dit hom later weer aanmeld by ander tonele en oomblikke. 

Naudé het twee en ’n half jaar aan Die derde spoel geskryf. “Dit het ook ingesluit ’n navorsingsreis.” Sy 

gedagtes slaan terug na die vergadersale en lessenaars waarby soveel onderhandelings plaasgevind het oor 

kontrakte wat dikwels meer as duisend bladsye beslaan het. “Jy leer in regsonderhandelinge van tekstuele 

organisasie.” Hy vergelyk dit met die skryfproses. “Met ervaring skrap jy makliker. Jy veg soms met jou eie 

teks. As jy oor jare kontraktuele dokumente onderhandel het waar jou woorde gedurig aangeveg en geskrap 

word, kan jy jou eie woorde later makliker deurhaal in as jy ’n roman skryf.” Hy dink. “Anders as in die geval 

van regswerk, moet jy die siel wel ’n bietjie klam hou om fiksie te kan skryf.” 

“Wat laat jou nóg skryf?” vra ek. 

“Wanneer iets die adrenalien laat pomp, my betrap.” Hy verduidelik: “Wanneer ’n mens jouself verveel wanneer jy 

skryf, moet jy weet dis nou tyd om op te hou.” 

Maar Naudé gaan beslis nie nou ophou nie. Nie nadat sy kortverhaalbundel Alfabet van die voëls in 2012 

die Jan Rabie Rapport-prys ontvang het nie, asook die Universiteit van Johannesburg Debuutprys, terwyl dit ook 

bekroon is met die Suid-Afrikaanse Letterkundetoekenning vir beste Afrikaanse debuutwerk. En daarna, nog ’n 

rits bekronings vir Die derde spoel, waaronder die UJ-prys vir beste kreatiewe teks in Afrikaans, sowel as die 

kykNET-Rapport boekprys vir beste Afrikaanse fiksiewerk, en nou die Hertzogprys vir Die derde spoel. 

“Ek werk tans aan ’n korterige nuwe roman,” sê Naudé. “ ’n Konstante is seker die feit dat dit op ’n klomp verskillende 

plekke afspeel en min raakpunte het met Suid-Afrikaanse ruimtes. En ek is redelik ver gevorder met ’n bundel 

kortverhale.” En dan ’n laaste gedagte, veral na aanleiding van die reaksie uit verskeie oorde op Die derde spoel. “Ek 

het destyds ’n onderhoud met Alan Hollinghurst, (bekende Britse roman- en kortverhaalskrywer en digter) gevoer, toe 

sê hy dit neem hom altyd ’n paar onderhoude ná ’n roman gepubliseer is om uit te vind waaroor dit nou eintlik gaan.” 

Ons stap uit die bistro in Parkhurst se straat waar die winterson nou loom skyn. Ons besin oor die krag van sonlig 

in rolprente en romans. “Dit is waarom Europese regisseurs dit dikwels so moeilik vind om rolprente in Suid-Afrika te 

skiet,” onthou ek. “Die sonlig hier is te fel, te skerp, te wreed,” erken hulle. 

Maar die son skyn vandag beslis op S.J. (Fanie) Naudé, wanneer hy terugstap huis toe om verder te gaan skryf. 

Gelukkig nie om in ’n stowwerige vergadersaal te sit en kontrakte uit te pluis nie. 

77

THE TRANCE DANCERS 

78

AN AFRICAN 

PILGRIMAGE 

Pilgrims have been travelling to spiritual destinations for 

thousands of years, grateful for the contemplative space offered 

on their journeys. DANIEL VAN DER MERWE has walked the 

popular Camino de Santiago twice but adds that there are 

equally beneficial spiritual walks here in South Africa. Linoprint 

illustrations by JACQUI GENG. 

79

THE TRANCE THE TRANCE WATCHER WATCHER 

80

In his popular novel, The Pilgrimage, Paulo Coelho wrote, “When you travel, you experience, in a very 

practical way, the act of rebirth. You confront completely new situations, the day passes more slowly, and on 

most journeys you don’t even understand the language the people speak.” 

Philosophers, naturalists and writers have focused on the importance of connecting with nature for centuries. 

Author Kenneth Grahame wrote that to walk is “to set the mind jogging”, and Rebecca Solnit observed that 

walking is a state in which the mind, the body and the world align. Walking is often seen as an opportunity 

for contemplation, and there is an ongoing relationship between the act of walking and thinking. While a 

daily wander allows us the opportunity to ‘clear the head’, hiking towards a spiritual destination nudges us 

more towards self-reflection. 

Walking the Way of St James, the Camino de Santiago, which concludes at Santiago de Compostela in Spain’s far 

northwest, allowed me rare contemplative insight into myself: my psyche, my personality, my physical weaknesses and 

strengths. Not only did I traverse the special landscapes of Spain and Portugal and focus on the outer detail, it also 

became a journey through the inner landscape of the soul. Here in South Africa, hiking or walking to some of our rock 

art destinations and other sacred sites provides sustenance for the soul too. 

81

ASan pilgrimage is a deep-rooted reconnection with your ancient self. Rock art offers insight into the 

ways of our ancestors and their spiritual beliefs, and rock art sites were used as places and channels 

for communication with the supernatural world. These sites are regarded as the earliest origin of 

many of our modern spiritual beliefs and superstitions, and to hike to any of the San rock art sites 

offers a way to reconnect with the primordial spiritual self. South Africa has an incredibly rich and 

vast rock art collection, with examples in national parks and nature reserves around the country. 

A great deal of San art is explicitly and implicitly linked to San shamanic religion. Many of the 

symbols centre around the most important ritual, the healing or trance dance and the complex 

somatic experiences of the dancers. San rock art can be regarded as repositories of the supernatural 

energy that shamans needed for their spiritual journeys – by touching the paintings, they drew on their spiritual power. 

The rock on which the images were painted was a veil between the spirit world and ours, and chosen specifically for 

its sacred energy, making these sites truly ancient cathedrals. 

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TRANCE WALKER III 

83

In the Drakensberg some 20 000 individual rock paintings have been recorded at 500 different cave and 

overhang sites between Royal Natal National Park and Bushman’s Neck. Subjects of the San paintings range 

from animals (mainly eland) and therianthropes to humans, ox wagons and mounted men with rifles. In 

Ndedema Gorge 3 900 paintings have been recorded at 17 sites; Sebaayeni Cave contains 1 146 paintings; 

and 130 sites in the Cathedral Peak-Mdelelelo Wilderness Area feature over 8 800 individual paintings. 

Additional prime sites include the Main Caves in Giant’s Castle Game Reserve, Battle Cave in the Injasuti 

Valley and Game Pass Shelter in the Kamberg Nature Reserve. 

Kalkoenkrans in the Aliwal North/Jamestown region is another sacred San site that is worth visiting. The 

site was declared a national monument because of the high standard and huge variety of its artwork. The 

paintings include over 200 works, among them the famous ‘White Lady of Kalkoenkrans’, which was discovered in 

1967. They offer the visitor a pantheon of the spirit world and include images of part-bird/part-humans and other 

mythical figures. 

See www.nasmus.co.za/departments/rock-art/public-rock-art-sites for more information about visits to some of 

South Africa’s most interesting rock paintings. 

84

TRANCE WALKER I 

85

The next time you head off to Kruger Park, take time to stop at Waterfal Boven. Not only is there a 

fascinating museum with ancient tools and artefacts that connect a vanished civilisation to the Egyptians, 

Sumerians, Greeks and even Incas, this is also the base of well-known archaeologist Michael Tellinger. 

According to Tellinger, the town lies at the heart of millions of ancient stone ruins, some dating back over 

200 000 years – “the true Cradle of Humankind”. The collection indicates an advanced civilisation that 

used sound and frequency as a tool. 

Kaapsehoop is nearby and is the location of one of the most significant and oldest standing stone 

circles in the world: Adam’s Calendar or ‘Africa’s Stonehenge’ measures about 30 metres in diameter. 

Local African folklore refers to the site as ‘Inzalo Y’langa’ or ‘Birthplace of the Sun’, where humanity 

was created by the gods. Still functioning as an ancient calendar, it is aligned with the Orion constellation. It has been 

a place of pilgrimage for centuries and sangomas continue to perform sacred ceremonies at the site, which is well 

known for its healing qualities. 

Tellinger says almost everyone who visits the Stone Circles or Adam’s Calendar claims to have felt energetic sensations. 

He says electronic measurements indicate that the stone circles are also powerful energy-generating devices. People 

visiting the site with GPS instruments have reported strange electromagnetic interferences, as well as deeply profound 

spiritual experiences and conscious awakenings. 

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NIGHT MADONNA I 

87

The mountains of the Eastern Free State are believed by the Sotho to be possessed by powerful spirits. 

The area is the spiritual heartland of the Basotho and many people make annual pilgrimages to its 

various sacred sites. 

Motouleng near Clarens is known as the Fertility Caves or Sacred Caves and thousands of people gather 

at this extraordinary site over religious holidays. For this reason, it is often called the great cathedral 

of African spirituality. The 30-minute hike takes you through a narrow valley that follows the Caledon 

River, which is considered sacred and dotted with places of offerings and prayer. The site of the largest 

cliff overhang in the southern hemisphere is an astoundingly beautiful primordial place. Respectful 

permission to enter is requested from the sangoma who guards the area. Inside, a large stalagmite 

covered with burning candles and spilled wax is the traditional location – an altar – where women go to pray. 

Along the cave rockface, lit candles indicate personal places of prayer and gifts of food for the ancestors. Inside, 

sangomas offer training and healing in traditional huts. The cave also holds a San burial area and a place where the 

elder women go to pray. A drink from the sacred spring makes this a memorable historical and cultural experience. It 

is appropriate to offer the sangoma a gift for his blessing at the spring. 

To find the Sacred Caves, look out for the Surrender Hill turn-off on the R711 between Fouriesburg and Clarens. 

THE PASS OF THE LIONS 

Modderpoort is situated close to the Lesotho border near Clocolan and has also become a popular destination for 

pilgrims. Traditionally a sacred place known as Lekhalong la Bo Tau or ‘The Pass of the Lions’, it is a unique amalgam 

of apostolic, apocalyptic, animist Christian sacred sites and traditions. A steady stream of pilgrims travel to the grave 

of the Basotho prophetess Mantsopa, to seek her blessing, pray for miracles and ask her to intercede with God on their 

behalf. Born around 1795, the prophetess became one of the region’s most influential and powerful leaders during the 

1800s. In addition to her political activism, she was also regarded as a diviner, rainmaker, and seer. The spring near her 

grave is believed to have curative powers and pilgrims collect ‘holy’ water from it for spiritual and ceremonial functions. 

Further along the terrain is the cave that gave shelter to the Anglican priests who opened a mission station at 

Modderpoort in 1870, and later to Mantsopa who was then christened as ‘Anna’. The priests transformed it into the 

only known existing Anglican cave chapel, known as the Rose Chapel. The roof and altar have become blackened by 

centuries of fires and thousands of candles, and the chapel has become a popular place of pilgrimage. 

The final place to be visited in the area is the rocks in the hills above an Anglican church and cemetery, which 

indicate the presence of San in the area. Rock paintings depict a cattle raid, with men fighting and dying, and there 

is scattered evidence of animist rituals between the sacred rock formations. 

To find the area, head along the R26, and the turn-off sign is halfway between Clocolan and Ladybrand. 

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TRANCE WALKER IV 

89

The mystic tradition in Christianity is long and, in many ways, honoured. Perhaps it’s here where the 

Marian apparitions belong. A Marian apparition is a supernatural appearance of Mary to a person (or 

group of people), often with repeated messages to the witnesses on topics such as peace, penitence, 

sacraments, the apocalypse, and a closer relationship with Christ. Many of these sites, such as Fatima 

and Lourdes, have become world-renowned places of pilgrimage for worshippers seeking salvation, 

advice or healing. 

Ngome near Vryheid in KwaZulu-Natal is regarded as a place of miracles and one of the most 

important Marian apparition sites in Africa. Many miracles have been reported there and several have 

been documented and photographed. It has also become a popular destination among pilgrims. 

It is said that Mary appeared several times to Sister Reinolda May, a German Benedictine nun, between 1955 and 

her death in 1981. On each occasion Sister Reinolda received profound messages that she documented in detail to 

her regional bishop, and one of the messages led to the building of the shrine: “I wish that a Shrine be erected for me 

in the place where seven springs come together. There I’ll let My Graces flow in abundance.” 

Many pilgrims have reported miracles and being cured of illness, and hundreds of people have witnessed dramatic 

phenomena appearing in the sky above Ngome. The most recent was documented in 1997 during the feast of the 

Immaculate Conception, and aired on the SABC’s 50/50 programme. 

Visitors go to the church, the convent and the shrine, and also to the grave of Sister Reinolda, where many people pray 

and ask for assistance. You can also walk to the place of the springs mentioned by Sister Reinolda, where pilgrims 

pray and collect water. Visit www.ngome.co.za for more information. 

SUNGAZER PILGRIMAGE, PAUL ROUX, EASTERN FREE STATE 

Our forefathers regarded ‘spirituality’ and ‘nature’ as synonymous, and spending time in the great outdoors offers us 

a ‘touchstone’ or connection to the spiritual essence that lies in each of us. More and more people are discovering it 

is possible to shift from an occasional informal relationship with nature to one that is intentionally spiritual. 

Named after the sungazer lizard (Smaug giganteus), ‘sungazer’ or ‘ouvolk’ in Afrikaans, The Sungazer Pilgrimage 

route opened in the Free State in 2017. It offers an opportunity for anyone wishing to escape the stresses of everyday 

life to become immersed in nature via hiking or cycling trails. Your contemplative journey takes you through historical 

villages and farms. The Witteberge and Maluti mountains offer spectacular scenery, and you might spot game and 

birdlife during your hike. Overnight facilities range from sandstone guesthouses to cabins in secluded spots of natural 

beauty. The walks take you past cherry farms, rock formations and caves; you can swim under waterfalls, and at night 

relax around the fire and gaze at the stars. 

Journeys can be tailor-made for groups, ranging from a few days to the full Newbery Passion option, which takes 

12 days through seldom-visited landscapes. 

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NIGHT MADONNA II 

91

The Lost 

Botanist 

The creators of the virtual reality short film, The Lost Botanist, put the 

continent on the map when they became the first South Africans to 

screen their VR creation at Annecy, the world’s leading animation 

festival. MARTIE BESTER caught up with the talented siblings. 

The rural town of Kokstad is situated in an area of KwaZulu-Natal known as ‘no man’s land’. While growing up on 

a farm in the area, and inspired by the creativity of their mother and grandmother, Rick and Ree Treweek evoked 

nature through their imaginative drawings of their environment. They were children of nature, making their own 

virtual reality, which would eventually lead to them both pursuing creative careers. 

As directors of the Cape Town-based creative studio Tulips and Chimneys, and Eden Labs, a research and development 

lab exploring emerging technology, the siblings created and co-directed The Lost Botanist. It was the first virtual 

reality (VR) experience from Africa to screen at Annecy, regarded as the world’s premier festival for animation. 

In its current form, The Lost Botanist is described as “a five-minute interactive adventure where you are the lost 

botanist, misplaced in a world that has forgotten about nature”. At each level of the experience, you have to find 

certain creatures – a fish or a mushroom, for example – which allow you to really look at the art of the creation. 

Rick says, “My sister and I always wanted to work together, and the introduction of virtual reality offered us the 

perfect opportunity.” Rick explores the creativity of technology, while Ree is the “super-detailed, pen on paper” 

partner in the business. 

“The Lost Botanist was an amazing opportunity to collaborate not only as siblings, but also as our two companies, 

and do something that was completely unique and different. That was our goal from the beginning,” he says. 

When it comes to VR, Rick believes it’s a difficult concept to explain and that people need to experience it for 

themselves. To create the short film, they used virtual reality headsets and designed the casing to look as magical 

from the outside as it is when you step into the world of VR. 

“We added a handle to the masks to make it easier for people to access the world and this adds the feeling of 

entering a masked ball. I actually sculpted the headset in virtual reality,” he explains. 

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EDEN LABS/TULIPS AND CHIMNEYS 

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Rick and Ree created the demo that was accepted for the Annecy Animation Festival. Nine films were 

accepted for the festival, some of them huge productions with big budgets and timeframes: one cost 

close to US$3,2 million, another took over two and a half years to be developed, and actor Colin 

Farrell narrated yet another. 

“For us it was about putting Africa and South Africa on the map, because the perception is that 

our continent is lagging when it comes to technology. The Lost Botanist put us on the international 

stage. We put so much love and creativity into the project; it was self-funded too. I think that was 

the reason people were so excited – it was a work of absolute passion. My sister and I really 

believe in the technology, we really believe in our capabilities and we really want to do something that sits 

among giants on a global stage.” 

They enlisted the help of well-known musician Markus Wormstorm, who helped them with the story and wrote the 

original score. It was another labour of love; the entire team felt there was a sense of magic to the project. 

“We have a rich history that we’ve written into the story; we’ve created this story as a much bigger world, and we 

want to make it into an interactive film or a kids’ iPad book,” Rick adds. 

The film is about the future of humanity. “There’s this place called the Under-Garden, a place from which 

humans have always drawn their inspiration, where all our dreams come from, and where all our mythologies 

originate,” he explains. 

“The Lost Botanist looks at the future of our planet: without us taking care of Earth, all the animals and creatures 

have gone extinct and humans have forgotten about them. As a result, their spirits go to a ‘Forgotten World’. 

We’ve lost all our species and the oceans have turned to acid. The viewer is the botanist and is taken into this 

world to rediscover the species and reconnect with those forgotten things to try and make a change and bring 

back dreams.” The production includes Ree’s detailed art style. She created pen on paper drawings, which were 

then scanned, coloured on the computer and brought to life in virtual reality. 

Rick says, “If you do something that’s too much like a game, the viewer doesn’t really get involved in the art, and 

that’s why we created a way of looking for things – it forces you to view the scenery to try and find objects.” 

The siblings feel that although Kokstad is in the middle of nowhere, it was always the centre of their universe. “The 

farm is a special, magical place. I think that had a big impact on both our careers. When we were growing up, we 

were pretty much left to our own devices, so we’d always be making up our own games and stories. 

“We didn’t have computers. My sister would spend hours with our gran in the art studio making things and I 

would run around outside. You can see in our art styles how that affected us. Ree can sit for days on end detailing 

something and my characters always do things extremely quickly and then move on to something else.” 

Rick and Ree have been showing their film and discussing it at events around the country. Because of the challenge 

of freely obtaining devices to access The Lost Botanist, the only way people gain ‘entry’ to this beautiful world is by 

visiting Eden Labs or attending events. 

Rick says the challenge they face as a company is trying to change perceptions about technology. The cost of 

VR devices remains high – around R7 000 per device. According to Rick, ‘digital leap-frogging’ is supposed 

to happen in Africa with the use of tablets, but he believes “that won’t fully come to fruition as fundamental 

computer skills are hard to teach to people who have never used a computer”. 

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95


“Virtual reality speaks to what you’re born with. When you put a headset on for the first time, you don’t have to 

be a technical person to consume information, so that for me is the biggest thing. If we can start taking devices to 

the education sector, the learning sector for example, we’re going to start seeing a huge impact in Africa in terms 

of leap-frogging.” Eden Labs present arts and technology sessions where students are introduced to artists whom 

Rick refers to as ‘makers’. This comes from the idea of DIY culture combined with the influence of technology and 

the sharing of knowledge. 

“Some of these artists have used computers before, while others have never touched digital tools, but when we put 

them inside a VR headset, we see a change happening in only five minutes. Artists and makers leapfrog because of 

tools such as VR and augmented reality. We’ve had countless people come in and experience VR, and immediately 

buy VR systems after their new experience.” 

Eden Labs has also created The Mixed Reality Workshop (TMRW Gallery) in Rosebank, which runs independently. It 

is a space where members of the public can access technology, and noteworthy projects have been developed with 

artists like Mary Sibande and Wayne Barker. The projects are collaborations that expose people, who don’t usually 

work with technology, to the medium. Visitors refer to the virtual reality experience as gaining access through ‘art 

machines’, striving to remove the technicality from these immersive experiences. 

Ann Roberts and Brooklyn Pakhati, director and gallery manager respectively, encourage young, lesser-known 

artists who aren’t usually exposed to virtual reality to attend sessions at Eden Labs and then in turn submit their work 

to the TMRW Gallery. As virtual reality comes into its own, putting a friendly face on it and using approachable 

ways of exposing how other people experience it, offers the possibility of introducing this technology into the 

medical industry and the education sector. 

“We want to plant a flag, not just for virtual reality, but for Africa,” Rick says. “At some point, as this kind of 

technology becomes more accepted, we want South Africa to be known as a place where people can go to find 

solutions to challenges in other sectors.” 

96

The artistic 

antiquarian 

At the turn of the 20th century Frank R Thorold laid the 

foundations for what would become one of South Africa’s 

most impressive dealers in antiquarian books and maps. 

DEKAT went to find some remaining treasures. 

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PHOTOGRAPHER: GRANT MCKINLEY 

“I’m not a books person, I’m a pictures person.” 

– MERWELENE VAN DER MERWE 

100

At the dawn of a new, tumultuous century in a South Africa ravaged by war, young Frank R Thorold 

was appointed as the South African agent for Singer, the American manufacturer of the first massproduced 

sewing machine. Thorold set up shop in Braamfontein, Johannesburg, but needlework 

wasn’t his true calling. 

A passion for books and prints saw him furnish a corner of the sewing shop with texts and maps. 

A bibliophile at heart, in 1904 he laid the foundations for what would become one of the most 

significant destinations for collectors of world-renowned modern and antiquarian Africana, books, 

prints and maps – Thorold’s Africana & Law Booksellers. 

A devoted lover of the written word, Thorold became an internationally renowned provider of books to members of 

the legal industry, and eventually also to collectors. It was a labour of love that he would continue for 58 years. 

At the time of his death, the Thorold collection contained more than 200 000 items, including rare pieces like The 

Nicolosi Map of Africa first published in Rome in 1660, The Works of John Locke in Three Volumes printed for 

John Churchill in 1714, and De Toerako’s Afgebeeld en Beschreven by H Schlegel, in honour of BM den Koning 

in 1860. Despite the business’s success, Thorold’s family took no interest in his endeavours. Following his death 

in 1962, a lawyer, Robin Fryde, bought the business to run as a hobby while maintaining his position as legal 

advisor to the mining industry. Fryde became a dedicated collector as well as an internationally recognised expert 

and trader. The collection of legal books, Africana, antiquarian books and rare first editions soon spread over two 

storeys of the building in Harrison Street in downtown Johannesburg. In his later years Fryde struggled to maintain 

the upkeep of Thorold’s, and after his death in 2012 at the age of 81 his life partner and heir, Carlos Alves, was 

ready to hand over the reins. 

101

Relief came in the form of Neillen van Kraayenburg, an experienced businessman with a love for 

books and history. In order to safeguard the valuable collection, over a six-month period in 2012 

Van Kraayenburg moved the entire bookshop to a smallholding in Kya Sands and established it 

under a new name – Thorold’s Book Farm. 

His dedication and business acumen helped to stabilise the business, and he was a well-recognised 

and respected collector in the South African arts community. Unfortunately, Van Kraayenburg’s 

sudden death meant the collection once again suffered a setback. Van Kraayenburg’s partner, wellknown 

photographer Merwelene van der Merwe, inherited Thorold’s Book Farm, but her partner’s 

death left a huge void in her life and Merwelene left the running of the business to his experienced 

personnel. Only after she had finally processed her pain did Merwelene realise the Thorold’s legacy was in trouble. 

It was essential for Merwelene to treat the treasures left to her with the necessary respect they deserved. She needed to 

find homes for the items, but the right kind of homes, where they would be valued and cherished for what they were. 

Taking care of the business meant the beginning of a new chapter in her life and she called in the help of her sisters, 

Hannelie, who lives in Robertson in the Western Cape, and Vanya from Spain. 

In 2017, the sisters presented an international book show that was attended by buyers ranging from Middle Eastern 

royalty to book dealers and serious collectors. More than half of Thorold’s treasure trove was sold; almost 30 000 

items remain. After seven years, Thorold’s is finally being wound up, and Merwelene now faces the challenge of 

finding a safe haven for the remainder of the collection. Her solution is to involve specialists who will select the best, 

most valuable items and offer them at antiquarian auctions. One hundred and fifteen years after its establishment, 

Thorold’s is coming to an end – but in name only. These treasures will forever enrich the lives of those who are 

fortunate enough to have gained access to their world. 

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curAted collection 

oukAs 

“South African Cape Dutch heritage has always inspired me and, in a way, these beautiful, old Latin books reminded 

me of its aesthetic. The concept is taking inspiration from the Armoire Cabinet and redesigning it within the David 

Krynauw Joburg Method. The walnut timber adds a classic touch to the floating bookcase.” 

Oukas is a collaboration between award-winning furniture designer, David Krynauw, Thorold’s Africana & Law 

Booksellers, and The Rare Library. The concept originated during a conversation between Merwelene van der Merwe 

and Juanita Kotzé, ‘The Rare Librarian’. 

The two visual creatives explored the potential of 31 vellum-bound collector’s books about law dated between 1590 

and 1740. Inspired by their vision, David Krynauw came on board and true to his Cape Dutch design influence, he 

drafted and designed an assembly place for the rare books. 

The result is Die Oukas. 

For information on Die Oukas contact Merwelene van der Merwe on 082 414 9829 

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105

THE UPSIDE DOWN MAP 

OF AFRICA 

Nicolosi map of Africa by Giovanni Battista Nicolosi 

This first edition of the ‘upside-down’ wall map of Africa was published in 1660 in Rome. It is in fine 

condition and presented on four pages that have not been joined. The map is rare: the Antique Map 

Price Record reports that only two of these first edition maps have been sold in the past 30 years. 

The mapmaker was Giovanni Battista Nicolosi, a priest from Sicily who was a cartographer for 

Pope Gregory XV’s Sacred Congregation for the Propagation of the Faith, established by the pope 

to promote missionary work. This map is one of a set of four continents and a world map that he 

produced for the second volume of Dell’Hercole e studio geografico di Gio Battista Nicolosi. A 

second, slightly amended edition of the map was published posthumously. 

Records show this is the first edition of the map because there are only four coastal place names off the south-east 

coast south of 30°S – more were added in the second edition. The map is based on a 1650 map by the famous French 

cartographer, Nicolas Sanson, but follows Giovanni Ramusio, who wrote a seminal book on navigation and in 1554 

included an ‘upside down’ map of the continent. South on top seems to have been an influence of Arab mapmakers 

in North Africa, who provided geographical information to the Italians. 

Reference: Betz, Mapping of Africa #94. 

For further information contact Roger Stewart at RogerStewartOnline@gmail.com 

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107

THE GREATEST 

PHILOSOPHER 

The works of John Locke Esq, in three volumes. London, printed for John Churchill, 1714 

This book was published 10 years after Locke’s death. It is the first edition of his collected works and 

the earliest to put his name to Two Treatises on Government as well as the letters on Toleration and 

The Reasonableness of Christianity. 

John Locke (1632 – 1704) was a Fellow of the Royal Society, an English philosopher and a 

physician. He has been considered “the most worthy of the indisputably great philosophers”. He 

is regarded as one of the most influential of Enlightenment thinkers and the Father of Classical 

Liberalism. “Locke was the first to take up the challenge of Bacon and to attempt to estimate the 

certainty and the adequacy of human knowledge critically when confronted with God and the universe.” His work 

contributed significantly to the theories of the mind and knowledge, to empirical science and also to political and 

economic philosophy. 

The volumes are in folio format, bound in full contemporary brown calf, gilt titles and tooling to the spine, raised 

bands, re-backed. For information please contact James Findlay at James@jellyfishtree.com 

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PHOTOGRAPHER: ELZILDA BECKER 

109

THE RARE DE TOERAKO’s 

De Toerako’s afgebeeld en beschreven by Schlegel, Hermann and GF Westerman. Onder 

Medewerking van GF Westerman. Opgedravenaan BM den Koning. Amsterdam: Koninklijk 

Zoölogisch Genootschap. Natura Artis Magistra, 1860. First edition, double elephant folio (733 x 

530mm), 24pp. text (Dutch), plus leaf of Tabula Synoptica, 17 lithographed plates by PWM Trapp 

after Schlegel, each in two states, uncoloured and with bright contemporary hand-colouring, gilt 

label, occasional slight spotting. 

Note: Probably the finest Dutch large colour-plate book on birds. “An account of the Touracos (fam. 

Musophagidae). The general text, in Dutch, contains a description of each species with distribution, 

synonymy and other notes. The synopsis contains Latin diagnoses of the species. The plates are 

excellent and suggest the work of Wolf (Zimmer). 

“The essential part of the work consists of the beautiful plates, executed in lithography coloured by hand from 

drawings by Schlegel, made from nature and as far as possible from life. The birds are figured in life-size, which 

accounts for the large format.” (Anker). These lively and colourful Sub-Saharan birds were mostly drawn from those 

in the Royal Amsterdam Zoo. Nissen IVB 833, Bradley Martin 191. 

For information please contact Merwelene van der Merwe on 082 414 9829 

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CAREL VAN DER MERWE. FOTOGRAAF: JOHAN WILKE 

112

KANSVATTER: 

DIE RUSTELOSE 

LEWE VAN 

GENERAAL 

BEN VILJOEN 

In dié uittreksel uit CAREL VAN DER MERWE 

se nuwe boek verduidelik hy hoe hy die 

spoor van generaal Ben Viljoen volg en 

watter bronne hy opgespoor het om die 

legkaart saam te stel van dié komplekse 

man wat die wêreld platgetrap het en ’n 

kleurryke en avontuurlike lewe gelei het. 

April 2017 

Ek daag vroegaand op by die plaas aan die voet van 

die Drakensberg naby Elliot in die Oos-Kaap waar ek ’n 

rondawel vir ’n paar dae bespreek het. Ek is op soek na 

die grot waar Ben Viljoen volgens hom in 1868 gebore 

is. In antwoord op my vraag of daar ’n groot grot in die 

omgewing is, vertel die vriendelike gasvrou my van Valie 

se grot hoog op teen die berg, ’n paar uur se klim. Sy ken 

egter ’n boer wat my met sy bakkie met ’n agterpad tot 

redelik naby kan neem. Die volgende oggend bel ek Braam 

Botha en die middag ry ons bergop met ’n klipperige 

grondpad wat naderhand in die veld op ’n plato eindig. 

Maar Braam beur voort met sy bakkie deur die lang gras. 

Uiteindelik kom hy tot stilstand naby die rand van die plato 

en ons klim uit. Voor my uitgestrek is ’n manjifieke toneel: 

hoë bergpieke met imposante sandsteenformasies, groen 

berghange en diep valleie, verder weg die bewerkte 

landskap van die Elliot-omgewing, op die suidelike horison 

ander berge. Hier voel ’n mens klein. 

113

’n Jaar of wat voor Ben Viljoen se geboorte het sy ouers en hul drie dogtertjies uit die Robertson-distrik in die 

veilige Kaapkolonie hiernatoe getrek, na die destydse Temboeland, ’n gebied waar hulle van die eerste wit 

bewoners was. Hier aangekom was hulle omring deur swart stamme wat hulle nie altyd goedgesind was nie, en 

moes hulle van voor af ’n bestaan uitkerf. Wie was hierdie mense, van watter stoffasie was hulle gemaak? Braam 

onderbreek my gedagtegang. Verder kan hy my nie neem nie, maar hy beduie na ’n sandsteenpiek in die verte 

– Valie se grot is daar. Hy sal my oor twee ure weer hier kom haal. Stamp-stamp ry hy weg. Van waar ek staan 

kan ek net-net ’n holte in die krans gewaar, omtrent twee kilometer ver soos die kraai vlieg, skat ek. Maar tussen 

my en die krans is ’n baie skuins grasbedekte berghang met geen sigbare voetpad nie en steil rotswande laer af. 

Die eerste paar honderd treë vorder ek redelik maklik, maar gou raak die helling steiler. Ten spyte van die matige 

herfsweer slaan sweet gou op my rug en onder my armholtes uit. Links van my lê die vallei onrusbarend ver na 

benede. As ek sou skeeftrap en gly, is daar niks wat my val sal breek nie. Is die kool regtig die sous werd? wonder 

ek. Maak dit regtig saak dat ek die grot kry waar Ben volgens hom gebore is? Maar eintlik weet ek hoekom ek 

aanhou soek. Twee jaar gelede het ek my voorgeneem om elke plek te besoek waar Ben noemenswaardige tyd 

deurgebring het, en sy geboortegrot was een van die min plekke waar ek nog nie was nie. 

Vanaf Robertson tot Krugersdorp en die slagvelde van Oos-Transvaal en Noord- 

Natal, daarna Brittanje, Nederland, Mexiko en die VSA, het ek sy spoor gevolg tot 

dit doodgeloop het in die klein dorpie in die Amerikaanse deelstaat Nieu-Mexiko 

waar hy in 1917 sy laaste asem op 48-jarige ouderdom uitgeblaas het. Net by St. 

Helena en sy geboortegrot moes ek nog uitkom. Maar daar is ook ’n ander rede 

waarom ek die grot moet opspoor. Teen hierdie tyd ken ek Ben se streke al baie 

goed. Hy was lief om stories te versin, en ek eet hulle nie meer vir soetkoek op nie. 

Is daar werklik so ’n grot in die Elliot-omgewing? Ek herkou nog aan hierdie gedagtes 

toe ek in ’n gat trap en struikel. Ek gryp met my regterhand na die graspolle 

bo my, maar kry nie vashouplek nie. Nou gly ek op my rug by die helling af na 

die afgrond wat ek nie kan sien nie, maar wat ek weet wag. Wat ’n belaglike slotsom tot my lang speurtog, skiet 

dit deur my gedagtes, om hier op tuisbodem my droewige (vir my altans) finale bestemming te bereik. Miskien 

het Ben besluit dat hy genoeg gehad het van hierdie lastige biograaf wat gaan krap het waar hy nie moes nie. 

Maar eers terug na die begin. Hoekom Ben Viljoen? Dit is die vraag wat telkens aan my gestel is terwyl ek sy 

lewe nagevors het. Dit is ’n geldige vraag, want tot ’n paar jaar tevore het ook ek byna niks oor hierdie relatief 

onbekende Boeregeneraal geweet nie. My belangstelling in hom het geleidelik ontstaan en was die gevolg van 

verskeie prikkels. In my navorsing vir my boek Donker stroom: Eugène Marais en die Anglo-Boereoorlog het ek 

bewus geraak van die aanvanklike vriendskap en latere vyandskap tussen Ben Viljoen en Eugène Marais in die 

voormalige Zuid-Afrikaansche Republiek (ZAR) in die dekade voor die uitbreek van die Anglo-Boereoorlog. Ben het 

selfs sy eersgeborene kind Wynand Eugène gedoop toe hy en Marais nog vriende was. 

Die basiese feite oor Ben se lewe het ek in die verbygaan ingeneem – die arm trekboerseun uit die destydse 

Transkei wat eers ’n polisieman op die Wes-Rand was, toe ’n joernalis en koeranteienaar in Krugersdorp, daarna 

op 30-jarige ouderdom militêre kommandant van Johannesburg asook dié stad se verteenwoordiger in die ZAR 

se Tweede Volksraad. Binne ’n jaar ná die uitbreek van die Anglo-Boereoorlog word hy bevorder tot veggeneraal 

en daarna assistent-kommandant-generaal van die Transvaalse magte onder kmdt.-genl. Louis Botha; hy word 

gevange geneem in die laaste maande van die oorlog en na St. Helena verban en emigreer ná sy vrylating na 

Mexiko en toe Amerika waarna hy uit die Suid-Afrikaanse geskiedenis verdwyn. 

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GENERAAL BEN VILJOEN 

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’n Ander belangrike prikkel was Sonja Loots se bekroonde roman Sirkusboere. Hierin beskryf Loots Ben se deelname 

aan die Boereoorlogskouspel by die 1904 St. Louis World’s Fair in die VSA. Die prentjie wat sy van hom 

skep, is boeiend: sjarmant, flambojant, impulsief, losbandig, rusteloos. Loots verwys vlugtig na Ben se latere 

deelname aan die Mexikaanse revolusie en aanstelling as Mexikaanse konsul in Duitsland. Definitief nie die 

stereotipiese tradisionele en familievaste godvresende Boer van sy tyd nie. Die saad was geplant: Wie was die 

ware Ben Viljoen, en hoe het dit gebeur dat ’n Afrikaner uit daardie era by sulke uiteenlopende gebeure in soveel 

verskillende lande betrokke geraak het? 

Ná my manuskrip Donker stroom in 2014 vir publikasie aanvaar is, het my gedagtes 

weer na Ben gedraai. Ek het alles oor hom begin lees waarop ek my hande kon lê. 

Eerste aan die beurt was hoofstukke in boeke en artikels in tydskrifte met titels soos 

“Met God en die Mauser”, “Hoera vir Ben Viljoen!”, “Die Viljoens in die VSA”, “Boeregeneraal 

maak revolusie in vreemde land” en “Die merkwaardige Viljoen”. Terwyl 

hierdie werke wel nuttige inligting bevat het, was daar weinig poging tot kritiese 

vertolking asook ’n gebrek aan verwysings met naspeurbare bronne. Daar was ook 

groot gapings wat Ben se vroeëre en latere lewensjare betref. 

Gustav Preller, bekende Afrikanerkultuurhistorikus en bedrewe skepper van Afrikanerhelde, se lang sterfberig oor 

Ben, “Met God en die Mauser”, meld egter ’n interessante staaltjie in sy inleiding. Preller vertel van die keer toe 

hy die bejaarde tydgenoot van ’n ongenoemde afgestorwe Afrikanerheld herinner het aan laasgenoemde se 

heldedade. Ná die aanhoor van Preller se relaas het sy aanhoorder droogweg geantwoord: “Ja, mijn jonge, maar 

ik kan jou vertel dat hij ook kon spekskiet soos die beste.” Was dit ’n verskuilde waarskuwing dat mens versigtig 

moet omgaan met die “feite” van Ben se lewe? 

Volgende aan die beurt was Ben se oorlogsherinneringe. Sy boeke Mijne herinneringen uit den Anglo-Boerenoorlog 

en die Engelse vertaling My Reminiscences of the Anglo-Boer War is kort ná die einde van die oorlog in 

1902 in onderskeidelik Nederland en Brittanje uitgegee. Wat Ben se lewensloop betref, eindig hierdie boeke 

met sy krygsgevangenskap op St. Helena. In 1906 het hy ’n bygewerkte Engelse weergawe getiteld An Exiled 

General self in die VSA uitgegee. Hierin voeg hy vyf hoofstukke by wat handel oor sy wedervaringe ná sy vrylating 

en terugkeer na Suid-Afrika, asook sy eerste indrukke van die VSA. Ben skryf onder meer dat hy ná die Anglo- 

Boereoorlog na die VSA geëmigreer het omdat hy nie onder Britse heerskappy wou leef nie. 

Soos die toeval dit wou hê, het ek egter in my navorsing vir Donker stroom in die Staatsargief in Pretoria op ’n 

brief afgekom wat ’n Duitser, dr. Emil Schulz, kort ná die afloop van die oorlog aan dr. W.J. Leyds, voormalige 

staatsekretaris asook buitelandse gesant van die ZAR, gestuur het. In dié brief skryf Schulz aan Leyds dat hy in 

Lourenço Marques deur ’n afgesant van lord Alfred Milner, goewerneur van die Transvaalkolonie, meegedeel is dat 

Ben by die Britse owerheid in Suid-Afrika aansoek gedoen het vir ’n pos in die Transvaalkolonie se nuwe polisiediens, 

die South African Constabulary. 

Indien Schulz die korrekte inligting ontvang het, het iets nie pluis gelyk nie – eers doen Ben aansoek om ’n staatspos 

in die Transvaalkolonie, maar later voer hy aan dat hy nie onder Britse heerskappy wou leef nie? Gustav Preller 

se waarskuwing het nou weer by my opgekom. Wat was die ware toedrag van sake? 

Die laaste en belangrikste bron wat ek aanvanklik geraadpleeg het, was J.W. Meijer se Generaal Ben Viljoen, 

1868–1917, die enigste vollengte boek oor Ben op daardie tydstip. Alhoewel hierdie werk op die oog af Ben se 

hele lewe omvat, het Meijer erken dat hy nie ’n volledige biografie kon skryf nie, omdat hy nie in die buiteland 

primêre navorsing oor Ben se bedrywighede kon gaan doen nie. Ook oor Ben se jeug in die destydse Transkei 

kon Meijer maar min inligting in die hande kry. Nietemin is Meijer se boek goed nagevors en was dit ’n stewige 

fondasie waarop ek later kon voortbou. 

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VILJOEN (4DE VAN REGS AGTERSTE RY) EN VAN SY KOMMANDOLEDE IN DIE PELGRIMSRUS-DISTRIK IN 1901. FOTO VERSKAF DEUR NICOL STASSEN 

Soos Meijer uitwys, het Ben nooit ’n volksheld geword nie, alhoewel al die noodsaaklike elemente daarvoor in sy 

lewensloop teenwoordig was. Ben was ’n prominente jonger generaal in die Boeregeledere; dit was juis hierdie 

jonger leiers wat ná die oorlog die nuwe politieke elite van die Afrikaners gevorm het, en in die eerste dekade van 

die 20ste eeu ’n Afrikanernasionalisme gedryf het wat minder republikeins was, maar geensins minder vurig nie. 

Maar ná die oorlog het Ben nie die politieke rol in Suid-Afrika ingeneem wat sy rol as prominente Boeregeneraal 

oënskynlik vir hom bestem het nie. 

Ná my aanvanklike leeswerk het ek besef dat daar groot gapings in die bestaande werke oor Ben se lewe is, 

en besluit om ’n doktorale proefskrif oor hom aan te pak. My vermoede was ook dat so ’n studie ’n ander blik 

op die traumatiese tydperk tydens en rondom die Anglo-Boereoorlog kon gee, asook op die onderstrominge in 

die Boeregeledere. Daar is verder iets baie moderns aan Ben wat my laat dink het aan ’n deel van die huidige 

generasie Afrikaners – minder godsdienstig, gemaklik in verskillende kulture, bereid om te emigreer wanneer hulle 

dink dit tot hul voordeel is. Soms is dit egter ook die meer onbenullige goed wat bydra tot die besluit om ’n paar 

jaar van jou eie lewe aan die navors van ’n ander mens se lewe te wy. Ben is op 7 September 1868 gebore, 

presies 95 jaar voor my. En behalwe vir die gedeelde verjaarsdag, het hy die eerste helfte van sy volwasse lewe in 

Krugersdorp op die Wes-Rand deurgebring, nie ver van waar ek baie jare later grootgeword het nie. 

Hierdie boek getuig daarvan dat ek my tog na Valie se grot oorleef het; ’n struik het my val gestuit, en ek kon 

taamlik ongedeerd verder stap. Toe ek uiteindelik daar aankom, moes ek ontdek dat Valie se grot eintlik ’n holkrans 

is, en te onbereikbaar en onherbergsaam vir ’n familie met jong kinders om te bewoon het. Maar die grot waar 

Ben gebore is, het ek wel toe die volgende dag opgespoor. En uit die bronne in talle familieversamelings, argiewe 

en biblioteke in Suid-Afrika, Nederland, Brittanje, Mexiko en die VSA het ’n fassinerende prentjie van ’n komplekse 

persoonlikheid na vore gekom. Ek het my proefskrif in 2018 voltooi, en Kansvatter is ’n verwerking daarvan. 

117

IS 

ONS 

KUNSTE 

FEESTE 

STERWEND? 

119

120

121 

FOTOGRAAF: HAILEY KEAN

Hoe sprankel die oë van ons volwasse feeste? 

Is daar te veel kunstefeeste? Of weerspieël hulle dalk die hartklop 

van kunste in die land, waar vreesloos oor gevaarlike dinge gestoei 

en besin kan word en as slypskole kan dien waar met oplossings 

gespekuleer kan word. THEO KEMP het by die Groot Ses – die 

KKNK, Toyota/US Woordfees, Suidoosterfees, Vrystaat Kunstefees, 

Aardklop en Innibos gaan aanklop. 

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’N EKSPERIMENTELE TEATERWERK OP DIE VRYSTAAT KUNSTEFEES IN 2019. FOTOGRAAF: LEOPOLD FRECHOW 

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Die meeste Afrikaanse kunstefeeste is bykans so oud soos ons demokrasie – gebore met 

reënboog-weerkaatsings in die oë. Dit is onbetwisbaar so dat die feeste uitkomste vir 

kunstenaars gebied het in ’n tyd toe staatsondersteuning se kraantjie toegedraai is. 

En steeds sit dit brood, en soms konfyt ook, op die tafel vir teatermakers oor die hele 

spektrum. Maar hoe lyk daardie sprankeloë babas nou as volwasse feeste? Is ons 

feeste – voeders van die kunste – in stabiele waters of laat die Sturm und Drang-jare 

van twintigjariges die kunstebootjies tuimel? 

Dit is net regverdig om eerste te kyk in die rigting van die KKNK – die Moeder van die 

Afrikaanse kunstefeeste wat vanjaar haar 25ste verjaardag in Oudtshoorn gevier het. 

Volgens Hugo Theart, artistieke hoof van Kunste Onbeperk, die maatskappy wat onder meer die KKNK in Oudtshoorn 

aanbied – lui die doemprofete elke jaar die doodsklokke vir die feeste en tog is die meeste van die groot feeste reeds 

vir dekades sterk aan die gang. 

“Natuurlik het die lands- en wêreldekonomie altyd ’n invloed op die kunste en kunstefeeste, maar ons is gelukkig om 

getroue borge, donateurs en gehore te hê, wat jaar na jaar die lewensaar van die feeste bly,” voeg hy by. 

Saartjie Botha, direkteur van die Toyota/US Woordfees in Stellenbosch, stem saam met Theart dat hoewel die 

ekonomie druk, dit al slegter gegaan het met feeste in ons land. Trouens, sy vind ekonomiese en politieke druk ’n 

uitstekende stimulus vir goeie kreatiewe uitsette. “As daar min geld in ’n omgewing is, is daar min geld om te mors 

en word dit meestal sinvol aangewend. Die bestuur van feeste is na my mening, tans redelik goed,” redeneer Botha. 

Vir dr. Ricardo Peach, hoof van die Vrystaat Kunstefees in Bloemfontein, is geld nie die begin en einde van die 

kunstefeeste nie. Die grootste struikelblok is volgens hom eerder dat die feeste voortdurend moet vernuwe om relevant 

te bly. “As jy idees het, dan volg die geld. Alles verander voortdurend om jou en soms kan ’n fees aanpas en soms 

nie. Dit is niemand se fout nie; dit is eerder die verandering in die hele land wat inspeel op al wat ’n fees is,” sê hy. 

Met ’n Nelspruitse draai, gesels ek met twee van die organiseerders van die Innibos-fees: Philna Scholtz, 

programbestuurder, en Andy Lubbe, feesbestuurder. Scholtz sluit aan by Peach deur te sê dat, hoewel die feeste 

voortdurend seker maak dat die boeke klop, feeste ook moet sorg dat hulle volgens die land se veranderinge aanpas. 

Ons gesels oor nie net ekonomiese aanpassings nie, maar ook oor sosiale veranderinge. Vir Lubbe is die Afrikaanse 

feeste – spesifiek dié in die noorde – se sosiale transformasie ’n tameletjie. Daar is baie groter bruin, Afrikaanssprekende 

gehore in die suide wat die feeste daar ondersteun,” sê hy. “In die noorde van die land is dit baie moeilik, gegewe 

die afwesigheid van bruin gemeenskappe. Ons probeer deur verskeie aksies en projekte om Innibos meer inklusief te 

maak, maar dit is ‘n groot uitdaging met mindere mate van sukses. Ons werk egter voortdurend daaraan.” 

Ek gaan klop aan by die Suidoosterfees wat jaarliks in die Kunstekaap in Kaapstad aangebied word. Dié fees is 

toentertyd in die lewe geroep juis om naatloos te wees. Hoe sien hierdie feesbestuur die stand van transformasie 

in kunstefeeste sedert 1994? Jana Hattingh, die nuwe uitvoerende hoof, glo dat hoewel produksies al baie meer 

geïntegreerd is, die gehore nog nie naastenby is nie. Sy verwys dan na die teaterkundige, prof. Temple Hauptfleisch, 

wat daarop wys dat die Suid-Afrikaanse verhoog een van die beste barometers is om ’n diverse en veranderende 

gemeenskap ten toon te stel. Hier is, selfs by Kaapse feeste, volgens Hattingh nog ruimte vir verbetering. 

As Theart kyk na die lang pad wat die KKNK al geloop het, is daar enorme vordering gemaak. Tog moet hy met 

Hattingh saamstem dat daar nog ’n paar kronkelpaaie wag. Daar is vandag meer geleenthede om Suid-Afrikaanse 

stories te vertel, maar tog is daar nog wesentlik brûe te bou tussen taal-, ras-, -geslag en kultuurgrense heen. 

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SANDRA PRINSLOO IN KAMPHOER 

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SANDRA PRINSLOO IN KAMPHOER JADENE HARTLEY IN SONDAG JEFFERSON J. DIRKS KORKEE IN ROOILUG CHRIS VORSTER IN DIE HART VERKLAP JAMES GRACE 

Botha sluit egter aan by Lubbe as sy opmerk dat daar opwindende integrasie besig is om 

plaas te vind tussen bruin en wit gehore in Stellenbosch. “Daar is veral baie opwindende 

jong bruin stemme wat deurkom en nuwe en gevestigde bruin akteurs. Ons het steeds ’n groot 

tekort aan bruin regisseurs en ontwerpers. Ons sou kon doen met beter bestuur van die groter 

kunste-omgewing, en ’n haalbare artistieke visie vir die land,” sê sy. Die groter uitdaging lê 

volgens Botha by die verskil tussen die sogenaamde wit en swart kunstebedryf. Waar die 

swart omgewing stoei met politiek en nepotisme, wat dikwels tot interessante proteswerke lei, 

is die wit bedryf verdeeld tussen die Engelse en Afrikaanse omgewings. Die Afrikaanse kunste 

word feitlik heeltemal onafhanklik van enige staatsgeld bedryf. Dit het finansiële uitdagings tot 

gevolg, maar ook ’n groot mate van vryheid. 

Alexa Strachan, feesbestuurder van Aardklop in Potchefstroom, sit met dieselfde uitdaging as Innibos rakende sosiale 

integrasie en om verskeie gemeenskappe te betrek en te bevorder. Vir haar voel dit asof hierdie vraag te sterk op 

die voorgrond gestel word. “Waar ek ook al kom, word ons hoofsaaklik gebombardeer met vrae oor wat ons vir ons 

onderskeie gemeenskappe doen? Ander vrae, soos: wat ons vir die groter kunstegemeenskap en kulturele landskap 

doen, word nagelaat, of minder geag. Het ons moontlik nou die totale las van die regering, die groot korporatiewe 

instansies, die burgerlike samelewing vierkantig op die skouers van Afrikaanse feeste geplaas?” is haar kritiese vrae 

oor hierdie netelige saak. 

Ook Corneli van den Bergh, die programbestuurder van die Vrystaat Literatuurfees, skram weg van die vraag oor 

sosiale transformasie. Sy bevraagteken of dit enigsins ’n kriterium is waaraan die feeste hulself moet meet. “Ek sou 

eerder vra,” voeg sy by, “of kunstefeeste produksies aanbied wat hulle onderskeie gemeenskappe op betekenisvolle 

wyses betrek en so sosiale meelewing bevorder?” 

Daarmee is Peach dit heeltemal eens dat dit die invalshoek van die Vrystaat Kunstefees is. Transformasie gaan vir hom 

nie noodwendig oor ras nie, maar om die verskillende kunsvorme te transformeer. Veral jonger gehore vind aanklank 

by eksperimentele werk wat die grense van genres uitdaag. Daarna, as jy dit reg kry, lok jy jonger en meer diverse 

gehore op spontane maniere. 

Hoe daar ook al na transformasie gekyk word, is al die feesbase dit eens dat die kunstefeeste van vandag se rol 

is om ’n veilige ruimte te bied waar nie net vermaak word nie, maar waar ons kan ontsnap van die alledaagse. 

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TONEEL UIT DIE MI(SA) MET AMANDA STRYDOM, SIMA MASHAZI, JACOBI DE VILLIERS EN DANIE THERON TONEEL UIT DIE GANGSTERS ‘N TONEEL UIT GYMPIESTRAAT 

Dit bied ’n soort utopie waar daar vreesloos oor gevaarlike dinge gesels en gestoei kan 

word; waar ons kan reflekteer en onsself kan herlaai. 

“Vir so lank as wat die feeste relevant bly en verantwoordelik te werk gaan met die geld 

en inhoud, sal feeste ’n toekoms hê,” antwoord Theart op my vraag oor hoe die toekoms 

van feeste lyk. Daarmee ontken hy nie die vele uitdagings nie, maar die kunstefeeste, 

saam met teaters, sal altyd die hartklop bly van die kunste in ons land. 

Peach is van mening dat kunstefeeste al hoe belangriker sal word, hoe groter die wêreld 

se probleme word. Kunstefeeste is die een plek waar daar antwoorde gevind behoort te 

word; dit is in hierdie beskermde laboratorium van die kunste, waar ons al hoe meer gaan oplossings uitwerk. Dit 

is juis om hierdie rede – die feit dat kunste as slypskole kan dien waar met oplossings gespekuleer kan word – dat 

Peach dink feeste nie sal verdwyn nie. Inteendeel, hy voorsien dat al hoe meer feeste, sommige meer intiem, oor die 

volgende jare kan ontstaan. 

Nóg feeste is volgens Lubbe nie noodwendig ’n goeie ding nie. 

“Ek is bietjie bekommerd dat die mark toegegooi word met te veel feeste wat dit al hoe moeiliker maak om volhoubaar 

te wees. Dit gaan beteken dat slegs die sterkstes gaan oorleef,” sê hy. Met “sterk” bedoel hy feeste wat 

mededingend is wat betref goeie inhoud, waarde vir geld en vernuwende denke. Groter samewerking tussen die 

feeste, sterker vennootskappe – dit hoor ek uit al die feesmonde. Daarsonder is die feeste se toekoms in die gedrang. 

Al gaan dit goed met een fees, maar nie met die ander nie, lyk die horison van die feeslandskap nie rooskleurig nie. 

“Ek is baie positief oor ons feeste se toekoms,” sê Botha. “Ja daar is te min geld, en te veel politiek, maar moenie die 

gees en die siel van kunstenaars onderskat nie. Dis magtiger as stelsels en beheer. As kunstenaars werk kan maak 

wat met gehore en potensiële gehore resoneer, het ons ’n blink toekoms. Ons het baie stories om te vertel, en gehore 

wat nodig het om stories te hoor. Negatiwiteit in ’n feesomgewing is lewensbedreigend. Feeste het nie beskerming 

nodig nie, wel koestering. Dit vra vir ’n positiewe benadering. As ons dit kan regkry, gaan ons makliker geld kry.” 

Strachan dink lank voordat sy antwoord oor hoe sy die feeste se toekoms sien voordat sy dit in die woorde van haar 

teatervriend, Christo Davids, vasvang: “Solank as wat gehore kaartjies koop en hande klap wanneer die ligte doof – 

is daar hoop.” 

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DIE KUNS VAN SLIM LEEF

DEKATv 

SABC2 5 Februarie 2020 om 19:30

WERF MET STYL 

Dis dalk die antitese van ’n winkelsentrum of ’n klap in die gesig 

van die verbruikerskultuur, maar Victoria Yards in Johannesburg 

is beslis ’n unieke konsep. MIMI GREYLING het daar gaan 

rondsnuffel. SIBUSISO GCABA is die fotograaf. 

Antieke ruïnes is ooglopend bewarenswaardig, maar dit vereis ’n spesiale oog, 

instelling en gesindheid om potensiaal in stedelike verval, veral in ’n jong stad 

soos Johannesburg, raak te sien. 

Met Victoria Yards in Lorentzville, Johannesburg, het Brian Green iets gesien wat 

sekerlik min ander sou raaksien – ’n plek wat weer lewe kan kry, en ’n lewe en 

hoop kan gee aan baie arm en werklose mense wat in die omgewing bly. 

Dele van Lorentzville, Bezuidenhoutvallei en Bertrams is voorstede wat vroeër 

huisvesting aan meestal die werkersklas gebied het. Bezvalley was veral ’n 

Joodse buurt en Sol Kerzner (of die Sonkoning soos hy op sy dag bekend gestaan het) het daar gewoon, daarna was 

dit gewild onder Portugese. Tans het dié woonbuurte al hoe meer verwaarloos geraak en verslons begin lyk. 

Nou het Green Victoria Yards begin – die plek was besaai met skrootwerwe en “chop shops” en was voorheen 

gesoneer as ’n area vir ligte industrieë. Dit was so vervalle en vuil dat die rommel byna onmeetbare afmetings 

aangeneem het. Net die skoonmaaktaak was al klaar iets wat die meeste mense sou laat weghardloop, maar stap 

nou deur die hekke en ’n wonderwêreld gaan voor jou oop. 

Dit is asof ’n mens terugstap in die verlede as jy Victoria Yards betree, die sogenaamde “high street” lê voor jou. 

Daar’s ’n kuierplek, maar hulle brou hul eie Impi-bier, jy kan ’n paar jeans koop, maar dit word volgens jou mate vir 

jou gemaak. Daar’s ’n koffiekroeg, maar die groen koffieboontjies word daar gerooster, vermeng en gemaal, voor jy 

jou stomende koppie koffie kry – boonop bak hulle hul eie brood en jy sal jammer wees as jy nie van die tuisgebakte 

koek probeer nie. Daar’s nie blomme en sierstruike in die beddings voor die winkels nie, maar groente wat uit hul 

nate bars – yslike koolkoppe, glansende spinasie, allerhande kruie en vrugtebome – ek het ’n amandelboom, pere, 

perskes, appelkose, appels opgemerk. 

En soos in ’n outydse dorpie is daar nou wel nie ’n smid nie, maar ’n glasblaser, metaalwerker en skrynwerkers. 

Brian Green is ernstig oor herwinning en om wat nog bruikbaar is, te benut. Die bedekkings vir gas- en ander pype 

buitekant geboue is van ou, verroeste sinkplate, werkswinkels en winkels het nie plafonne of ingevoerde Italiaanse 

vloerteëls nie, maar sommer sement en dit lyk presies reg in dié omgewing. Green sê vir hulle is die koste per m² 

sowat R1 500 teenoor die ongeveer R7 000 wat boukoste deesdae behels. 

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“Ek is al anti-winkelsentrum genoem, maar hulle is bietjie soos casino’s – dit trek jou in, daar is g’n siel in dié plekke 

nie en jy bestee geld op goed met geen waarde nie en wat jy ook nie eintlik wil hê nie. Soos die wêreld ontwikkel, is 

mense besig om alles stadiger te vat, en die koffie te ruik, met die besef dat daar meer is in die lewe as dié aaklige 

winkelsentrums, en deesdae verwag mense meer van hul interaksie met openbare ruimtes.” Victoria Yards is ’n oop, 

buitenshuise winkelsentrum bevolk met mense wat regtig hou van wat hulle doen. 

“Ek het dit nog nooit gesien as winkelspasie nie, vir my was dit ’n plek om goed te laat groei, waar ambagsmense 

werk en die ruimte verhuur kan word vir musiek of teater. Die hart en middelpunt is ’n lewensvatbare mark en ons is 

op pad daarheen, maar dit vereis baie kliënttevredenheid. Ons beoog ’n forum van groentekwekers in die gebied 

met gratis spasie vir die mense van die omgewing om hul produkte te verkoop. 

“Hulle bring hul produkte in die naweek om te verkoop. Ons wil ook graag een groot verkooparea skep waar die 

ambagsmense in die ateljees hul werk kan verkoop. 

“Nou het ons elke eerste Sondag van die maand ’n oop dag en jy kan ’n artisan-bier, of die goedkoopste vis en 

skyfies in die dorp geniet. Jy kan ronddwaal en leerbaadjies, handsakke, jeans, groente, houtwerk, juweliersware of 

glasware by die ateljees bekyk of koop. 

“Dis vir my belangrik dat dié plek organies moet groei en sy eie voete moet vind, daar was dus nie ’n groot kontantinspuiting 

nie en ons vind ons pad soos wat ons aangaan met ’n lae uitrol. Basies word die plek met baie min 

mense aan die gang gehou, dis PJ Henning, my assistent, en ’n huuronwikkelaar. Baie min word neergeskryf wat 

betref planne en beplanning, ons gesels meer oor dinge, maar ons het rekenmeesters en professionele mense in die 

agtergrond indien ons hulle benodig, andersins gaan ons voort met ons eie geld.” 

Die argitek van die Zeitz-museum vir kontemporêre Afrikakuns in Kaapstad, Thomas 

Heatherwick, se ateljee het ook ’n soortgelyke, maar baie ambisieuser projek 

aangepak in Londen se King’s Cross met die Coal Drops Yard-winkelsentrum waardeur 

twee Victoriaanse steenkoolpakhuise in ’n buitelug winkelarea omskep is en teen die 

einde van verlede jaar geopen is. “When thinking about these unusual structures, we 

were thinking, how could we make this something that isn’t like a shopping mall,” het 

Heatherwick onlangs verduidelik en daarmee Green se filosofie onderstreep. 

Green vertel hy was vroeër ’n kameraman en dat hy “skaars matriek gemaak het”, dat 

hy nie gekwalifiseerd is vir die werk as eiendomsontwikkelaar wat hy nou doen nie. 

Maar dat ons as “bevoorregte Suid-Afrikaners verantwoordelikheid moet neem deur ander te help waar ons ook al 

kan, om mense hoop te gee veral wat onderwys betref, waarvan dié land regtig ’n gemors gemaak het.” 

Hy glo dat te veel mense universiteit toe wil gaan en dokters wil word terwyl hulle byvoorbeeld wiskunde hopeloos 

gedop het, “terwyl geen aandag gegee word nie aan groot groepe wat skaars onderwys ontvang het, maar hulle 

is mense wat bronne kan wees, soos tuiniers, sweisers, hulle kan met hout werk of kunstenaars wees – hulle is nie 

nutteloos nie.” Die werkers by Victoria Yards word opgelei om verskeie vaardighede te bemeester – hulle begin as 

tuiniers, maar leer dan byvoorbeeld om te sweis, te messel, vensters in te sit. 

“Die eerste keer toe ek na dié eiendom gekom het, het dit my opgeval dat die mense arm en werkloos was, en die 

grootte van die plek en die soort ruimte wat dit was, het my dadelik aan voedselsekerheid laat dink.” 

Onder die waaksame oog van Tony Bensusan is die plan om die grond, wat uiters arm en verwaarloos was te voed 

en hulle het die Bokashi-metode in werking gestel – ’n proses waardeur kombuisafval verwerk word in ’n “tee” wat 

ryk aan voedingstowwe vir plante is. Die hele proses word op die eiendom voltooi, met mense wat houtskool van ou 

planke en die saagsels van die skrynwerkers maak, en kombuisafval op die perseel gebruik – herwinning weer eens. 

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Die gevolg is uiters vrugbare grond en pragtige, gesonde groente in die tuin. 

Daar lê nog baie werk voor waarvan een ’n projek is om die Juskeirivier, wat naby Ellispark ontspring en verby die 

Victoria Yards vloei, skoon te maak en te herwin volgens wetenskaplike metodes. Intussen het sowat 40 besighede 

hulle reeds hier gevestig, en daar’s nog baie plek vir baie meer. 

Green sê hy is dol op verval en sien dadelik die moontlikhede van sulke plekke in. Hy vertel dat 44 Stanley, ’n 

buitelug winkelsentrum in Braamfontein Werf wat hy ook ontwikkel het, in algehele verval was toe hy dit aangepak 

het. Deesdae is dit ’n plek waar jy heerlik onder olyfbome kan eet en buitengewone winkels kan besoek. Volgens 

hom is daar nog baie werk by Victoria Yards, dit gaan nog lank vat, maar hulle is nie haastig nie, en as 44 Stanley 

’n maatstaf is, gaan die Yards in die volgende jare ’n plek word waar mense van heinde en ver gaan kom om tyd te 

spandeer, rond te loop en te snuffel, en miskien iets regtig besonders te koop. 

WAT JY KAN KOOP EN SIEN 

Coote and Wench Design Company maak meubels van industriële onderdele en spesialiseer in die herwinning en 

hergebruik van antieke en periodeartikels wat oorgemaak word sodat dit bruikbare gebruiksartikels en dekoratiewe 

stukke is. Hulle maak meestal ligte en beligting wat elkeen uniek is en die staanlampe wat hulle op ’n driepoot monteer, 

met ou soek- en kolligte. Elke lamp wat vervaardig word, is uniek met ’n eie geskiedenis van waar die verskillende 

komponente gevind en tot stand gekom het en elkeen is genommer omdat geeneen van die lampe dieselfde is nie en 

as individuele stukkies beligtingskuns beskou word. 

Young Bucks, verkoop handgemaakte notaboekies gemaak volgens persoonlike voorkeur vir korporatiewe en 

persoonlike kliënte in verskeie groottes, geskenkboksies en individuele spesiaal gebonde boeke. Hulle gebruik 

herwonne papier. 

Werkswinkels van ambagsmense sluit in die meubelateljee van David Krynauw, die Smeltglasateljee, ’n openbare 

ateljee bestuur deur Martli Jansen van Rensburg en Mike Hyam. Hier kan jy sien hoe glas geblaas word, maar jy kan 

ook lesse in glasmaak volg en werksessies bywoon. Die ateljee werk saam met verskeie kunstenaars en vervaardig 

werk wat volgens opdrag voltooi word vir korporatiewe en individuele kliënte. 

Foakes, die koffiewinkel, is ook uitsonderlike want hulle koop groen koffieboontjies wat hulle voor jou oë rooster, 

vermeng en maal – varser koffie sal jy beswaarlik êrens anders kry. 

’n Aantal bekende kunstenaars het ateljees by Victoria Yards en sluit onder andere in Blessing Ngobeni, Ayanda 

Mabulu, James Delaney en Roger Ballen. Die Daville Baillie Gallery het ook van Norwood verskuif en stal werk van 

kontemporêr Suid-Afrikaanse kunstenaars uit sowel as van die ouer Suid-Afrikaanse kunstenaars met ook Matthew 

Krouse, voormalige kunsjoernalis, se boekwinkel wat ’n goeie verskeidenheid kuns- en ander boeke verkoop. 

By die Impi-bierbrouery kan jy saam met ’n heerlike artisan-bier ook ’n pizza geniet. 

Sarah Cronin Designs is ’n metaalsmid wat met koper en rooikoper werk. Haar stukke is geïnspireer deur die flora van 

Afrika en sy maak veral beligting en fonteintjies vir visdammetjies. Al haar werk word individueel ontwerp en gemaak 

en sy werk in opdrag van kliënte se vereistes. 

Helene Thomas, ’n Franse juwelier se ateljee Yol, het uitsonderlike handgemaakte juweliersware. Sy noem haarself 

’n nomadejuwelier en kombineer tradisionele Afrika-kralewerk met kontemporêre ontwerpe. 

Dan is daar Tshepo The Jean Maker se ateljee waar jy wel jeans van die rak kan koop, maar ook jeans volgens jou 

mate kan bestel – egte Joburg-ontwerpte jeans. 

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135

FOR THE PEOPLE, 

BY THE PEOPLE 

The South African Mint is commemorating 25 years of constitutional democracy 

with a new range of coins initiated by the Born Free generation. 

Ever since the establishment of a mint in Pretoria in 1890, and the commencement of domestic coin production in 

1892, the South African Mint – a wholly owned subsidiary of the South African Reserve Bank – has done the country 

proud. It steadfastly honours an important legacy role, creating timeless value through the craftsmanship of collectable 

gold coins that have become highly sought-after commemorative pieces and sound investments worldwide. The SA25 

collectable coin programme is a sterling example. 

2019 marks South Africa’s 25th anniversary as a democracy and the SA25 programme reinvigorated national pride 

by involving everyday South Africans in the development of the coin themes and designs. The idea was to develop 

coins in a manner that mirrors the concept of democracy: ‘for the people, by the people’, reflecting what everyday 

South Africans regard as significant or most notable about our democracy. 

The South African Mint embarked on the mammoth task of consulting members of the public for their views and ideas, and in 

the year leading up to the 25th anniversary, young South Africans born from 1994 onwards – known as ‘Born Frees’ – were 

consulted on their perceptions of democracy and freedom. Born in a free and democratic South Africa, the group provided an 

interesting view as they are regarded as untainted by the traumas of the past. 

Some of the dominant themes they identified as being synonymous with a free and democratic South Africa, are the constitution, 

the right to vote, and freedom of choice and expression. Symbols and images used to express these themes included South 

Africa’s green ID book, minibus taxis and multicoloured hands (representative of diversity/diverse races). 

Following the identification of themes, a handful of South African artists were selected to interpret these concepts into designs 

that would be used on the coins. Six artists were chosen from a list of 27 young South African artists who came from different 

disciplines and backgrounds. The group included painters, illustrators, sculptors and even a tattoo artist; some well known, others 

lesser known, but all extremely talented and highly rated by critics and peers alike. 

The outcome of the project was the introduction of three new collectable coins in gold, silver and bronze, and five new R2 

circulation coins, depicting five different rights from the Bill of Rights, as well as a new R5 circulation coin featuring the design 

of a ballot box and a long queue symbolising South Africa’s first democratic election in 1994. 

All the SA25 commemorative circulations coins issued by the South African Reserve Bank and the South African Mint, 

including the collectable range, use a common typeface originally created by Garth Walker for the Constitutional Court. The 

typography, as reflected on the commemorative coinage, was created in 2003/04 as a unique wayfinding system font for the 

Constitutional Court of South Africa. This typography is used throughout the reverses of all nine coins, paying homage to the 

court – a symbol of the 25-year milestone. 

The new commemorative circulation coins are available together with ‘regular’ circulation coins, while the three collectable 

coins (pure-gold R500, sterling-silver R50 and bronze R50) are available for purchase as individual coins or as part of a 

variety of coin sets from the South African Mint or a number of retail outlets. 

More details can be found at www.samint.co.za or www.sa25.co.za 

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THE SA25 COMMEMORATIVE COINS AND ARTISTS 

Maaike Bakker 

R2 circulation coin: 

Environmental Rights 

Rasty Knayles 

R2 circulation coin: Right to 

Movement and Residence 

Shaun Gaylard 

R500 collectable 1oz 24ct gold coin: 

Constitutional Court 

Neo Mahlangu 

R2 circulation coin: Children’s Rights 

R2 circulation coin: Right to Education 

Lady Skollie 

R5 circulation coin: Let us Live and Strive for Freedom 

R50 collectable sterling-silver coin: 25 years of constitutional democracy 

Peter Mammes 

R2 circulation coin: Freedom of Religion, Belief and Opinion 

R50 collectable bronze alloy coin: We the people of South Africa 

Garth Walker 

Reverse typographer: SA25 Commemorative coin range 

Look out for the new coins in circulation: find, collect and keep yours in a custom-made coin folder, freely available 

from the South African Mint in Centurion or one of the retail partners listed at https://sa25.co.za/buy.html 

Follow the South African Mint on Twitter (@SAMint), 

Facebook (@SouthAfricanMint) and Instagram (@SouthAfricanMint) 

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138

KULTUUR 

FOTOGRAAF: JAKE DAVIES 

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MET LAAGWATER KAN 

JY SIEN WIE KAAL SWEM 

DEON MAAS het Suid-Afrika se stof van sy voete afgeskud en 

woon nou in Berlyn. Hy het geen verlange na sy heimat nie, want 

vir die eerste keer in sy lewe slaap hy rustig met albei oë toe en 

wat is dit nie ’n wondersoete ding nie! 

In Berlyn kan jy álles kry. Daar is die ketamien- en speed-mengsel wat jou 48 uur lank sal laat dans by die vure wat 

hoog brand langs die Spreerivier wat verby die techno-klub Griessmüle loop. 

Dan is daar die politieke vryheid wat saam met jou kontinentale ontbyt bedien word en die gemak van beweging wat 

veilige openbare vervoer jou bied. Berlyn bied ook ’n tuiste vir elke subkultuur wat jy mag ken, dié wat jy nie ken nie 

en ook aan dié wat nog nie buite Berlyn bestaan nie. Niemand word berispe, aangestaar of uitgekryt vir wie hulle is 

nie. Alles is aanvaarbaar, behalwe ’n hakekruis. 

Die een ding wat jy nie in Berlyn sal kry nie, is slaap. Verwag middernagtelike oproepe om jou uit te nooi om gou te 

gaan aandete eet, ’n band wat eers twee uur in die oggend op die verhoog gaan en die spätys wat deurnag drank 

verkoop wat jy dan in vroeë oggendure in die veilige parkies of op die sypaadjie kan gaan sit en drink. 

Tog is die een ding wat ek in Berlyn doen, om te slaap. Ná dekades van slaap met een oog oop met die vrees dat 

die huisalarm in die middel van die nag sal afgaan en dit dié keer nie die wind gaan wees nie. Wanneer my hond 

nou in die middel van die nag grom, is dit ’n teken dat hy droom, eerder as ’n waarskuwing dat daar ’n inbreker/ 

verkragter in die tuin is. 

So, nou slaap ek. Ek slaap die slaap van die dode, want vir die eerste keer in my lewe kan ek rustig slaap. 

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DEON MAAS. FOTOGRAAF: NARDUS ENGELBRECHT 

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142 

BERLYN, DUITSLAND – MAART 20: Graffiti op die Berlynmuur soos gesien op 22 Maart 2015. Dit is ‘n 1,3 km lang gedeelte van die oorspronklike Berlynmuur, wat in 1989 geval het

Terwyl die techno-koppe hulle tiete af trip, slaap ek. Terwyl die geroesemoes van die stad uitgeblok word 

deur die dubbel glasvensters, slaap ek. En as die son opkom in die oggend staan ek vars op en loop 

met my honde deur die leë strate, want almal wat tot laat wakker was, slaap dan nog. 

Ek glo vas alle Suid-Afrikaners, ongeag hul ekonomiese status, ly aan posttraumatiese stresversteuring. 

En die enigste manier om dit te behandel is om nie in Suid-Afrika te bly nie. 

Waar almal anders skynbaar Berlyn toe kom op soek na ’n 24-uur-lange partytjie, het ek rus en vrede in 

die Duitse hoofstad gevind. Ek het hierdie rus en vrede gekry danksy die feit dat ek kan slaap. Siende 

dat ek nou vir die eerste keer in dekades gemaklik kan slaap, het ek ook baie tyd om te dink. Wanneer 

daar nie baie stres in jou lewe is nie, kan jy vryer dink. Sodra jou brein vir die eerste keer daardie blokkasie van vrees 

verwyder, is dit verbasend waaroor jy alles kan dink en tot watter gevolgtrekkings jy kan kom. 

Ek dink op die oomblik baie oor my Suid-Afrikanerskap en oor my Afrikanerskap en ek wonder hoekom ek so lank 

daaraan vasgeklou het. Ek wonder hoekom dit so belangrik was vir my en hoekom dit so maklik was om daarvan 

weg te loop. 

For starters was ek nog nooit een vir nostalgie nie. Ek kyk vorentoe en nie terug nie. Die gereelde vraag uit Suid-Afrika 

oor wat gaste kan saambring word altyd negatief beantwoord. Ek het niks nodig nie. Ek was nog nooit ’n biltong-, 

blatjang- of bobotiemens nie. 

Soos ek hier op my balkon sit en uitstaar oor die ou wêreld waarin ek my nuut bevind, wonder ek hoe ek vir so lank 

die leuens kon glo wat aan my opgedis is. Dit is dat Suid-Afrika beter is as die res van Afrika en dat Afrikaans eintlik 

’n goeie hart het. 

Een ding kan ek jou sê, van hier af lyk dinge baie anders. Dis asof ek vir die eerste keer perspektief het, asof ek my 

eie herkoms deur nuwe oë sien. Oë sonder gloukoom of katarakte. Die prentjie is nie ’n mooi een nie. 

Met afstand en tyd lyk die werklikheid van Suid-Afrika elke dag net nóg skrikwekkender – dis ’n ondergrondse middelaarde 

waar robotrowers jou dwing om jou motor se vensters toe te draai en opportunistiese sluipers, wat tussen 

tronkvonnisse is, hul tyd op sypaadjies verwyl. 

Ek dink ook aan die korporatiewe zombie sielesuiers wat jou leeg suip van idees en dan op straat laat beland. Suid- 

Afrikaners laat my aan ’n giftige slang dink wat alles wil doodmaak wat te naby aan hulle kom. ’n Nydige emmer 

vol krewe wat mekaar terug sleep in die holtes van Dante se dieptes om te keer dat die een beter vaar as die ander. 

Ek dink ook aan die feit dat daar te veel mag in te min hande is, van die regering tot televisiestasies. Ek bekommer 

my oor die hoë werkloosheid onder die onopgevoedes, maar ook aan die opgevoedes wat sukkel om werk te kry. 

Die middelklas dra hul juk terwyl hulle aanhou hoop dat dinge beter sal word, maar steek hul duur rooiwyn weg vir 

gaste omdat hul inkomste nie meer is wat dit was nie. 

Die spelfoute wat regses daagliks in kommentare op die internet maak en hul dreigemente dat hulle gewelddadig 

sal raak omdat iemand die voorbestaan van hul taal bedreig, is net amusant of lagwekkend as jy in Suid-Afrika is. 

Van ’n afstand sien jy dit vir wat dit regtig is: die dreigement van ’n histeriese dier wat in ’n hoek vasgekeer is. 

143

Hoe goed is Afrikaans se hart regtig? Daar sal natuurlik ook niks van die dreigemente kom nie, want 

daarvoor is dié soort Afrikaner te lafhartig. 

Die taalstryders, sowel dié wat redes soek om Afrikaans te beskerm as dié wat die taal wil afbreek, 

vergeet een ding: Afrikaans as akademiese taal is die resultaat van ’n nasionalistiese rassisme wat 

dit gefasttrack het. Dit het veroorsaak dat Afrikaans kon boks in ’n gewigafdeling wat hoër was as 

waarvoor dit gekwalifiseer het. 

Dié wat die taal wil afbreek, vergeet dat hulle dieselfde sou gedoen het as hulle in dieselfde posisie was. 

Afrika se geskiedenis van een stam wat ’n ander onderdruk as hulle die mag het, is nie net beperk tot 

apartheid nie. Institusionele xenofobie en die konsep van “it’s our turn to eat” as jou mense aan bewind kom, is nie 

uniek aan die wit Afrikaner nie. 

144

As ek so in die bus sit en by die venster uitstaar na die realiteitstelevisieprogram wat Berlyn is en alles 

sien wat so netjies en ordentlik is, so veilig en onbedreig – van jou persoonlike vryheid tot jou inkomste 

– dan sien ek ook die zef om my wat my voorvaders ontduik het, net om hul eie weergawe daarvan 

op ’n nuwe kontinent te begin. 

Dan wonder ek wie ons rêrig is en ja, ek gebruik steeds “ons”, want ek is steeds deel van my stam 

en ek kan dit nie ontvlug nie. Ek is deel van die genetika en die sosiale administrasie. Ek is ’n produk 

van my omgewing. 

Ek is die produk van ’n kultuur wat gebou is op moord, onderdrukking en meerderwaardigheid en ’n 

boek wat op sy beste met die sprokiesverhale van die Grimm-broers vergelyk kan word. Ek is ’n produk wat ’n toevallige 

saadstorting van dwarstrekkende Calviniste en matrose wat nie vinnig genoeg uitgetrek het voordat hulle na 

die volgende hawe vertrek het nie, ’n trots van statussimbole wat alles verkeerd is. Van te veel kinders tot ’n boepmaag 

as statussimbool, ’n motor wat te duur is en whisky wat blou is. 

Ons is ’n sameflansing van gene wat almal iewers verloor het: die kerk, die bure, die regering. Mense wat te groot 

sissies was om die hitte en kompetisie in Midde-Afrika uit te staan, te besig was om prentjies teen die rotsmuur te teken 

om te leer ploeg of oorlog maak. Met ander woorde, ’n klomp verloorders. 

Dit wys orals in die psige van ons volk. Mense wat altyd die skuld op iemand anders sal pak wanneer dinge verkeerd 

begin loop. Mense wat ’n rassis soos Mike Bolhuis steeds op televisie wil sien of stem vir Julius Malema. 

Het ek nog altyd so gevoel? Het ek tevore net hierdie hatigheid teenoor my land wegsteek? Moes ek dit doen om in 

Afrika te kon oorleef/oor die weg te kom/aanvaar te word? 

Suid-Afrika het ’n land geword waar die boelie koning is en waar mense die brandstapels van sosiale media aansteek 

en hul vyande soos Middeleeuse hekse daarop verbrand. Dan vertel hulle hulself “two wrongs make a right”. 

Sentraal hiertoe is die gebruik van die woord “hulle”. Dit word met snobisme, agterlikheid en met moord in hulle 

harte gesê. 

Ons s’n is ’n lewe van lieg, ’n kultuur van leuens wat van ’n vroeë ouderdom saam met ons ontbytpap vir ons gevoer 

is. Ons ware vyand is egter nie “hulle” nie. Ons grootste vyand is onsself. Anders as Neo in The Matrix het ons 

Morpheus se blou pil gedrink. En geen hoeveelheid moeite of logika of heropvoeding gaan ons herbedraad nie. Ons 

is wat ons is en ons moet vrede daarmee maak dat ons nie die uitverkore volk is nie, maar die verlore volk. 

Ons is ’n gesteelde volk wat gebore is met die bloed van slawe wie se spermdonasies nie altyd voldoen aan die reël 

van die gewillige skenker/gewillige ontvanger nie. Albei metafories en werklik. 

So hier sit ek nou in ’n plek waar seks wettig verkoop kan word in plekke soos Caligula in Martin Lutherstrasse, maar 

geweld teen vroue amper nie bestaan nie. Waar daar 5,5 miljoen wapens in private besit is, maar slegs 1,18 moorde 

per 100 000 mense. ’n Plek waar niemand dink ek lyk weird nie, ’n plek waar niemand dink my opinie is haatspraak 

nie. ’n Plek waar daar ’n R13 000 per maand belastingafslag is op my vrou se salaris omdat ek nie werk nie. 

Dis nie ’n utopie nie. Natuurlik nie. Die Berlyners rondom my kla ook maar oor dinge want hulle is “aan beter 

gewoond” (hulle woorde, nie myne nie). Hier is bevoorregting in die grondwet ingewerk en word dit streng toegepas. 

Ek wonder gereeld wie ek sou gewees het as ek hier grootgeword het. Ek wonder hoe dit my menswees en waardigheid 

sou beïnvloed het. Hoe anders ek dalk oor die lewe en dinge sou gedink het. 

Dan vra iemand my of ek ooit sal terugkom Suid-Afrika toe. 

Dan gaan slaap ek weer. Dis ’n wonder soete ding. 

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QUO VADIS 

AFRIKAANSE 

MUSIEK? 

’n Mens kan die vraag: waar staan Afrikaanse musiek vandag? 

kortliks as volg beantwoord: Afrikaans is ’n dinamiese taal, en net 

so ook is die kunste (insluitende musiek) in Afrikaans, en solank 

as wat mense Afrikaans praat, sal mense in Afrikaans musiek 

maak. Ongelukkig is Afrikaanse mense nogals geneig tot intense 

introspeksie as dit kom by taal en kultuur, vandaar SCHALK VAN 

DER MERWE se onderstaande, langer verduideliking. 

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FOTOGRAAF: GASTON ROULSTONE 

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Ek wonder dikwels of om te praat oor die “stand van Afrikaanse musiek” met die doel 

om enigiets aan die bedryf te verander, nie dalk ’n nuttelose oefening is nie. Dit laat my 

dink aan iets wat een van die destydse grootkoppe van die FAK gesê het by hul 1931 

Volkskongres: dat nasies wat baie praat oor die stand van hul eie kultuur dalk hoë kulturele 

ambisies het, maar sodoende ook bewys hoe selfbewus hulle van hul eie kulturele armoede 

is. As mens die talle daaropvolgende kommissies, verslae en referate in ag neem, blyk dit 

dat die Afrikaanse kulturele wêreld by tye tydens die 20ste eeu in ’n kritieke toestand was. 

Ironies was dit dalk waar, maar dít was miskien meer die gevolg van oorgretige patriarge 

as ’n tekort aan kulturele kapitaal. Ek sê nie hiermee dat daar nie in Afrikaanse kultuur belê 

moet/moes word nie, maar eerder dat pogings om kultuur te beheer en te reguleer – en 

in uiterste gevalle, doelbewus in ’n spesifieke rigting te druk – dikwels gevaarlike politieke ondertone gehad het. 

En dalk steeds het. As mens die stand van Afrikaanse musiek vandag wil verstaan, is dit dalk ’n goeie idee om dit 

in verhouding met die wyer kontemporêre Afrikaanse kultuurbedryf te beskou. En dié is myns insiens, ongeag die 

opinies van doemprofete, nie in intensiewe sorg nie. Kyk maar na al die Afrikaanse TV-kanale en programme (van 

wisselende gehalte natuurlik, maar nietemin ...), literêre werke, toneelstukke, komedie en veral ook die bloeitydperk 

vir Afrikaanse rolprente die afgelope sewe, agt jaar. Die Afrikaanse musiekbedryf vaar ook nie te sleg nie. Ja, 

as mens met musiekkunstenaars praat, sal jy hoor dat dit maar swaar gaan met CD-verkope. Aanlyn-stroming 

het die hele spel verander. Sommige pas makliker aan by hierdie veranderinge as ander. Die jonger generasie 

kunstenaars voel dalk minder uit die water met tegnologiese vooruitgang en meer tuis met sosiale media. Die punt 

is dat Afrikaanse musiek nie sommer sal ophou weergalm oor die landskap nie. 

Die ontwrigting wat tegnologie gebring het tot die Afrikaanse musiekbedryf – eintlik die globale musiekbedryf – 

bring daarmee saam opwindende geleenthede. Sulke veranderinge is niks nuuts nie. In die 1930’s is die eerste 

plaaslike opnameateljees in Suid-Afrika opgerig wat gelei het tot ’n bloeitydperk van Afrikaanse plate met sangers 

soos Chris Blignaut en David de Lange – iets wat ondenkbaar was voor die tyd. En toe die SAUK in 1936 gestig 

is, met ’n Afrikaanse diens wat bygevoeg is in 1937, het dit weer die deur oopgemaak vir ’n nuwe generasie 

musikante soos Hendrik Susan. Toe Springbok Radio die lig gesien het in 1950 het dit plaaslike kommersiële 

musiek ’n groot hupstoot gegee. Só ook het die verskyning van langspeelplate in die middel 1950’s ’n superster 

gemaak van Nico Carstens. Die uiteindelike aankoms van televisie in 1976 het die deur oopgemaak vir ’n nuwe 

generasie kunstenaars wat bekendheid verwerf het met die program Musiek en Liriek, wat vanjaar 40 jaar herdenk. 

Van hulle, soos Anton Goosen, Laurika Rauch en Jannie du Toit, is steeds aktief. Voëlvry is vanjaar 30 jaar oud 

en Koos Kombuis – die enigste oorlewende voorsanger van die beweging – tree steeds op en reik albums uit met 

sy kenmerkende sosiale kommentaar. Ek was toevallig onlangs deel van ’n musiekproduksie wat ’n verwerking 

van Johannes Kerkorrel se ikoniese album, Eet Kreef!, opgevoer het. Wat my opgeval het, was hoe relevant die 

bytende lirieke gebly het. Die musiek van die Voëlvry-beweging verpersoonlik ná 30 jaar steeds die hoogtepunt 

van Afrikaanse protesmusiek. Natuurlik het die dinamika heelwat verander sedert 1989 – PW Botha is, helaas, nie 

meer met ons nie, maar tog bly die satiriese uitbeelding van Afrikanerdom in die kol. 

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Met die einde van die apartheidsjare het die streng sensuur wat die 

kultuurbedryf gereguleer het, verval, wat weer meer vryheid vir 

kunstenaars gebied het. So ook het die aankoms van CD’s in 1992 

gelei tot ’n oorvloed van Afrikaanse musiek. Veral vanaf die vroeë 

2000’s het ons ’n merkbare groei in CD-verkope gesien, met ’n aantal 

hoofstroom Afrikaanse kunstenaars wat elk honderde duisende eenhede 

per CD verkoop het. Dink maar aan mense soos Juanita du Plessis – die 

grootse vroulike kunstenaar tot dusver wat verkope betref – Kurt Darren 

en Theuns Jordaan. Dit is myns insiens sekerlik die era in Afrikaanse 

musiekgeskiedenis wat die meeste verkope gesien het. Daardie goue 

golf het nou grootliks sy gang gegaan. Goudstatus is nou 15 000 waar dit eens 25 000 was, en bitter min 

kunstenaars bereik byvoorbeeld dubbelplatinum-, of selfs net platinumstatus. Verder het die onlangse dood van 

Piet Botha, wat vir soveel jare ’n vaderfiguur was vir alternatiewe kunstenaars, my weer herinner aan die jare 

lange spanning tussen die hoofstroom en die rockers. Hierdie tweespalt is egter nie meer so eng nie. Kyk maar na 

Francois van Coke en Karen Zoid, wat albei die hoofstroom betree het sonder om hulle klank enigsins te verander. 

Terug na die huidige tegnologiese ontwrigting. Die veranderinge wat ons ervaar, kan dalk die grootste 

omwentelings tot nog toe veroorsaak. Kunstenaars kan hul eie musiek die wêreld instuur sonder om staat te maak 

op platemaatskappye. Enigiemand, insluitende jong kunstenaars, kan musiek opneem in hul kamers met vandag 

se tegnologie, video’s goedkoop maak (selfs met ’n foon as jy baie kreatief te werk gaan), en dit op YouTube laai 

(of net bloot op ander aanlynplatforms gratis deel) en só ’n gehoor bereik sonder om ooit op radio gespeel te 

word. Ja, geld speel steeds ’n rol in produksie, maar dinge is veel meer toeganklik. As jy as kunstenaar slim te 

werk gaan met sosiale media, raak jy basies jou eie vermaaklikheidskanaal met ’n aanlyn gevolg. Dit is so maklik 

om via sosiale media jou gehoor op die hoogte te hou met waarmee jy besig is. Die dae is getel dat jy plakkate 

moes druk en teen lamppale gaan opsit in die nag. Spoegwolf maak so opslae as ’n belangrike nuwe band. Die 

eens berugte Fokofpolisiekar vier vanjaar hul 16de verjaardag en gaan van krag tot krag. Hulle het ook uitgebrei 

op sakevlak en het nou ’n kroeg en hul eie bier. Dit wys vir ons dat die musiekekonomie moontlikhede bied as jy 

weet hoe om jou openbare profiel goed te bestuur. Die beste voorbeeld van almal is sekerlik Die Antwoord, wat 

as internetsensasie die grootste “Afrikaanse” (ek is dalk pedanties, maar die meeste van hul lirieke is in Engels) 

musiekuitvoerproduk ooit geword het. Daar is vele ander kunstenaars – te veel om op die naam te noem – wat 

goed aanpas met die veranderende tye. 

Dit kan net goed wees vir Afrikaanse musiek. Veral as mens in ag neem die historiese beperkinge wat sommige 

Afrikaanse musiekkunstenaars uitgesluit het. Daarmee bedoel ek Afrikaanse musiek in wat hulle “nie-standaard 

Afrikaans” noem. Ná ’n lang en vele male hartseer geskiedenis van ras- en klasdiversiteit onder die mense wat 

Afrikaans hul moedertaal noem, asook die politiek oor wat as standaard en nie-standaard geag is, behoort musiek 

in álle weergawes van Afrikaans verwelkom te word. 

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Die mooiste lirieke in Kaaps en ander dialekte verryk die taal en dié linguistiese 

diversiteit onder moedertaalsprekers maak dit moontlik vir Afrikaanssprekendes van 

verskillende agtergronde om mekaar se lewenservaringe – soos byvoorbeeld die 

harde realiteite van die bendegeteisterde areas van die Kaapse Vlakte – op ’n 

dieper vlak te verstaan. Histories het die werk van Taliep Pietersen en David Kramer 

baie gedoen om die musiektradisies van bruin Afrikaanssprekendes te bevorder. 

Die ATKV doen spesifiek baie werk onder Afrikaanse jongmense van verskillende 

agtergronde om hulle te inspireer om liedjies in Afrikaans te skryf. Dit kan op lang 

termyn mooi vrugte afwerp. Tog duur ou tendense voort. Tot ’n mate reflekteer 

die Afrikaanse musiekbedryf die wyer kontoere van die Afrikaanssprekende 

gemeenskap – die goed én die sleg. Wie is die gehore wat duur kaartjies by kunstefeeste en teaters kan bekostig? 

Wit Afrikaanssprekendes het gemiddeld meer koopkrag en kan dit makliker bekostig om verskeie kunstenaars te 

ondersteun deur óf hul musiek te koop, en/óf lewendige optredes by te woon. Dit maak die wit – en ja, dit is ’n 

growwe veralgemening in ’n samelewing met baie fyn nuanses – segment van die Afrikaanse musiekmark sterker. 

Sommige kunstenaars slaan munt daaruit deur juis hul wit identiteit deel te maak van hul bemarkingstrategie. En 

dáárvoor was daar maar nog altyd ’n mark. Maar dinge verander. Kyk byvoorbeeld vir Emo Adams wat die nuwe 

aanbieder is van Noot vir Noot. 

So wat ís dan die stand van Afrikaanse musiek? Die veranderinge op tegnologiese vlak bied uitdagings, maar ook 

geleenthede vir Afrikaanse kunstenaars. Solank daar belê word in die ontwikkeling van ’n wye verskeidenheid 

jong talent, sal die bedryf die vrugte daarvan pluk. Die nuwe generasie sing hul lewenservaringe en dit is goed so. 

Wat sou ek wou sien? 

Ek hou reeds van wat ek sien. Laat die nuwe generasie doen wat hulle doen en laat diegene wat kan help, help. 

Daar is oorgenoeg fantastiese nuwe Afrikaanse groepe en kunstenaars vir elkeen se smaak. Soos die wêreld 

kleiner raak en grense afgebreek word, kan mens opwindende dinge verwag vir Afrikaanse musiek. Daar is geen 

tekort aan talent nie en groot dinge is aan die kom. 

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KULTUUR EN TAAL 

IS ’N TROJAANSE PERD 

Is Afrikaans se dae getel? PIET CROUKAMP ondersoek verskeie 

omstandighede en omwentelinge in die wêrelde in en om ons wat 

’n uitwerking op die voortbestaan van taal en kultuur uitoefen. 

Baie Suid-Afrikaners emigreer oor die wêreld heen na nuwe geleenthede, en dalk ook soms 

na ’n nuwe lewe. Sedert 2016 het reeds ongeveer 20 000 Suid-Afrikaners net na Nieu- 

Seeland geëmigreer. Indien jy egter ouer as 50 jaar is, is jou kanse skraal om toegelaat 

te word in die meeste lande wat wel belangstel in ons vaardighede. Wat beteken dit is 

meestal relatief jong mense wat die land verlaat om hul heil elders te soek. 

Die ekonomiese mobiliteit van die huidige geslag toetreders tot die Suid-Afrikaanse 

arbeidsmark is waarskynlik beduidend meer elasties en aanpasbaar as dié van hulle 

ouers. Snel groeiende ekonomieë in Asië en dele van Europa kom onder druk van 

vaardigheidstekorte wat net deur migrante aangevul kan word. Wit Afrikaanssprekende 

kinders in Suid-Afrika en Namibië word gebore in relatiewe bevoorregting, en ironies 

genoeg maak dit van hulle ideale arbeidsmigrante. 

Die huidige geslag wit kinders en jeugdiges sien die eerste lewenslig met ’n haas ongeëwenaarde demografiese 

dividend van toegang tot gesondheidsorg en kwaliteit skolastiese blootstelling, wat weer gerugsteun word deur 

hul ouers se toegang tot bates en kapitaal. Dit is ’n voorreg wat oor generasies heen opgebou is te midde van die 

koestering van ’n gesinsverband, die ordelikheid van ’n Calvinistiese ontologie, en die formalisering van kohesie 

binne taal- en kultuurverband. 

Kultuur en taal kan egter ook as ’n Trojaanse perd manifesteer. Dit skep die verwagting van geborgenheid, konsensus 

en kohesie, maar soms is dit ’n kognitiewe benoudheid verpak in die versmorende ruimtes van ’n kulturele gemaksone. 

Hierdie gemaksone kan tipies geïsoleerd wees, met die klem op dit wat eie is aan die kollektiewe identiteit. Sonder 

uitsondering word die reikwydte van die veilige hawe gekodifiseer deur die voorafgaande generasie. Ons trek ons 

kinders tot teenaan die bors, waar ons hulle isoleer teen die “hulle”, ter legitimering van die “ons”. 

Die primitiewe instink van die stammtisch – of dan stamgebonde – geslag is om ’n veilige ruimte te skep waarbinne 

die volgende generasie kan ontdek en reis sonder om noodwendig deel te word van die universele, dog 

mededingende, waardes van die leefruimte buite die gemaksone. Ouers repliseer hul eie ervarings en transponeer 

dit op hul kinders. Een generasie hou die volgende generasie gevange met die romantisering van hul subjektiewe 

ervarings, kulturele rituele en fabelagtige narratiewe. Dit is nie ’n verskynsel eie net aan Afrikaans of Afrikanerskap 

nie; stamgebondenheid is deel van die evolusionêre instinkte van alle primate. Maar, dalk het dit nou noodsaaklik 

geword dat ons ontsnap uit die beklemming van ons genetika. 

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FOTOGRAAF: CRISTIAN NEWMAN 

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Dit kan ewe maklik gebeur dat kinders in die spervuur van hul ouers se angste beland. 

Hulle word betrek by historiese stryde; “ons” word opgestel teen “hulle”. Die ouer 

generasie romantiseer die vermoeiendheid van “die goeie ou dae”. Vir die nuwe 

generasie, egter, is die hier en nou die “goeie ou dae”. Die wêreld was nog nooit 

minder gewelddadig en ekonomies beter af as nou nie. Vir die eerste keer in die 

geskiedenis van die mensdom leef meer as die helfte van alle mense in die gemaksug 

van ’n middelklas. Ons leef langer omdat ons gesonder is as ooit. En, daar was nog 

nooit minder oorlogsterftes as in die tye waarin die huidige geslag migrante hul opsies 

oorweeg nie. 

Die oordrag van kultuur tussen generasies was eens ’n vorm van inisiasie tot die lewenservaring van ’n vorige 

geslag. Kultuur en taal het die ekonomiese en politieke gemaksone geskep vir die jong nageslag, maar dit het ook 

oorlewing in die onmiddellike omgewing gewaarborg. In die tye waarin ons nou leef, is daar die wesentlike gevaar 

dat die emosionele verknogtheid aan ’n historiese identiteit die drif na ’n noodsaaklike intellektuele en ekonomiese 

emansipasie kan striem. 

Die wêreld het verander, ten spyte daarvan dat sommige onder ons steeds ’n hele geslag wil betrek by ons emotiewe 

verbintenis aan taal en kultuur. Onder bruin Afrikaanssprekendes is die taal besig om na die dal van doodskaduwee 

te migreer. Afrikaanse skole in histories bruin woonbuurte sterf uit. In die Wes-Kaap is daar slegs enkele moskees 

waar Afrikaans nog as gebruikstaal gebesig word. By universiteite is Afrikaans as akademiese taal nie net ’n 

minderheidverskynsel nie; die behoefte aan moedertaalonderrig onder wit Afrikaners is eenvoudig besig om weg te 

kwyn op tersiêre vlak. Daar word nie meer werklike akademiese tekste in Afrikaans geskryf nie, die mark is nie lonend 

nie. Linguisties is die wetenskap besig om aan te beweeg, en Afrikaans verloor die drif om op te vang. 

Wat kultuur betref, is daar byna geen onderskeid meer tussen Afrikaans- en Engelssprekendes nie. Daar is weinig 

bewyse van ’n pertinente, onderskeibare kulturele bewustheid onder Afrikaners. Wanneer en waar dit wel voorkom, 

manifesteer die stryd om die behoud van bepaalde waardes in ’n karteerbare ideologiese spanning tussen wit en 

swart. Taal en ideologie is egter té vervleg om die integriteit van kulturele versugting te beoordeel. 

Die vraag is, hoe moet veral Afrikaanse ouers wat hul kinders groet op lughawens hierdie geografiese vervreemding 

hanteer of ervaar? Die Afrikaner se stammtisch-instinkte word reeds sedert die 1990’s ontwortel as gevolg van ’n 

onvermydelike kulturele sekularisasie. Die partikuliere maak plek vir die universele. Dit was waarskynlik altyd ’n 

noodwendigheid in die konteks van politieke magsverlies, maar die voorreg van ’n demografiese dividend wat van 

Afrikaners wêreldburgers maak, rem ook aan die naelstring tussen die ouer en die jonger geslagte. 

Dit is egter, ironies genoeg, juis die akademiese wasdom van Afrikaans wat ’n hele geslag Afrikaanssprekendes 

aanmoedig om die onmiddellike te verlaat vir die einders van elders. Afrikaanse skole is uiters mededingende 

inkubasieruimtes vir voornemende wêreldburgers. Die kwaliteit van onderrig in Afrikaanse skole verleen ’n 

aanpasbaarheid aan skoliere wat universele mobiliteit aanmoedig. 

Dit is ook een van die redes vir die verengelsing van Afrikaanse universiteite; Afrikaanse studente is dikwels goed 

tweetalig of word oor ’n kort tydsbestek volledig tweetalig. Ten spyte van die “bevrydingstryd” teen die koloniale 

karakter van tersiêre instellings, word die beter Suid-Afrikaanse universiteite toenemend universele ruimtes waar 

Afrikaanse studente met “ontstellende” gemoedsrus die besondere domein van Afrikaanse onderrig verruil vir iets so 

eenvoudig as “die mees praktiese vorm van kommunikasie.” 

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In ’n poging om regverdiging te vind vir ’n byna pre-moderne behoud van taal en kultuur, word daar groot 

gewag gemaak van die byna 7 miljoen Afrikaanse huistaalsprekers, waarvan die meerderheid bruin is. Die 

gebrek aan taalnasionalisme onder bruin Suid-Afrikaners maak egter die argument dat 60% van Afrikaanse 

huistaalsprekers bruin is bloot ’n teoretiese punt. 

In Johannesburg het verskeie Afrikaanse skole busdienste wat wit kinders van oor die hele Rand aanry 

terwyl geen moeite gedoen word om bruin Afrikaanstaliges na die skool per bus aan te ry nie. Dit sou egter 

’n ideale wyse gewees het waarop die wit middelklas ter wille van Afrikaans in die bruin werkersklas kon 

belê, maar die keuse was en is om dit nie te doen nie. Die behoud van die partikuliere word geprioritiseer 

ten koste van ’n verruiming van ’n Afrikaanse demografiese dividend. Die getalle bruin leerders in die tradisionele 

wit, Afrikaanse skole is omtrent onbeduidend. Dit is ’n nalatenskap van ’n vorige generasie wat die huidige generasie 

ouers nie wil regstel nie. 

Bruin Afrikaanssprekendes sal waarskynlik ook moeilik inkoop op ’n model wat ’n gestigmatiseerde of ideologiese 

motivering huisves. Private Afrikaanse, tersiêre instellings bemark nie in bruin gemeenskappe nie en baie min bruin 

studente aan staatsuniversiteite verkies om die al skaarser Afrikaanse lesings by te woon. Die primêre eienskap van ’n 

Afrikaanse, akademiese instelling kan nie ideologies wees nie. Maar, selfs sonder ideologie sou bruin Suid-Afrikaners 

moes verengels; die noodsaak van oorlewing in ’n langsame politieke ekonomie – sonder die bevoorregting van ’n 

historiese demografiese dividend – laat hulle met geen ander keuse nie. 

Daar is ook goeie rede om te vermoed dat die kenmerkende residensiële universiteit nie die model van die toekoms 

is nie. Akademiese opleiding soos ons dit tans ken, is kosteondoeltreffend. Vir baie ouers is dit belangrik dat hulle 

kinders ’n studentelewe ervaar soos hulle dit gehad het, maar dis ’n onvolhoubare romantiek. Binne net meer as ’n 

dekade behoort die tipiese BA-graad, asook verskeie ander akademiese programme, volledig aanlyn aangebied te 

word. Afrikaanse, private universiteite wat gestig word met die doel om die taal lewensruimte te gee, loop nie net 

die risiko om weens gebrekkige belangstelling sonder studente op te eindig nie, maar is waarskynlik ook totaal uit 

pas uit met die snelveranderende tersiêre landskap van ’n globale wêreld. 

En, indien Afrikaans oor 50 jaar steeds voortbestaan, sal dit beslis nie as ’n akademiese taal wees nie. Afrikaans 

kan as ’n huistaal onder wit Suid-Afrikaners voortleef, en dalk sal daar nog enkele Afrikaanse skole wees oor 

drie dekades, maar die noodsaaklikheid van die universele sal uiteindelik die drang na die partikuliere smoor, 

en geïnstitusionaliseerde Afrikaans kan dit nie oorleef nie. Dalk is dit die opoffering wat nodig is ter wille van 

ons voortbestaan? 

Afrikaanse media sal ook uiteindelik swig voor die wet van die noodwendige; nie omdat die huidige “ouer garde” 

dit nie kon keer nie, maar omdat toekomstige generasies nie ’n kultuurhistoriese belang sal hê by die behoud 

daarvan nie. Tale sterf uit en kulture transformeer. In die belang van oorlewing word die “onwerklikheid” van die 

hede die nostalgie van die verlede. Die romantisering van Afrikaans as organies aan Afrika kon nooit standhoudend 

wees nie; die taal is ’n verbasterde besoeker aan ’n kontinent wat nooit in vrede met haar sou kon leef nie. 

Ons kinders emigreer, en dit is goed so. Dit is ’n teken van aanpasbaarheid en mobiliteit. Die onsekerhede van 

vasgevang wees binne ’n taal, kultuur of kontinent is ’n risiko wat die volgende generasie nie verdien nie. Die 

meerderheid Afrikaanssprekendes leef reeds buite die benoudheid van ’n partikuliere identiteit. Dit is net die 

vervreemding van politieke onbestendigheid wat die laer dig trek. Maar, laat ons in vadersnaam nie weer die 

kinders daarby betrek nie. 

155

ALL THE WORLD’S A STAGE 

Theatre is alive and thriving at one of the country’s and continent’s 

leading arts venues, the Baxter Theatre Centre in Cape Town, 

under the guidance of Lara Foot, internationally respected and 

multi-award-winning playwright, director and producer. Lara is 

a former Rolex protégée of the celebrated stage director and 

theatre impresario, the late Sir Peter Hall, a member of the 

prestigious Rolex Mentor and Protégé programme. 

MARTIE BESTER chatted to Lara about her important roles. 

An inspiring example of the success of the Rolex Arts Initiative, Lara’s mentorship laid the foundation for the 

guidance and inspiration that she provides, in turn, to her own protégés. Lara has been the CEO and artistic 

director of the Baxter Theatre Centre since 2010. 

“As the years go by, I find that my year and a half with Peter becomes richer and more meaningful,” she says. “As 

I become more of a mentor and as my writing evolves and I take on bigger challenges with my directing, I find that 

the time with my mentor becomes more recent. So, in a sense it never really finished, it never really ended.” During 

Lara’s mentorship with Hall (who died in 2017), he directed several plays with his company in Bath as well as an 

opera in Glyndebourne. 

“It was really Peter who encouraged my writing after he’d read my play, Tshepang,” Lara says. Tshepang has 

garnered several awards and accolades, including the 2019 Naledi Theatre Award for Best Production of a Play. “He 

told me writers are very rare,” she says. “We had several discussions about theatre management, politics, finance in 

theatre and running a theatre in terms of structure, and spoke about his years of working with Samuel Beckett, Peter 

Shaffer and Harold Pinter. Those stories and memories had a huge impact on me, and still do. I was very fortunate 

that I also had Barney Simon, co-founder of The Market Theatre in Johannesburg, as my mentor,” she adds. 

In her own capacity as writer and director, Lara will bring an adaptation of the Nobel laureate JM Coetzee’s Life 

and Times of Michael K to the stage in 2020, in collaboration with the Handspring Puppet Company. The work 

will debut at the Theater der Welt in Düsseldorf, Germany. “The book was somewhere on my shelf, somewhere in 

the ether, and then I was approached by Stefan Schmidtke as a commission,” she explains. “I’ve always wanted to 

work with Basil Jones and Adrian Kohler from Handspring, and the rest is history.” 

Lara has always been extremely involved in promoting emerging, strong new South African voices, aiming to 

provide the same sense of mentorship and guidance that was so deeply instilled in her as a young artist. The Baxter 

stages three productions every night of the year except Sundays, Christmas Day, Boxing Day, New Year’s Day and 

Good Friday. Some of Lara’s favourite productions performed during the 2019 season include Tankiso Live: The 

Audacity To Be (a long-term music project by Cape Town musician Tankiso Mamabolo), David Kramer’s Danger in 

the Dark (a reworking of the hit musical Poison), the Afrikaans production Kamphoer with Sandra Prinsloo (which 

she directs) and Koningin Lear, with Antoinette Kellerman in the title role. Nwabisa Plaatjie, nominated for the 2018 

Fleur du Cap award for Best New Director, is an artist with a bold voice and is doing remarkable work, she says. 

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LARA FOOT. PHOTOGRAPHER: JOHAN WILKE 

Lara continues to have a close relationship with Rolex. “I’ve maintained my relationship with Rolex for 15 years. 

They are very good at keeping the family, the fellows, together. The Rolex Arts Weekend will take place at the 

Baxter in February 2020.” 

The Rolex Arts Initiative runs on a continuous two-year cycle, with each cycle culminating in a special arts weekend 

in different cities around the world, bringing together mentors and protégés as well as other key figures in the 

arts who served as advisors or nominators. Two more South Africans have featured in the Rolex Arts Initiative – 

internationally recognised artist Nicholas Hlobo, and Londiwe Khoza, a protégée in the dance category, who 

is now a full member of Batsheva – The Young Ensemble, the young company of the renowned Batsheva Dance 

Company in Israel. One of South Africa’s most famous artists, William Kentridge, was a mentor in the programme 

a few years ago. This will be the first time that this prestigious event will take place in Africa. 

Lara says she would like to become more active in the structuring of theatre in South Africa, creating new spaces 

and even redeveloping old or existing spaces. “I’d love to explore different structures and boundaries in theatre. 

And I hope to deliver a textured and beautiful production of Life and Times of Michael K,” she says. 

“As I mature, I take mentorship more seriously and obviously the relationship I have with the Rolex programme 

sharpens my ambition to provide real mentorship.” 

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BON VIVANT 

SIBELLA WEBER. FOTOGRAAF: KEVIN MACKINTOSH 

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MEERMIN MARIANNE: 

TYDLOSE AFRIKAAN 

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MARIANNE FASSLER. FOTOGRAAF: KEVIN MACKINTOSH 

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Ná sy twee mense baie naby aan haar verloor, kyk Marianne Fassler, Suid- 

Afrikaanse ikoon van die modewêreld terug op haar lewe soos net sy kan, 

deur vorentoe te kyk en introspeksie te neem van waarheen sy op pad is met 

’n reeks nalatenskapfoto’s saam met haar kleindogters, Sibella en Sophia. 

MARTIE BESTER het in haar dam gaan swem. 

“Verlede jaar was vir my nogal ’n waterskeiding gewees. My pa en tweelingbroer is in dieselfde week dood. Ek 

was nooit alleen nie, maar ek is nou, ek het my tweeling verloor. Om een van ’n tweeling te wees was nog altyd 

deel van my identiteit, nou is daar ’n leemte,” sê Marianne Fassler, mooi in wit, haar blou hare soos ’n kroon teen 

die rooi van die bank waarop sy sit. 

Haar reeks legacy foto’s, haar persoonlike nalatenskapfoto’s ter viering van 42 jaar in die bedryf is nie vir 

modetydskrifte se blaaie bedoel nie, maar is eerder die vergestalting van die zeitgeist van drie generasies van 

Fassler-vroue. Vir die foto’s is Fassler se modeargiewe ingespan om die tydloosheid en relevansie van haar ontwerpe 

oor te dra. Tzvi Karp, ’n vriend en ’n diepgaande kenner van mode, moes die groot besluite neem ten opsigte van 

plek en tyd en die inkleding hanteer. 

Fassler sê: “Hoewel ek nie belangstel in nalatenskap nie, stel ek belang in kontinuïteit en waardes, en daarom het ek my 

kleindogters, Sibella en Sophia, gevra om hulself in my argief uit te druk. “My kleinkinders is albei op daardie stadium 

van hul lewens waar hulle ongelooflik beautiful is, hulle is sterk vroue en ek wou vreeslik graag sien wat hulle doen.” 

Aan die einde van 2018, dwing haar pa en broer se dood haar tot introspeksie. Vorentoe. Fassler haal die digter 

Mary Oliver aan, wat ook in 2018 gesterf het: “ ‘Tell me, what is it you plan to do with your one wild and precious 

life?’ Hierdie woorde het my aangemoedig om ná hul dood selfondersoek te gaan instel.” 

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MARIANNE FASSLER SAAM MET HAAR KLEINDOGTERS, SIBELLA EN SOPHIA WEBER. FOTOGRAAF: KEVIN MACKINTOSH

Sy gaan doen introspeksie in die natuur, “wat deel is van wie ek is, ek het deur ’n proses van 

reclaiming gegaan van my een waardevolle lewe en toe wil ek weer uitvind wat my skeppingsproses 

is. In my kop het ek gesien daar is iets waarna ek toe moet terugkom en wat belangrik is in die 

konteks van wat ek doen.” 

En sy besef die rigting waarin sy kyk, stuur haar lewe en ook dit wat sy skep na die toekoms. 

“Tydens die skeppingsproses waarin ek gedurig is, kyk ek altyd net vorentoe, ek kyk nooit terug nie. 

As iemand vir my sê wat is jou hoogtepunt dan sê ek my volgende show, maar dit is ook iets wat 

ek intuïtief altyd sê. 

“Dit is die terugblik wat jou in ’n soutpilaar verander, as jou hoogtepunt 20 jaar gelede was dan is daar mos niks 

nuut in jou kreatiewe proses nie.” 

Én sy ontdek dat sy besig is met “forever relevant fashion”, soos Suzy Menkes, redakteur van Vogue International, 

haar werk noem. Fassler worstel ook met goed, sê sy, maar weet sy het ’n passie en deursettingsvermoë wat byna 

deel van haar DNS is. 

“Ek het opinies, ek is nie louwarm nie. Ek is baie familievas, huisvas en is mal daaroor om te kook. Ek was ‘klein’ toe 

ek my dogter Hannia gehad het, so ons het saam grootgeword. En ek hoop deur die manier waarop ek my kinders 

grootgemaak het, is hulle bewus van ’n sterk vroue-energie.” 

Fassler se man, Charles Bothner, is haar genoot, haar lewensvennoot. “Ek glo aan amazing partnerships, my man is 

die mens met wie ek saam oud gaan word. Ek is totaal onafhanklik, maar ook heeltemal afhanklik van my familie en 

hulle koestering. Ek stel altyd familie bo enigiets anders.” 

As fisieke manifestasie van haar tog tot reclaiming, pak Fassler, haar skoonsuster en vyf ander spesifieke mense wat 

sy gevra het om saam te stap in Junie 2019 die Otterstaproete in die Tuinroete aan. 

“Nature’s Valley was ’n spesiale plek vir my pa en my broer. Baie mense het vir my gesê ek sal nie die Otter kan 

doen nie, ek is nog altyd redelik fiks,maar dit was nie net ’n kwessie van fiksheid nie. Op die Otter-wandelpad gaan 

dit oor deursettingsvermoë.” 

“Ná n baie uitdagende dag het ek die wonder van spanwerk beleef. Twee van my vriende het vir my ’n brug gebou 

met sulke klippe [sy wys met haar hande hoe groot die klippe was] toe ek nie maklik ’n rivier kon oorsteek nie en ek 

het besef jy kan nie deur die lewe gaan sonder spanwerk nie, jy kan nie dat jou ego jou dryf nie.” 

Sy is opwindend oor die pad vorentoe op haar lewensreis. “My idees hou nooit op nie, mode is nie my raison d’être 

nie, maar ek weet mode channel alles om ons, dit bepaal wat ons gaan aantrek, en hoe ons met mekaar kommunikeer. 

“Ek het ook kitsroem gehad, en deur die jare burnout ervaar, maar ek dink altyd aan Picasso se woorde, ‘inspiration 

exists, but it has to find you working’. 

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“Ek werk aanhoudend, as ek nie weet wat om volgende te doen nie, doen ek meer van 

wat gewerk het op verskillende maniere, en dit lei tot vernuwing. Ek fokus nie op wat 

almal anders doen nie, want dan sal ek my identiteit verloor, maar ek weet presies wat 

oral aangaan, wat op elke loopplank in die wêreld gebeur en watter kwessies die mode 

op die oomblik ondersoek.” 

Marianne Fassler se liefde vir Suid-Afrika was nog nooit oop vir bespreking nie, nie 

regtig nie. Hier is waar sy wil bly. “Ek is committed tot Suid-Afrika en ek glo hierdie 

land het alles om my te onderhou, ek kan my nie indink dat ek iewers anders kan 

thrive nie, ek is intrinsiek in my verstand en siel ’n Afrikaan. “Baie van my vriende het 

professionele besluite geneem en is baie suksesvol in die buiteland, maar dit is nie vir my of my familie ’n opsie 

nie, ons gee nie toe aan daardie narratief nie.” 

Fassler dink in New York, waarheen sy saam met haar dogters en Sibella net ná die Otter gereis het, aan haar pa se 

woorde, “wanneer was die laaste keer dat jy iets vir die eerste keer gedoen het?” Sy lewensmotto. 

“Toevallig is ons in New York tydens die jaarlikse meerminparade by Coney-eiland en die 50ste herdenking van 

Stonewall.“ 

“En ek besluit toe om Coney Island toe te gaan. Op pad stuur my dogters vir my boodskappe, ‘ons is op die 

subways en die subways is vol meerminne’. Dit was ’n wonderlike dag. Vir agt uur was die subways vir meerminne 

en Poseidons. Daar was soveel om te beleef, soveel vignettes van ’n kop tot tone blou geverfde Poseidon met ’n 

zimmerraam tot ’n dood moë vrou met ’n blou meermin opblaaspop in haar arms op pad huis toe.” Almal was 

daar, sowat 850 000 mense, om hulle self uit te leef of om te sien hoe ander mense hulle uitleef. Daar was 

poedelnakende kaal nimfe met blou pruike, seerowers met oogklappe en ‘swag’, konings van die see met lang 

baarde en seewier in hulle hare, meerminne met blink sterte en waterborreltjies, groot en klein. Dit was ’n fees! 

“En die volgende oggend, toe ek vir die eerste keer oor die hele Brooklyn-brug saam met my dogters stap en ons in 

Soho aankom, het mense na my gewys en gesê, ‘Ja, die meerminparade …’ ” 

’n Week later is Fassler buitekant Londen by Clivedon House, ’n ou herehuishotel toe ’n meisietjie verstom na haar 

kyk en hardop vir haar ma vertel van die mens met die blou hare. 

Verleë probeer die ma haar kind stilmaak, maar Fassler is gewoond daaraan. “Ek’s ’n meermin,” sê sy. Die meisietjie 

is daar weg vol bewondering. Nou het sy ’n bewys dat meerminne werklik bestaan. 

Fassler lag. 

“Ons móét die magic lewendig hou.” 

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SIBELLA WEBER | FOTOGRAAF: KEVIN MACKINTOSH | FOTOGRAAF SE ASSISTENT: HYLTON BOUCHER | TWEEDE ASSISTENT: TATENDA CHIDORA 

HARE: SAADIQUE RYKLIEF | STILIS: TZVI KARP | GRIMEERKUNSTENAAR: ALEX BOTHA | VERVAARDIGER: JODIE ENNIK 

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THE MAESTRO OF SMOOTH 

Whether you are off to meet a pasha of Persia, marrying an 

Inuit or trying to sign a contract in outer Mongolia, hidden 

in Pretoria is the man who will make it all plain sailing. 

WILMA DE BRUIN went for high tea. 

Pretoria-based business etiquette and personal branding expert, Koos Louw, considers himself a very lucky man. 

“I have the best job in the world,” he smiles. “Where many of my fellow South Africans are caught up in 

mundane, routine work, I have the privilege of living my passion: interacting with and equipping leaders, 

entrepreneurs and business professionals with the skills, tools and international service benchmarks they need to 

position and market themselves with confidence and authority. Ultimately, this helps them to outshine competitors 

and sustain business success on a global level. 

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“People will forget what you said. People will forget what you did. But people will 

never forget how you made them feel.” 

– Maya Angelou 

KOOS LOUW. PHOTOGRAPHER: MERWELENE VAN DER MERWE 

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“In order to grow and expand your brand or business, you ideally need to do four things: 

drive customer acquisition, ensure customer retention, propel customer loyalty (return 

customers) and guide customer activation (return behaviour),” Louw (widely known as 

K-Lo) explains. 

“This is achieved twofold: First and foremost it requires uniform DNA for customer-centric 

service standards and customer experiences (CX) exclusive to your particular brand culture. 

“Secondly, and no less important, is to upskill your customer-facing staff members to 

ensure your customer service standards DNA is applied on a continuous basis.” From 

the outset, Louw wisely decided to register his company, TSPI (The Service Protocol Institute), and its main focus areas, 

namely BQ (Business Intelligence) and SQ (Social Intelligence) as trademarks. He believes this sound decision has set 

TSPI apart and given it the edge. 

SOCIAL INTELLIGENCE = GOOD MANNERS 

Louw’s interventions in customer-centricity solutions through Social IQ and Business IQ are based on more than 25 

years’ experience in the customer relationship marketing (CRM) arena, supported by the foundations and principles 

of social etiquette and business protocols and behaviour. “Whether you call it etiquette or Social IQ and Business IQ, 

at the end of the day it boils down to simple, good manners,” he stresses. 

“According to Dorothea Johnson, founder of The Protocol School of Washington in the US, you essentially have 

good manners if you have a sensitive awareness of the feelings of other people, irrespective of the fork you 

use,” Louw says. “Johnson believes, and I quote, ‘that a person who values civility and good manners will also 

demonstrate leadership skills that help create rapport within the workplace. From this grows the feeling of mutual 

respect and friendship. These assets will take one far in building relationships, both professional and personal – 

clearly, an important investment for one’s future.’” 

This is where social intelligence comes in – the ability to manage your own emotional skills needed to correctly read 

social situations and other people’s emotions and then to react in a humble manner that is socially acceptable in order 

to get others to cooperate and co-exist. “Social intelligence is truly the essence of human relationships,” Louw stresses. 

ANECDOTES 

Queen Victoria displayed social intelligence many years ago when President Paul Kruger was the guest of 

honour at a state banquet at Buckingham Palace. Mistaking the finger bowl placed to his left to clean his fingers 

moments before the second course (chicken) was served, for soup, the president took sips of water from the bowl. 

Instead of embarrassing him by drawing attention to his faux pas, the queen followed suit, after which all the 

guests did the same. Then, without any fuss, she instructed the waiters to remove all the finger bowls… and the 

dinner continued smoothly. 

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Queen Elizabeth displayed a similar healthy dose of social intelligence during a phone call to Madiba to 

congratulate him on his birthday. According to his widow, Graça Machel, she heard her husband address the 

person on the other side of the phone as ‘Elizabeth’. When she learnt it was none other than the Queen of 

England on the line, she was quite astounded that he had not called her Your Royal Highness. “But she called 

me Nelson,” he explained in his amicable manner. As more pleasantries were exchanged before the call ended, 

clearly the Queen took no offence that Madiba had not observed the required protocol. 

DIFFERENT SETS OF PROTOCOLS AND ETIQUETTE 

While many may think that in this ‘modern’ day and age etiquette and protocol have become outdated, this is not 

actually the case, Louw notes. “The terminology may be rather passé for the younger generation, but the need to apply 

social and business intelligence certainly isn’t, particularly in Africa with its diverse nations and cultures,” he notes. 

“On the African continent alone there are 54 countries, each with its own set of protocols and etiquette. In addition, 

in South Africa there are a number of subcultures that also need to be taken into account. 

eye contact, for instance. While the continental norm of consistent 

eye contact in a one-on-one conversation or meeting may vary from 

55% to 75%, in many African countries (like Malawi, Kenya, Tanzania, 

Uganda and Ghana) and countries in the Far East (Japan, China and 

Korea), eye contact is under 55%, even 45%, as this is the way you 

show respect for senior or older people. 

“Similarly, when you meet a person and shake hands, the duration of eye 

contact may vary from country to country, and situation to situation. In 

“Take 

South Africa and internationally, eye contact in a meet-and-greet situation 

is normally about three seconds so that you can repeat the person’s name (people love hearing the sound of their own 

names), and register the colour of their eyes. But again, in African countries and some countries in the Far East, eye 

contact in such instances may be shorter as a sign of respect and acknowledgement,” Louw explains. 

When you’re unfamiliar with a person’s language or culture, you can simply place your hand on your heart to show 

appreciation or respect, or to pay them a compliment. “This token of goodwill to convey your thanks and express 

acknowledgement is ideal, particularly in the services industry globally, and more often than not it prompts excellent 

service,” Louw reckons. 

Because of his involvement in African countries and his intimate knowledge of cross-cultural training, earlier this year 

Louw was invited to present a workshop at the National Education Summit in Washington DC. “As a result of my 

training experience in sub-Saharan Africa, I specially titled it Africa: One Size Does Not Fit All. You can have all these 

rules on protocol and etiquette, but if you are not aware of – and respect – the cultural preferences of the person next 

to or opposite you, you will most likely fail as a brand ambassador.” 

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EAGER TO LEARN 

At the end of the day, knowing and exhibiting proper etiquette across cultural divides can mean the difference 

between success and failure in business. For this very reason, companies and brands are increasingly striving to 

increase their employees’ ability to interact effectively with customers, professional associates and colleagues from 

different cultural backgrounds and nationalities. 

Equally, employees themselves are hungry to learn how to conduct themselves in all circumstances, both in 

business and social environments, Louw adds. “The fact that participants still ask for more at the end of a full-day 

master class speaks volumes for their eagerness to improve their social and business skills. And when I do a twoday 

course, they invariably clamour for three days – they simply can’t get enough.” 

COMPREHENSIVE TRAINING 

Business IQ and Social IQ training modules are thoroughly comprehensive and centre on three main areas: 

Personal Brand Development, Customer-centricity Skills, and Meeting and Events IQ Protocol Skills, on- and 

off-site. 

The Identity Protocol module typically examines appropriate interaction with colleagues, clients and customers 

who may have different views on politics, religion, ethnicity, gender and sexual preferences. The Social Cohesion 

Protocol module puts the spotlight on interaction with colleagues, clients and customers who have different social 

backgrounds and exposure, paired with suitable knowledge in the appropriate giving and receiving of sympathy, 

empathy and compliments. 

Personal Finance Protocols (confidentiality around salaries, increases, bonuses, loans 

between colleagues and international responsibility), Netiquette (correct protocols for social 

media presence and use), Business Travel (dress codes and behaviour as the face of your 

brand), Body Politics (appropriate protocols managing illness, hygiene, sexual innuendos, 

harassment, pregnancy and weight in the workplace) and Internal Ethics (deadlines, being 

late for meetings, corruption, gifts, office politics, trust, confidentiality, reputation and 

private/professional boundaries) are some of the other Personal Brand Models that evoke 

keen interest and active participation. 

To specifically develop employees’ customer-centric skills, the focus is on earning respect, 

igniting customer-centric forms of address decorum, managing first and lasting impressions (eye contact, facial 

expression, posture, body language, dress code, personal grooming and body politics), and developing charisma 

and likeable characteristics of customer-facing staff members. 

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Trainees are also provided with dress code guidelines in the workplace, a skillset to make 

customers and clients feel acknowledged and appreciated, and advised on how to apply 

appropriate etiquette and protocol when giving and receiving referrals. Nine more modules 

deal with business communication skills such as telephone, mobile phone and email 

etiquette, appropriate language use, tools to build confidence and positively influence 

customers and clients, conversational skills when interacting with an irate and unhappy 

customer, and engaging with customers from different cultural and religious backgrounds. 

“All of this simply amounts to equipping employees, as thoroughly and comprehensively 

as possible, with the necessary skills to show customers that you care,” Louw concludes. 

A LOVE FOR PEOPLE AND COMMUNICATION 

Growing up on a Free State farm, Louw often accompanied his mother, Issie (née Isabel Horn), a well-known actress 

and drama teacher, to some of her stage performances. He fondly recalls how she instructed him to ‘adjudicate’ 

her – and revelled in ‘scoring highly’. Sharing her love for people, public speaking and communication in general, 

Louw headed to the University of the Free State where he graduated in Industrial Communications and Psychology. 

After 22 years of honing his customer relations and brand ignition skills – at the advertising agency and 

communication specialist, Framptons (1992–1996), The Louw Partnership (1996–2000) and Superior Choices 

(1998–2014) – Louw decided it was time to go solo. He set up his own etiquette consultancy, TSPI, to focus on the 

corporate and retail market segments. 

To this end, he went to the US to study continental etiquette at The Protocol School of Washington, the country’s only 

nationally accredited business etiquette and international protocol educational institute. It is also the first and only 

school of its kind accredited by the Accrediting Council for Continuing Education and Training in the US. 

To sharpen his competencies even further, Louw completed a stint at the British School of Etiquette, a Continued 

Professional Development (CPD) and Institute of Leadership and Management (ILM) certified institution, accredited 

by the UK’s Investors in People Practitioner Board. 

After returning from the US, Louw soon realised that continental etiquette training alone simply wouldn’t cut the ice 

in such a diverse country and continent as South Africa and Africa. “I realised I needed to focus on a combination 

of continental and cultural etiquette. Again, this is where the development of social intelligence and business 

intelligence comes into the picture – no, becomes crucial.” Taking a deep breath, Louw laughs heartily and says, 

“If a boerseun from the Free State named Koos Louw can master this, then anybody can!” 

175

LINDY RODWELL. IMAGE SUPPLIED 

FOR THE BIRDS 

South African environmental champion Lindy Rodwell is a former 

Rolex laureate, winning the coveted Rolex Award for Enterprise in 

2002. She continues to maintain a close relationship with the brand, 

inspiring excellence in her ongoing work in the environmental field. 

On completion of her studies, Lindy’s career took off in 1987 when she 

was invited on an internship with The International Crane Foundation 

(ICF) in America, an organisation that deals with all 15 species of 

cranes, 13 of which are endangered. MARTIE BESTER spoke to Lindy 

about the importance of conservation. 

“ICF works internationally and invites students from crane hotspots all over the world to come to America to 

learn and take their knowledge back to their countries of origin,” says Lindy. On her return to South Africa, Lindy 

started volunteering at The Endangered Wildlife Trust (EWT) in Johannesburg. She applied the ICF’s three-pronged 

approach – education and awareness, captive breeding, and habitat conservation – to the conservation of South 

Africa’s three crane species. 

Her volunteering led to a full-time position at the EWT and the subsequent launch of a national crane conservation 

programme, now known as the African Crane Conservation Programme. Lindy received the international Whitley 

Continuation Award for her efforts and this enabled her to expand the programme into Africa. In 2002 Lindy 

became a recipient of the prestigious Rolex Award for Enterprise, which helped her expand her project further, and 

today Rolex’s legacy of continuous improvement and lasting excellence remain the mainstays of her career. 

176

While still involved with the cranes on a peripheral level, Lindy has started or driven 

several more initiatives. She is the relationship director for the Lewis Foundation, 

a philanthropic family foundation that funds conservation programmes in South 

Africa. Its current focus is attracting, skilling and retaining young people to work in 

conservation. She is also a trustee of Nature’s Valley Trust, a non-profit organisation 

that she co-founded in 2000 with her husband, James van Hasselt, which focuses on 

conservation-related issues along the Garden Route. 

Lindy says, “We could see there was enormous development pressure in that area, 

and we adopted the same approach as with the cranes – to work from the inside out 

on a multifaceted level. 

“We work in environmental education, putting thousands of children through outdoor classrooms related to the 

curriculum, and work closely with local eco schools. Community conservation programmes encourage awareness and 

ownership of solutions and NVT’s extensive research programmes inform all of the above.” 

Trust director Dr Mark Brown and his team host Master’s and PhD students from overseas and local institutions who 

are producing and writing up their research, with assistance from international intern students and NVT staff. Lindy 

says it’s critical that what they do is informed by research and then communicated to their key stakeholders. When 

Lindy attended the ceremony for the Rolex Awards for Enterprise a few years ago, one of the keynote speakers was 

Dr Sylvia Earle, the renowned American marine biologist, explorer, author and lecturer. 

“She’d just been to Plettenberg Bay to launch The Plett Hope Spot and NVT was instrumental in working with the 

Sustainable Seas Trust to establish it. We have grown our marine programme with a project funded by the WWF 

Nedbank Green Trust, which looks at the environmental and economic impact of boat-based whale watching,” Lindy says. 

Boat-based whale watching brings tourists, creates jobs and supports an ecotourism economy. “We want to understand 

and quantify the economic benefits of that to the community,” she says. “We also need to understand at what point the 

industry negatively impacts the whales and dolphins.” 

But where is the tipping point? 

“At a certain point there may be too many boats, with the result that the marine mammals leave the bay or breeding 

is impacted. There is no point in killing the goose that lays the golden egg. We need this kind of research data to 

engage the decision-makers to come up with the best solution for both wildlife and people. 

“Ideally we would like to develop an integrated bay management plan that is drawn up and agreed to by all the 

participating players,” she adds. 

Over the course of 20 years, Nature’s Valley Trust has grown from a small idea into an impressive, influential 

conservation organisation. A key component of NVT’s work is to nurture the next generation of conservation leaders. 

“We mentor really talented young people via intern programmes. Our staff have also been encouraged to grow and 

develop their careers,” Lindy explains. 

“Our first intern is now employed at the Wildlife and Environment Society of South Africa, our first director is now a 

trustee of Nature’s Valley Trust, our second director is busy completing his PhD and our current director, Mark Brown, 

has mentored and nurtured many young conservationists through their Master’s and PhDs.” 

Lindy interprets Rolex’s perpetual spirit as a responsibility to pass on skills, passion, learning and opportunity to the 

next generation. “Success for me is when something I have been involved in takes off and continues to grow without 

my further input. Success is bigger than me, bigger than my dream.” 

177

178

style 

PHOTOGRAPHER: JAKE DAVIES 

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WAtchmAking: 

A SUSTAINABLE 

FUTURE? 

From the Fashion Pact signed by 32 global fashion and textile 

companies in August to the HENRYs (High-Earners-Not-Rich-Yet) who 

care about quality, service, design, craftsmanship and exclusivity 

more than history and heritage, DEBBIE HATHWAY looks at what lies 

in store for the manufacturers of luxury timepieces. 

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PHOTOGRAPHER DENNIS LEUPOLD WORE THE NEW MONTBLANC 1858 GEOSPHERE ON A RECENT VISIT TO CHILE, VENTURING INTO NATURE TO SEEK INSPIRATION 

FOR THE MONTBLANC CAMPAIGN 

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THE CARTIER LIBRE TANK CHINOISE RED IS A STRENGTHENED VERSION OF THE ORIGINAL WATCH 

There’s no escaping it. Sustainability + profitability = longevity. One can’t exist without the other. 

Not today. Not for anybody with a conscience. But what looks like a simple formula on paper 

is probably the biggest challenge for anyone in business now, not the least of which are those 

in haute horlogerie. 

“The watch and jewellery sector has made a significant contribution to social prosperity and 

economic growth in Switzerland and is an important representative of the country’s culture and 

history, with its pioneering spirit, precision and long-lasting tradition,” says Dr Gianina Viglino- 

Caviezel, an expert in sustainability management, and author of the foreword to the WWF 

Watch and Jewellery Report 2018. “In its role as one of Switzerland’s flagship industries, the 

position of the Swiss watch and jewellery sector is one of great responsibility, which provides those within the 

sector the opportunity to consciously generate a positive impact on society, nature and the economy – something 

that is essential if broader development objectives (ie the UN Sustainable Development Goals) are to be achieved.” 

According to the WWF report, Switzerland is the global leader in the gold refining market. Around half of the 

largest luxury watch brands are Swiss and between 60% and 70% of globally mined gold physically travels 

through Switzerland to be refined (around 2 400 tonnes in 2017). “The industry uses over 50% of annual gold 

production (more than 2 000 tonnes), and in most cases the companies are not able to demonstrate where their 

raw materials come from and that they were not responsible for dramatic environmental degradation and human 

rights violations.” 

The good news is that in WWF Switzerland’s review examining the environmental impact of leading Swiss 

watch companies and how transparently these efforts are communicated, IWC Schaffhausen came out on 

top. “IWC has been working for many years to ensure our watches are made to the highest standards, with 

careful consideration of our social and environmental impact. We recognise that there is more work to be done, 

and our efforts continue to evolve,” says CEO Christoph Grainger-Herr. 

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THE CARTIER LIBRE DIAGONALE WAS AN UNEXPECTED HIT AT THIS YEAR’S SIHH 

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IWC’s watch production and headquarters in Switzerland are powered by renewable energy, as is 

their supplier of precious metals. IWC takes efforts to primarily source recycled metals, and ensures 

that all of its suppliers of precious metals and diamonds meet the industry best practice standards set 

out by the Responsible Jewellery Council. Since 2013, IWC has been a recipient of Positive Luxury’s 

‘Brand to Trust’ Butterfly Award. The next steps for IWC’s management of its environmental impact 

include further efforts to address the greenhouse gas emissions generated by shipping, reducing 

the volume and weight of its packaging, and seeking to ensure plastics are reusable, recyclable or 

compostable. 

Richemont brands Cartier, Piaget, Vacheron Constantin and Jaeger-LeCoultre completed the top five 

of the WWF ranking, followed by Chopard and TAG Heuer. As part of its transformational corporate social 

responsibility strategy, in the short term, Richemont will map responsible sourcing risks for leather and marketing 

materials, and define relevant action plans, including audits. The group will also deploy ICFA certification for 

alligator skin suppliers to ensure the highest standard of animal welfare. 

Livia Firth, founder of sustainable consultancy Eco-Age, told Forbes magazine in a recent interview that 

Chopard defines ethical gold as coming from either artisanal small-scale mines that participate in the Swiss 

Better Gold Association’s (SBGA) Fairmined and Fairtrade programmes, or gold sourced with the Responsible 

Jewellery Council’s Chain of Custody certification through the maison’s partnership with RJC-certified refineries. 

Chopard, in partnership with Eco-Age, started ‘The Journey To Sustainable Luxury’ in which they “forged a 

strategic alliance with the Alliance for Responsible Mining (ARM), the NGO operating in Latin America with smallscale 

mining communities... It would have been very easy for Chopard to just source through them the available 

amounts of Fairmined certified gold, but Chopard went beyond that and actually supported ARM in bringing more 

mining communities to Fairmined certification. That meant through the years the amount of gold increased.” 

This is one way Chopard is able to source 100% ethical gold. The Forbes article highlights another unique 

way: having its own in-house foundry, which contributes significantly to the company’s commitment to vertical 

integration of its production. “Obviously (the foundry) makes a huge difference as it adds lots of value to being 

a sustainable business,” says Firth. “Having it in-house also means they can fully control the process and recycle 

their own gold.” 

184

THE LITTLE PRINCE STANDS ON THE MOON IN THE IWC BIG PILOT’S WATCH CONSTANT-FORCE TOURBILLON EDITION ‘LE PETIT PRINCE’ 

IWC PILOT’S WATCH PERPETUAL CALENDAR CHRONOGRAPH EDITION ‘LE PETIT PRINCE’ CONTAINS A PERPETUAL CALENDAR COMPLICATION THAT 

INDEPENDENTLY RECOGNISES THE VARIOUS LENGTHS OF THE MONTHS AND LEAP YEARS. IT WILL REQUIRE NO READJUSTMENT UNTIL 2100 

185

Meanwhile, the Kering Group, which incorporates Girard-Perregaux and Ulysse 

Nardin, has been moving towards sustainable luxury since 1996. “Luxury and 

sustainability are one and the same,” says Kering chairman and CEO François-Henri 

Pinault. The group was ranked the second most sustainable company across all 

sectors in the 2019 Corporate Knights Global 100 and topped the Textile, Apparel 

and Luxury sector for the second consecutive year. 

In August 2019, 32 global fashion and textile companies signed a Fashion Pact, 

committing to achieve practical objectives in three areas: climate, biodiversity and 

oceans, which was presented to heads of state during the G7 meeting at Biarritz. 

Just four months earlier, French president Emmanuel Macron had given Pinault the mission to bring together the 

leading players in fashion and textile, with the aim of setting practical objectives for reducing the environmental 

impact of their industry. The coalition includes Chanel, Hermès, Kering and Ralph Lauren. 

The Fashion Pact’s objectives draw on the Science-Based Targets (SBT) initiative, which focuses on action in three 

essential areas for safeguarding the planet: 

• Stop global warming: by creating and deploying an action plan for achieving the objective of zero greenhouse 

gas emissions by 2050, in order to keep global warming below a 1,5°C pathway between now and 2100. 

• Restore biodiversity: by achieving objectives that use Science-Based Targets to restore natural ecosystems 

and protect species. 

• Protect the oceans: by reducing the fashion industry’s negative impact on the world’s oceans through practical 

initiatives, such as gradually removing the usage of single-use plastics. 

LOOKING AHEAD 

It might not have been top of mind when the organisers of the world’s top two watch fairs decided to synchronise 

calendars from 2020 until 2024, but the move is likely to have a positive environmental impact from a travel 

perspective. The Richemont-dominated Salon International de la Haute Horlogerie (SIHH) in Geneva and 

Baselworld in Basel will be held back to back in April/May 2020. That means only one trip to Switzerland for 

international retailers, clients and media intent on seeing the latest launches by some of the most prestigious 

watchmakers in the industry. (SIHH has been renamed Watches And Wonders Geneva from 2020.) 

Fabienne Lupo, president and managing director of the Fondation de la Haute Horlogerie, which organises 

SIHH, says, “Our two events have always been different, yet complementary. Resyncing with Baselworld will 

further confirm Switzerland as the foremost destination for watchmaking in the world. This is something we 

welcome wholeheartedly, as it is in the interests of all.” 

Their synchronisation is expected to benefit the watchmaking industry enormously and “represents a major 

breakthrough for the future”, adds Michel Loris-Melikoff, managing director of Baselworld. It is hoped that this 

will bring continuity as both organisers persist with modernising their respective formats and digital offerings in 

the face of ever-changing consumer and exhibitor demands. 

186

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THE ICONIC PANTHÈRE DE CARTIER COMES TO LIFE WITH THIS MINIATURE DIAMOND SPECTACLE IN THE RÉVÉLATION D’UNE PANTHÈRE WATCH 

The Swatch Group was noticeably absent at Baselworld 2019. Nick Hayek, president of the executive group 

management board and member of the board of directors reportedly said they will “never participate in mega 

exhibitions again… There is no need for it anymore.” 

Meanwhile Jean-Claude Biver, outgoing head of LVMH’s watch division, told CNN Money their decision to 

attend Baselworld this year was made in conjunction with “other Swiss brands such as Rolex and Patek Philippe”. 

Reuters published extracts from the interview in which he said, “We want to take advantage of 2019 to see 

together with the organisers what Basel 2020 could be. What are our wishes, our constraints... If we can 

manage that together with the fair, there is no reason we wouldn’t stay.” 

Criticised for being too expensive and inefficient, Baselworld lost many of its exhibiting brands in 2018. Hotel 

and restaurant prices have been very high in the past, and watchpro.com felt that 2019 was no different. They 

shared stats from the closing press conference showing that the fair had attracted 81 200 visitors this year (down 

22% from last year), 520 brands exhibiting (down 20%) and 3 300 media representatives (12% down). In its 

2013 heyday as many as 150 000 visitors and 1 500 exhibitors were recorded. 

SIHH is attended mainly by Richemont brands, some independents (Audemars Piguet and Richard Mille won’t 

be there from 2020) and a growing number of independent watchmakers. This year saw a record attendance 

of more than 23 000 visitors (a 15% year-on-year increase), who came to see the latest marvels presented by 

18 long-established maisons and 17 independent watchmakers. 

188

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RECONNECTING THROUGH NATURE WITH THE MONTBLANC 1858 TIMEPIECES IN KHAKI GREEN 

INDUSTRY INSIGHT 

The Deloitte Global Powers of Luxury Goods 2018 report indicates that the recovery of the luxury goods industry 

is expected to continue, with emphasis on the need for luxury players to “focus their investments on digital 

connectivity, upwardly mobile consumers and bold business models”. 

While traditionally Europe and the US have benefited from higher sales, recent trends highlight the increasing 

importance of Asia, the Middle East, Latin America and Africa. The report highlights a rise in Swiss exports 

and positive expectations for growth as “millennials appear to favour luxury mechanical watches rather than 

digital watches”. Millennials and Generation Z will make up 40% of the overall luxury goods market by 2025, 

according to the report, and they’re putting their weight behind the sustainability megatrend. 

Enter the HENRYs, Deloitte’s term for the high-spending, digitally savvy High-Earners-Not-Rich-Yet consumers for 

whom sustainability is high on the agenda. Think Rolex and its mentoring programme or Montblanc’s collaboration 

with Chinese digital influencer Mr Bags as an example of what brands should be doing to build their loyalty. 

HENRYs care about quality, service, design, craftsmanship and exclusivity more than history and heritage. 

When I interviewed Montblanc CEO Nicolas Baretzki at this year’s SIHH he said markets are evolving rather 

than changing. “I see a lot of people, including millennials, who are still looking for stories, craftsmanship, 

tradition,” he says. “I see how they react to the beauty of a piece, to the story of a piece, to the intrinsic value 

of a piece. I think what is changing is how you communicate, how you interact. Look at this fair. Ten years ago 

we were very secretive; there were only a happy few entering the booth.” 

That night Montblanc hosted a live talk, moderated by actor Hugh Jackman, which was streamed to at least 

150 million people around the world. “That is great because there is so much to tell. Why keep it in a closed 

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THE ‘PERPETUAL’ IN THE OYSTER PERPETUAL YACHT-MASTER BY ROLEX REFERENCES THE BRAND’S LASTING CONTRIBUTION TO FUTURE GENERATIONS 

circle, when you can reach out to a much larger audience? That will be the most evolution,” says Baretzki. 

Entering any booth at one of these major watch fairs is going to create a reaction, “good or bad, crazy 

or not crazy”. Montblanc’s story behind SIHH 2019 is about heritage (referencing its 161-year-old Minerva 

manufacture in Le Locle, Switzerland) as well as the need to reconnect to nature and reconnect to life. “Why are 

we telling these stories? They relate to today’s world,” says Baretzki. “We’re living in stressful cities. Why do so 

many people run, walk, go exploring on the mountain? That’s maybe the evolution we need to understand and 

as a maison what we can propose as a solution.” 

Montblanc’s 1858 Collection is inspired by the Minerva watches of the 1920s and 1930s, which were conceived 

for military use and exploration. “What I love about Montblanc is no matter what Montblanc piece you buy it is 

designed to be with you as a life companion,” says Jackman. 

He fell in love with the Montblanc 1858 Geosphere Limited Edition, with its khaki-green dial, bezel and NATO 

strap and bronze case that will weather in a completely unique way. The case back features engravings of the 

Mont Blanc mountain, a compass and two crossed ice axes, as a nod to the spirit of mountain exploration. Jackman 

wore the 1858 while shooting the commercial (without a stunt double) for this year’s collection in Colorado, US. 

The 1858 is based on mountaineering, adventure, and a sense of the outdoors, and is dedicated to the Seven 

Summits challenge, the Holy Grail for adventurers who aim to summit the highest peaks on every continent. 

“I can tell you from experience… if you’re wondering is it durable, can it operate well in rough conditions as well 

as look great? The answer is yes and it did way better than I did at high altitudes!” says Jackman. 

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Kamers 

van koophandel 

Twee Stellenbosse vroue se idee om handwerk in ’n huis te 

verkoop was so gewild dat dit gegroei het tot ’n nasionale 

mark waar eg Suid-Afrikaanse produkte van entrepreneurs 

van oor die hele land verkoop word. THEO KEMP het met van 

hulle, wat van vonkelwyn tot strikdassies maak, gaan gesels. 

Sewentien jaar gelede in die ruim kamers van ’n huis in die lowergroen Stellenbosch is Kamersvol 

Geskenke gebore. Dit was nooit die idee om ’n nasionale toonaangewende mark met die nuutste 

ontwerpe en eg Suid-Afrikaanse produkte te begin nie. Dit het alles toevallig gebeur toe twee 

vroue met ’n oog vir mooi, die domineevrou Amelia van Zyl en haar vriendin, Lize-Marie van der 

Westhuizen, ’n paar mooimakers bymekaar gehark het en gevra het om hul handewerke te bring 

en in die huis te verkoop. Dit was so gewild dat die vroue nie anders kon as om dit die volgende 

jaar te herhaal nie. En soos die cliché lui: die res is geskiedenis. Maar al het Kamersvol Geskenke 

intussen vele metamorfoses ondergaan – wat vandag bekend staan as KAMERS/Makers – slaan 

die gene vandag nog sterk deur in al die nasionale opskietmarkte in nie net Stellenbosch nie, maar 

Kaapstad, Pretoria en Johannesburg. Dié mooiste trekke is dat alle produkte steeds handgemaak is, 

deur vakmanne en -vroue wat hulle staal wys, en dat alles wat te koop aangebied word, op eie bodem geskep is. 

Trots Suid-Afrikaans. Trots tuisgemaak. Dit is die twee pilare waarop KAMERS se sukses staangemaak is. 

As getroue ondersteuner van KAMERS/Makers wat met groot genot hierdie inisiatief sien groei het van 40 verskaffers 

tot vandag se 200 per mark, moet ek my belange as bevoordeelde skrywer reeds vroeg in die artikel verklaar. Maar 

as ek nie myself toelaat om die saak te besing nie, sal die statistiek die noot hoog insit: reeds 45 markte is aangebied 

sedert 2003; 800 mense is na die eerste mark getrek – wat indrukwekkend vir ’n gewone huis is – tot vandag se 

ongeveer 60 000 voete per jaar; twee vroue se droom het gelei tot ’n gedugte span van tien vaste personeellede. 

’n Groot deel van die sukses van KAMERS/Makers is dat elke mark met skerp oë aanmekaar geslaan word. Sonder 

om elitisties te wees, is dit die werk van Wanda du Toit, die hoofeienaar en kreatiewe direkteur, en haar medewerkers, 

om seker te maak dat elke verskaffer met die hand uitgekies word. Die een hand was ook so die ander, want sonder 

KAMERS/Makers is daar vir vele van die entrepreneurs nie ’n platform om hul produkte te verkoop nie, en sonder die 

entrepreneurs wat hul nekke uitsteek om die markwaters te toets, is daar nie ’n KAMERS/Makers nie. ’n Resep wat 

makliker klink as gedaan, want hoewel KAMERS/Makers die mark so goed soos die palms van hul hande ken, bly 

kopers verras met wat hul voorkeure is. En dit verskil van die een mark na die ander. 

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MAJOR JOHN – PAUL WHITEHEAD 

FOTOGRAAF: CORLIA BREDELL 

COLE JEWELLERY – SHARON BOTHA 

FOTOGRAAF: CAREY SLADE 

DARLING SWEET – FRITS VAN RYNEVELD EN 

HENTIE VAN DER MERWE. FOTOGRAAF: CAREY SLADE 

Ek gaan klop graag aan by ’n paar van die verskaffers, wat al jare lank hul harde handewerk na KAMERS/ 

Makers bring. 

Paul Whitehead van Major John se storie begin in ’n klein houtwerkkamer in Bloemfontein, 12 jaar gelede. Hier het 

hy hout strikdasse begin maak. Daardie dae was dit ’n rare produk, wat die mark verslind het. Tot die mate dat hulle 

ander produkte – soos leervoorskote, leerstrikdasse en gewone leerdasse – vandag maak, asook ligte en meubels. 

Whitehead, wat al 12 markte lank by KAMERS/Makers betrokke is, het die volgende te sê as ek vra wat hierdie 

platform vir hom beteken: “KAMERS het ’n groot rol gespeel in ons ontwikkeling as ’n maatskappy. Dit is ’n fantastiese 

plek om ons nuwe produkte te toets, te leer van mede-makers en ’n verhouding op te bou met ons klante.” Whitehead 

het immers by sy eerste KAMERS in Irene die prys vir beste jong entrepreneur gewen – en vanjaar ontwerp hy die 

prys vir die jaarlikse Makers-trofees wat aan uitblinkers toegeken word. 

’n KAMERS/Makers sonder borrels, sal saai wees. Daarom maak ek graag ’n draai by Carla Pauw wat met haar 

stylvolle stalletjies vir besoekers ’n glas vonkelwyn in die hand stop. 

“Ek het as student in wynkunde ’n passie ontwikkel vir vonkelwyn. Die betowerende beweging van die borreltjies 

en die feesviering rondom die oopmaak van ’n bottel cap classique het my weggevoer na die ware Champagne in 

Frankryk. Ek het begin droom om my eie cap classique te maak. Ek wou graag spesialiseer in zero dosage boutique 

cap classique, daar was nie baie van hierdie styl in die mark nie,” antwoord die passievolle Pauw as ek vra waar 

haar liefde vandaan kom. 

195

SK8SHADES – DAVE DE WITT 


+NESS – MAX MELVILL 

LAPOPLAP – LOURETTE DU PREEZ 

FOTOGRAAF: FIONA JOY 

Suid-Afrika bied volgens haar groot geleenthede vir entrepreneurs, mits jy ’n volhoubare plan het, hope 

waagmoed en deursettingsvermoë. Die “blywende bederfervaring”, soos Pauw dit beskryf, maak van 

KAMERS/Makers ’n plek waarheen mense weer en weer na wil terugkeer. 

Dave de Witt het sy besigheid, Sk8shades, in Durban begin toe hy “meer tyd as geld gehad het”, en 

boonop met ’n stukkende sonbril gesit het! As ’n kranige nutsman wat skaatsplank ry en baie buitemuurs 

is, is ’n sonbril deel van sy gesig, lag De Witt. Een van sy vriende het later vir hom ’n bril geleen – met 

swak lense en al. Dit het De Witt genoop om op die internet te swerf opsoek na moontlike maniere hoe 

om sy eie sonbril te maak. Tevergeefs. Totdat hy besef het dat hy uit sy eie skaatsplank die raam van ’n 

bril kan prakseer. Dit het hy alles gedoen in die oprit van sy ouers se huis. Almal was gaande oor sy 

aweregse bril – en so het hy sy eie besigheid van die grond gekry. 

Vir De Witt is die mede-uitstallers en die personeel van KAMERS/Makers soos familie. Gevra wat sy raad vir ander 

entrepreneurs is wat so toevallig met ’n wenresep vorendag kom soos hy met sy skaatsplank-brille, kom die antwoord 

vinnig: “Moenie vergeet om te speel, om iets anders te wil doen nie, en om te geniet wat jy doen. Ek speel al vir meer 

as 30 jaar op my skaatsplank!” 

Max Melvill, argitek van +NESS, vertel op sy beurt oor sy diepe passie vir geboue en die rol wat argitektuur speel 

in ons alledaagse lewe. Dit is hieruit dat +NESS ontstaan het: om nuwe lig te werp op die geboue rondom ons, 

om sodoende mense te help om die plekke waar hulle woon, meer te waardeer. Dit het gelei tot kunswerke waarin 

196

Melvill die lug, die kultuur en die geskiedenis van Suid-Afrikaanse stede vasteken. “Jy hoef nie ’n argitek te wees om 

’n verbintenis te hê met die geboue rondom jou nie,” merk hy op. Elke kunswerk word as ’n argitektekening begin, 

wat dan ontwikkel tot ’n kunswerk. KAMERS/Makers is volgens Melvill suksesvol aangesien hulle hulself dwing om 

relevant te bly, en om die entrepreneurs ook by hierdie strewe na gedurige vernuwing te hou. 

Sharon Botha van Cole-juweliersware het eers later in haar lewe haar passie ontdek, en op die ouderdom van 

54 gaan studeer. Vandag werk sy uit haar studio in Woodstock, saam met van haar “twenty something” medeoudstudente. 

“KAMERS het ’n groot rol in my lewe gespeel, aangesien mense my werke nie sommer andersins sal 

ontdek nie. Mense wil nie net juweliersware koop nie: hulle wil sien hoe lyk die hande wat dit gemaak het; die 

gesig daar agter.” 

Toffies is al so oud soos die berge, maar tog kon Frits van Ryneveld en Hentie van der Merwe daarin slaag om met 

hulle Darling-toffies oud en jonk opgewonde te maak. “Dit gaan oor die verpakking en die interessante smake wat ons 

bymekaar voeg,” sê Van der Merwe opgewonde. Al is hul produkte op baie plekke beskikbaar, bly KAMERS/Makers 

’n baie goeie platform waar hulle waardevolle terugvoer van kopers kry oor wat werk en wat nie. 

Van der Merwe stem saam met Pauw dat Suid-Afrika ’n wonderlike plek vir entrepreneurs is, maar waarsku dan: 

“Om ’n entrepreneur te wees vandag in Suid Afrika beteken om op jou voete te kan dink, en nuwe, kreatiewe 

oplossings te kan vind in ’n voortdurend veranderende politieke en ekonomiese landskap en ook wat betref jou 

produkaanbod, gesien die mark vir handgemaakte voedselprodukte raak al hoe meer puntenerig oor wat hulle in hul 

monde sit, en tereg ook.” 

Lourette du Preez kom al van die begin af met KAMERS/Makers aan. Haar kinderdroom, om met lap te werk het by 

haar oumas begin. “My een ouma het my leer brei, my ander ouma leer hekel. Van kleintyd af wou ek my eie winkel 

met hierdie gevroetel hê. Ek het al die goedjies gemerk en dan wou ek sinkplate vat en my eie winkeltjie langs die 

plaaspad oopmaak – die enigste mense wat ooit met die pad gery het was die bure, miskien elke tweede dag,” spot sy. 

Vandag verkoop sy ’n verskeidenheid lapprodukte met fassinerende teksture by al wat ’n mark is van KAMERS/Makers. 

Nóg ’n entrepreneur wie se paaie vroeg met KAMERS/Makers gekruis het is Heidi Sendin. Sy was pas afgedank 

by ’n groot kettingwinkel waar sy as aankoper gewerk het. Sendin onthou goed hoe sy ’n geskenkbewys van die 

Bead Shop in Langstraat, Kaapstad, by iemand gekry het. Sy het begin om kralewerk te maak en nadat sy die 

oproep van (toe nog) Kamersvol Geskenke gekry het, nooit weer terug gekyk nie. 


Consol is die trotse borg van KAMERS/Makers. Saam 

maak Consol dit moontlik om KAMERS/Makers te help in 

hul strewe om omgewingsvriendelik handel te dryf. Consol 

gee elke besoeker ’n gratis glaswaterbottel en sodoende 

is die gebruik van meer as 120 000 plastiekbottels oor 

die afgelope jaar by KAMERS voorkom. Hulle bied ook 

’n stalletjie aan waar al hul nuutste glasprodukte aan die 

besoekers gebied word. 

197

198

FOOD &WINE 

food & Wine 

PHOTOGRAPHER: AZAMAT ZHANISOV 

199

Pearls of wisdom 

Alchemy and elegance merge in the LOUIS XIII Black Pearl AHD, 

an exquisite homage to André Hériard Dubreuil and the cellar 

built in his name. 

200

201

202

Personal. Intimate. Limited. The LOUIS XIII Black Pearl AHD is the latest cognac in the LOUIS XIII Black 

Pearl Collection and is presented in a 35cl Baccarat decanter that encapsulates the essence of the 

André Hériard Dubreuil Cellar. The occasion has been marked with a limited edition of 1 498 bottles, 

drawn from a single tierçon of 576 litres, selected by Baptiste Loiseau, cellar master at LOUIS XIII 

since 2014. The rare blend of LOUIS XIII Cognac combines the atmosphere of the André Hériard 

Dubreuil Cellar, the former chairman’s vision for LOUIS XIII Cognac, his unprecedented partnerships 

with the winegrowers, and the footprint of time. 

BESPOKE CELLAR 

Cooler, darker and damper than other cellars, conditions at the André Hériard Dubreuil Cellar fuse to 

offer fresh, floral and earthy intense aromas, and therefore, a singular signature. The LOUIS XIII Black Pearl AHD 

features remarkable notes of dried roses, honey, myrrh, cigar box, plum, honeysuckle, leather, figs and passion 

fruit that gradually give way to the scent of wet chalk and woody undergrowth, leaving nothing but smooth 

elegance in their wake. 

The exceptional cellar was carved out of the chalky earth in 1991 and built over three levels entirely out of wood 

and stone. André Hériard Dubreuil was the chairman of The House of Rémy Martin from 1965 to 1982, and 

secured the grapes and eaux-de-vie for the future of LOUIS XIII and the next generations. He is remembered for 

establishing long-term partnerships with selected winegrowers of Grande Champagne, the first Cru of the Cognac 

region, based on fair but rigorous principles. 

The cellar benefits from special ageing conditions. In addition to its cooler and darker interior, the temperature 

remains between 12 and 19°C all year round and the humidity is higher (around 80%) than in other cellars. These 

conditions are ideal for the eaux-de-vie during the ‘phase de mariage’, the final stage of blending when myriad 

aromas intertwine to create LOUIS XIII. 

INTERPLAY OF FLAVOURS 

When compared with the classic LOUIS XIII and other Black Pearl editions, the LOUIS XIII Black Pearl AHD’s 

difference lies in the blending and harmony between nature, the eaux-de-vie, the tierçon and the cellar. The location 

of the tierçon plays a fundamental role in each cognac creation; each one is the result of a delicate interplay 

between the eaux-de-vie inside, the wood, and the air outside. The inner sanctum of the André Hériard Dubreuil 

Cellar is closer than ever to the roots of the terroir. The air is chilly, but the moist warmth of the forest carpet is distinct. 

Set against the chalky wall, deep in the alcove in the family reserve, this specific tierçon harboured its own secrets. 

EXQUISITE BACCARAT DECANTER 

The LOUIS XIII Black Pearl AHD is contained in a beautiful Baccarat decanter, inspired by the royal flask 

discovered on the battlefield of Jarnac, fought in 1569, and acquired by Paul-Émile Rémy Martin in 1850. 

The 35cl limited-edition colour of steel is a work of art. The highly skilled and award-winning crystal makers at 

the legendary Baccarat have produced an object of refined and complex beauty. The delicate symmetry of the 

lacework combines with the meticulous detail of the medallions, with their minute pearl inlays revealing the pure 

iridescence of hand-blown crystal decorated with precious palladium plating. A multitude of reflections catch the 

light, dance across the surface and splinter into flashes of silver, black and anthracite, reflecting the essence of the 

past and paying tribute to the original flask. 

Availability on request through LOUIS XIII Conciergerie: conciergerie@louis-xiii.com 

203

204

The 

finer 

things 

LA MOTTE BARREL CELLAR AND TASTING ROOM. PHOTOGRAPHER: CHARLES RUSSELL 

205

The finer things in life 

La Motte Wine Estate in the Cape Winelands offers something most of us often 

neglect – the luxury of enjoying our senses to the full. There to help us appreciate 

more than just what’s needed to survive, our senses crave all the nuances of beauty – 

the finer things in life – and this Franschhoek Valley estate offers them in abundance. 

This luxury can be found in the slow drive up towards the peaceful Wine Bearer with her overflowing sculpture 

cup; in the calm beauty of fynbos and vineyard-covered mountain slopes; in the majestic presence of impeccably 

restored Cape Dutch architecture surrounded by age-old oaks, and in the authentic warmth of this historic estate’s 

hospitality. La Motte’s beauty and inviting atmosphere flow from a seamless combination of past and present, nature 

and culture, trend and tradition. 

While the historic ambience, attention to decor detail and the lush indigenous gardens serve as 

a warm welcome to those lucky enough to visit, La Motte is internationally renowned for the 

elegance, consistency and quality of its wine portfolio. No surprise then that the beautifully 

appointed Wine Tasting Room is one of the estate’s most popular experiences. Relax on plush 

couches for an informal fireside tasting, opt for formal seating when you are serious about the 

latest releases, or book for a vintage tasting in the Rupert Vinoteque overlooking the atmospheric 

maturation cellar. 

The gentle sounds of classical music contributing to the mood of the wine-tasting experience 

extend through all the visitor areas on the estate, and to monthly classical music concerts 

presented in the Historic Red Wine Cellar. Inspired by owner Hanneli Rupert-Koegelenberg’s love for music and her 

career as one of South Africa’s foremost mezzo-sopranos, music is just one way in which the arts are shared with 

guests at La Motte. 

The Rupert family’s passion for art and the preservation of South Africa’s art heritage, allows visitors to get acquainted 

with one of the great South African masters, Jacob Hendrik Pierneef (1886 – 1957). On permanent exhibition in 

the La Motte Museum, Pierneef’s heritage collection is complemented by rotating contemporary exhibitions such as 

the current Land Rewoven exhibit presenting a conversation between Pierneef’s landscapes and those of modern-day 

artist, MJ Lourens. 

Continuing an appreciation for the arts, Pierneef à La Motte Restaurant’s name is inspired by La Motte’s admiration of 

the artist. His adoration of the South African landscape and his appreciation of the country’s diversity are reflected in 

the restaurant’s focus on heritage cuisine and how it embraces cultural influences, ingredients and recipes. Pierneef’s 

European inspirations, exceptional creativity as well as pioneering efforts in the South African art environment also 

resonate with Pierneef à La Motte’s interpretation of the history of South African food and its aim for innovation in 

executing modern South African heritage cuisine. 

206

TOP LEFT: LA MOTTE FARM SHOP. PHOTOGRAPHER: JEAN PIERRE UYS PHOTOGRAPHY 

TOP RIGHT: LA MOTTE SYRAH STUDIO. PHOTOGRAPHER: CHARLES RUSSELL. AERIAL PHOTO: LA MOTTE SUNSET. PHOTOGRAPHER: CHARLES RUSSELL 

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PIERNEEF À LA MOTTE RESTAURANT. PHOTOGRAPHER: CHARLES RUSSELL 

Enticed long before sitting down to a meal in the estate’s Pierneef à La Motte Restaurant, your taste sensations are 

awakened by the aroma of freshly baked bread from the charming Farm Shop and the sounds and smells wafting 

from the open kitchen. 

In line with the estate’s culture of sharing and the restaurant’s focus on heritage cuisine, starters are served to 

share with condiments inspired by ‘granny’s pantry’. Expect fruit and vegetables pickled or preserved, chakalaka 

or chutney, kaiings or kluitjies... all part of a collective food heritage. Chef Eric Bulpitt’s communal starter 

serves as a novel introduction to diverse culinary traditions. Keeping with the heritage theme, but without losing 

the sophistication it is renowned for, Pierneef à La Motte’s à la carte menu offers a choice of main courses, 

individually plated with Bulpitt’s signature modern interpretation. Expect a selection that construes authenticity 

and wholesomeness with the latest culinary trends. Combined with the acclaimed wine list, the smooth but warm 

service and the attention to detail, lunch at Pierneef à La Motte is a distinguished experience – from the modern 

green water glasses to elegant stemware for the estate’s acclaimed wines, the luxuriously upholstered furniture 

to the almost rustic linen napkins, the farm-picked fynbos arrangements to the chime of impressive crockery 

chandeliers, and from familiar tastes and flavours to unexpected twists and charming combinations that will bring 

your sensory delight full circle. 

It is hard to resist the warmth of La Motte, it charms you with those special finer things in life and invites you to share 

in its culture of excellence. 

www.la-motte.com | +27(0)21 876 8000 | info@la-motte.co.za 

208

CHEF ERIC BULPITT AND CELLARMASTER EDMUND TERBLANCHE. PHOTOGRAPHER: CHARLES RUSSELL 

SHARED STARTER IN PIERNEEF À LA MOTTE RESTAURANT. PHOTOGRAPHER: CHARLES RUSSELL 

209

Gourmet 

plaaskos 

Wanneer die sjef van Pierneef à La Motte Restaurant saans by 

die huis kom, skuif hy weer agter die kospotte in, want hy is 

passievol oor kosmaak. Dit is nie net sy beroep nie, maar ook 

sy stokperdjie. Almal verwag dat die soort kos wat hy in die 

restaurantkombuis maak, ook dit is wat hy tuis maak, vertel Eric 

Bulpitt aan GERARD SCHOLTZ. 

“Ek hou van hartlike, huislike kos. Geroosterde kaastoebroodjies of ’n spaghetti bolognese is nie ongewoon nie. Ek 

hou van braai wanneer die weer goed is en ek is mal oor groente wat op die vuur berei word. Dan kry jy ’n diepte 

van geur en tekstuur wat jy nie in ’n pan kry nie. Verder hou ek van ’n regte aïoli en warm souse. My yskas tuis het 

altyd al die geurmiddels wat ek by byna elke dis voeg. En dan put ek baie inspirasie uit die Japanse kookkuns. ’n 

Umamiryke aftreksel met noedels is elke week of twee op die tafel.” 

Oorkant my onder die groen eikebome van die wynplaas, La Motte, sit Bulpitt. 

Effense rooi skynsel in sy baard, potlood agter die oor, ’n vietse leervoorskoot 

aan met hier en daar ’n vlek wat dit ’n heerlike patina gee, en 

sy oë kyk kort-kort in die rigting van die oop kombuis waar sy assistente 

besig is met voorbereidings vir die gesofistikeerde plaaskosetes waarvoor 

Pierneef à La Motte so bekend is. Waar tradisie, erfenis en die omgewing 

so ’n groot rol speel. 

Bulpitt beklemtoon dat dit vir hom ’n voorreg is om by Pierneef à La Motte 

te werk. “En dan ook die koskultuur hier. Om disse van my kindertyd op 

’n nuwe en verbeeldingryke manier te verwerk onderstreep nostalgie. Die oorvloed van wat die plaas bied en ook 

om met die plaaswerkers saam te werk laat my voel ek hoort hier. Dat hier ’n baie spesiale verbintenis tussen my 

en die plaas is. Almal is passievol oor wat hulle doen en ook om met kreatiewe mense saam te werk is ’n inspirasie 

om gedurigdeur in die erfenis van ons land te delf. Natuurlik help dit om uitstekende wyne hier te hê en om met die 

keldermeester Edmund Terblanche saam te werk wanneer dit by kos- en wynpasmaats kom. ’n Verdere inspirasie.” 

210

SJEF ERIC BULPITT. FOTOGRAAF: MATTHEW IBBOTSON 

211

’n Kelner kom sit sjef Bulpitt se gerookte snoekpannekoek voor ons neer. Snoek, ’n ou Kaapse tradisie. Om ’n gesofistikeerde 

geurtjie aan dié Weskus-stapelvoedsel te gee word dit met ’n ligte pannekoek, suurtjies en ’n beleë chedderkaas 

gekombineer. Ons onderhandel oor die wyn wat die beste hierby sal pas. 

“Ek weet jy gaan die 2018 La Motte Chardonnay kies,” sê Bulpitt met ’n vonkel in sy oog. “Uitstekende pasmaat vir 

hierdie komplekse geurkombinasie. 

Voor my is koskuns. ’n Pannekoek soos ’n halfmaan gevou. Bo-op rus die fynste handgeplukte vars kruie, bessies en 

eetbare blommetjies. 

Ek vra aan Bulpitt waar die restaurant op die ranglys van Suid-Afrikaanse restaurante lê. Hy antwoord dat hy nie ’n 

posisie-gefokusde ingesteldheid het nie. “Baie sjefs gryp terug na die wortels van kookkuns. Hulle verfyn en vereenvoudig 

die gastronomiese fase – daardie stywe formele etes – wat die wêreld die afgelope 15 jaar oorheers het. Ons 

fokus is om getrou te wees aan Suid-Afrika se kos-erfenis, deur te verfyn en ’n moderne aanslag by die kookkuns van 

ons grootouers te voeg. Ons posisie is uniek binne Suid-Afrika en soos elke ander instelling, is ons doel om ’n gesprek 

onder ons gaste uit te lok, en dat hulle disse en herinneringe uit hul kinderdae onthou.” 

Bulpitt se snoekgereg vertel ook ’n ander storie. Hy is in Walvisbaai, Namibië, gebore en van sy vroegste kosherinneringe 

is om met die grondpad na die viswinkel te loop waar hulle snoek gekoop het. “Ek onthou nog die rook in die 

lug nog voor ons die winkel gesien het waar hulle ook snoek gerook het. Vandag nog is snoek my gunstelingvis en 

ek is mal oor gerookte geure – danksy daardie vroeë bekendstelling. My pa het nasionale kleure in hengel gehad en 

het my baie keer saamgeneem wanneer hy gaan hengel. Ek het sulke kosbare herinneringe van ons klein kombuisie 

waar ons die vorige aand se braaigaljoen koud geëet het. Ons kenne wat so blink van die vet.” 

Bulpitt se aardse benadering tot kos kan ver terugvoer word. Hy bring as kind baie tyd by sy ouma 

Rina op ’n plaas by Rustenburg deur. Om in die plaaskombuis te help was doodnatuurlik. “Sy was 

’n meesterbakker en ’n merkwaardige kok. Die plaas was baie selfonderhoudend en my oupa en 

ouma het omtrent elke groente- en vrugtesoort daar gehad. En ook elke moontlike slagdier. Dit is 

vanwaar ek my voorkeur vir vars plaasprodukte gekry het. Ons moes ook help met die slag van 

diere en verwerking van die vleis. Al daardie vakansies op die plaas was so ’n leerskool. Ons is 

ook soms gevra om die skape en bokke op te pas. Dan is ons ook gestuur om vir etes slaaiblare, 

groente, avokadopere en vrugte te gaan haal. In ouma se yskas was daar altyd ’n fles met varkvet vir 

jou warm roosterbrood. Die spens was ook vol flesse ingelegde groentes, vrugte en konfyte van die 

vorige seisoen. Van my kosbaarste herinneringe is die rond klim in die avokadopeerbome en hoe ek 

my trommelvol aan moerbeie geëet het. 

“My ma en pa, Wilma en Joe, kook altwee. Ma doen die elkedagse kookwerk en Pa is in beheer van vis, kerries, afval 

en braai. Hulle is so ’n goeie span. Ons kinders moes altyd help. Rys kook, ertappels skil of die opwaswerk waarvan 

ons niks gehou het nie. My ouma was my ma se ma. Jy kan jou net indink hoe goed my ma ook in die kombuis is.” 

Ons eet vir ’n ruk in stilte en dan kyk Bulpitt op: “Ek hoop ek erf eendag my ouma se resepteboeke.” 

Van ouma se kombuis op die plaas tot in die kombuise van die voorste sjefs in die wêreld. Bulpitt het internskappe vir 

twee maande by The Ledbury in Notting Hill, ses weke by Noma en ’n week by Nimb, albei in Kopenhagen gedoen. 

Hy vertel dat jy dan net fokus en werk, leer, en steel hy met die oë soveel as wat jy kon vir die tydjie wat jy daar was. 

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SJEF ERIC BULPITT. FOTOGRAAF: CHARLES RUSSELL 

Dan is daar Michel Bras na wie hy opkyk en wie se etos hom inspireer omdat hy een van die eerste sjefs was die 

natuurlike styl van kook gewild gemaak het. 

’n Kelner bring weer die spyskaart. Ek vra Bulpitt om ’n aanbeveling te maak. Hy stel die porcini-krummelgereg met 

gebraaide witwortel en vanielje voor vir die heerlike umamigeure wat dit het en wat baie goed pas by die 2018 

La Motte Chardonnay. Hy is seker ek sal daarvan hou. Ons gesels weer oor Michel Bras. 

“Sy gargouillou is een van die mees inspirerende disse wat al oor en oor deur ander sjefs nagemaak en aangepas 

is. Bras bly getrou aan sy geloof in seisoenale groente, blare, blomme en kruie vir die beste smake en geure. Ek 

put ook baie inspirasie uit die Nordiese beweging. Die natuurlike styl maak soveel sin. Die frases ‘wortel tot saad’, 

‘plaas na tafel’, ‘neus tot stert’, organies en vryloop is al byna clichés. Die ouer generasies het almal so gekook en 

ek beywer my om ook so te kook. Almal moet so kook, want dit is moreel en eties reg. So bring ons dan ook die 

beste kwaliteit en geure na vore.” 

Bulpitt vertel dat sjefs vandag na die verlede kyk vir inspirasie. Ou tegnieke en vergete kruie en geurmiddels herleef. 

Vars seisoenale groente en etiese produkte is nou op die voorgrond. Om self jou groente in die restaurant se tuin uit 

te soek of eetbare plante in die veld te gaan oes, word nou deel van ’n sjef se roetine. Die gebruik van kappertjies, 

fynbos, oxalis, seewier en ander eetblare plante is nou so algemeen soos pietersielie. Gisting is nog steeds groot. 

Pierneef à la Motte is een van die eerste restaurante om byvoorbeeld hul eie miso en garums van plaaslike graan en 

vis te maak. Charcuterie is groot en hulle gebruik aspergillus oryzae, een van die mees revolusionêre bakterieë van 

die eeu vir vleis- en selfs groenteveroudering. 

213

Om meer internasionale blootstelling vir Suid-Afrikaanse restaurante te bewerkstellig is vir Bulpitt ’n droom. Hy glo dat 

baie plaaslike sjefs op gelyke vlak staan met hulle internasionale eweknieë. Dit is net die kollig wat nou op hulle moet 

val om die Suid-Afrikaanse kookkuns ’n hupstoot te gee. Hy sal ook graag ’n toename in die plaaslike uiteetkultuur 

wil sien. Hy voel dat baie mense uiteet as te duur beskou, maar hulle moet onthou dat plaaslike sjefs wêreldklas 

kwaliteitsetes voorsit wat ook meer bekostigbaar is. Baie dinkwerk, kreatiwiteit, navorsing en passie word in hulle 

werk ingeploeg. “Suid-Afrika het sjefs met veelvuldige talente en hulle moet ondersteun word,” voeg Bulpitt by. 

Vroeg opstaan is deel van Bulpitt se roetine. Dan pak hy ook elke oggend sy dogtertjie van vyf, Elizabeth, 

se kosblik vir middagete by die skool. Hy klok om en by 06:30 by die restaurant se kombuis in en drink 

dadelik ’n koppie koffie en dan word daar na die dag se besprekings en dieetversoeke gekyk. Die vorige 

dag se koste word verwerk en wanneer sy kombuisspan opdaag, bespreek hulle eers alle voorbereidings 

en moontlike veranderinge op die spyskaart. Bestellings van produkte word geplaas en dan eers kan hy 

hand bysit waar hy kan. Om 11:00 word al die restaurantpersoneel bymekaar geroep om seker te maak 

alles is gereed vir die middagete. Wanneer die kombuis omstreeks 16:00 klaarmaak handel hy eers e- 

posse en administratiewe sake af. Dan wag sy vrou Celeste, Elizabeth en sy twee korthaar Duitse pointers 

vir hom op Stellenbosch om in die berg en woude te gaan stap. As Christen bring hy ook baie tyd deur om 

die Bybel te bestudeer. En dan ook om in die binnegoed van sy Defender te krap en aanpassings te maak. 

Aan die einde van ons kuier stap ons na La Motte se groentetuin. Ek stap ’n ent vooruit om te dink oor hierdie man 

wat op die voorpunt van erfeniskos staan. Ek kyk om, of hy agter my is. Wat in my vasbrand is ’n impulsiewe huppel 

in sy stap. In die lug klik hy sy hakskene teenmekaar. 

Belangrikste bestanddele in Bulpitt se kombuis: 

Aspergillus oryzea – ook bekend as koji. Die bakterie wat verantwoordelik is vir ensieme wat umami in sojasous, 

miso en amazake veroorsaak. 

Herebone – Ook bekend as limabone wat net in die Sandveld groei. 

Gehalte plaaslike olyfolie, baie kruie en uie. Bulpitt is baie lief vir uie! 

Bulpitt se droomete – ’n kombinasie van luuks en “local”: 

Duif en truffels 

Kaviaar en knolseldery 

Kreef en kammossels 

Eend en kersies 

Camembert en kweper 

En eindig met die lagiesbekoring van mille-feuille 

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SJEF ERIC BULPITT. FOTOGRAAF: CHARLES RUSSELL 

GEKRUMELDE GEROOSTERDE WITWORTELS, VANIELJE EN PORCINI. FOTOGRAAF: CHARLES RUSSELL 

215

Pierneef à la Motte - resep 

Gerookte snoek is ’n Kaapse tradisie. Die sjef Eric Bulpitt gee ’n gesofistikeerde 

geurtjie aan hierdie Weskusstapelvoedsel deur dit met ligte pannekoek, suurtjies 

en beleë cheddarkaas te kombineer. Die 2018 La Motte Chardonnay is ’n goeie 

pasmaat vir die komplekse geurkombinasies. 

Gerookte snoekpannekoek, suurtjies en beleë cheddar 

Gerookte snoek 

1 snoek (gevlek en skoongemaak) 

100 g gedroogde seegras 

150 g houtsnippers 

Besprinkel die vis ruimskoots met die gedroogde seegras en laat staan 30 minute lank. 

Spoel die seegras af en druk droog. 

Maak die houtsnippers klam en kry ’n rookapparaat gereed. Rook die vis 15 minute lank of totdat dit net gaar is, 

rokerig en vlokkig. 

Laat afkoel, vlok en verwyder al die grate. Hou die vis vir die finale mengsel. 

Seegrasmengsel 

100 g kombu (gedroogde seegras) 

250 g sout (grof) 

150 g suiker 

Verwerk die seegras in ’n voedselverwerker tot ’n half fyn poeier. Meng al die ander bestanddele saam om die 

seegrasmengsel te verkry. 

Crème fraîche 

100 g crème fraîche 

80 g roomkaas 

sap en gerasperde skil van 1 suurlemoen 

10 g grasuie 

50 g room 

Klits die crème fraîche, room en kaas saam in ’n mengbak. Gooi die grasuie, suurlemoensap en -skil by. Meng en 

geur volgens smaak. 

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FOTOGRAAF: CHARLES RUSSELL 

217

Pannekoekmengsel 

200 g koekmeelblom 

200 g volroommelk 

300 g karringmelk 

110 g eiers 

15 ml olie 

geurmiddels 

bietjie suurlemoensap 

Meng al die nat bestanddele saam, sif die meelblom in en vou in. Geur en laat minstens ’n uur lank in die koelkas rus. 

Kaasskuim 

1 liter volroommelk 

150 g sterk cheddar 

geurmiddels 

bietjie suurlemoensap 

Verhit die melk tot 40 ˚C. Meng die kaas met ’n handmenger in (bietjie vir bietjie, om egalige verspreiding te verseker). 

Geur volgens smaak. 

Suurtjies (opsioneel) 

100 g groen druiwe 

100 g kappertjiesaad 

100 g knoffelgrasuie 

300 g witwynasyn 

150 g water 

75 g suiker 

geurmiddels 

Spoel die druiwe, kappertjiesaad en grasuie af. Plaas in drie aparte flesse. 

Bring die asyn, water en suiker tot kookpunt in ’n kastrol. Geur en, terwyl dit kokend warm is, gooi dit in elke fles om die 

suurtjies te bedek. Draai deksels op en keer flesse onderstebo. Laat afkoel en hou vir latere gebruik. 

Pannekoekbereiding 

Bak die pannekoeke op die gewone manier en sit eenkant. 

Meng ’n gedeelte van die vis en crème fraîche-mengsel en geur vir oulaas. 

Plaas die pannekoeke in ’n stapel, skep van die vismengsel op die helfte van ’n pannekoek en vou die ander helfte oor. 

Rasper nog ’n bietjie kaas bo-oor. Verhit ’n bietjie van die kaasskuim en klits met ’n handmenger om borreltjies te vorm. 

Skep van die borreltjies langs die kant van die pannekoeke. Garneer met suurtjies. 

Alternatiewe metode: Vul die pannekoeke met vis en rol toe. Rangskik die pannekoeke in ’n gesmeerde oondbak, gooi ’n 

bietjie skuimsous oor en rasper ’n bietjie kaas bo-oor. Verbruin in die oond en sit voor met ’n paar suurtjies langs die kant. 

Sjefswenk: 

Dit is meer akkuraat om bestanddele te weeg – selfs vloeistowwe, maar gebruik gerus dieselfde volume in milliliter indien 

dit makliker is. 

218

FOTOGRAAF: CHARLES RUSSELL 

219

THE LAST EMPRESS 

Emma Chen ‘rules’ her 30-year-old Johannesburg restaurant with 

a unique love for food that she shares with her patrons. She is 

the empress of Jozi’s restaurant scene, where quality is rewarded 

with loyalty and turning tables. In the most trying economic times 

Emma’s flagship restaurant and its more footloose sister eatery in 

Linden, PRON, surpass all their rivals, especially when it comes to 

taste. MARTIE BESTER went for a bite. 

220

EMMA CHEN | PHOTOGRAPHER: MARIJKE WILLEMS | PHOTOGRAPHER’S ASSISTANT: CHRIS JANSE VAN RENSBURG | HAIR AND MAKE-UP: RENATE WILLEMS 

PRODUCTION: ANNEMARIE MEINTJES 

221

YOUNG EMMA CHEN. IMAGE SUPPLIED 

222

Visitors, who are treated as guests, come and stay for the dim sum… steamed and fried 

parcelled perfection; the cold seaweed, garlic and chilli dish Emma loves so much; her 

famous duck evenings; the morsels of seafood on sesame toast; braised snowy tofu and 

silky mushrooms; crispy chicken on the bone; pink plump prawns; fluffy egg-fried rice; 

thick, juicy noodles; ginger fish; beautifully bright vegetables; spoonfuls of soup, spicy and 

sweet; fortune cookie snaps… 

The Red Chamber is famous for its food, but perhaps even more so for the gentle woman 

who has owned and run one of Joburg’s greatest culinary gems for 30 years. Emma Chen 

is an empress of food, good and great food; the love of food that goes into preparing and 

savouring it. For years, patrons have come for her company too – when invited, she joins diners at their tables, and 

shares her wisdom and intelligence, talent and humour, curiosity and taste. 

Emma grew up in Taiwan, in a military camp, where food was the only currency not in short supply. Food represented 

love and friendship in a community that lacked economic wealth. 

“Food is love,” says Emma. 

“My mom was the local schoolteacher, and in the camp where I grew up everybody knew I was Teacher Jiang’s 

daughter. There was little material wealth, but there was a strong sense of cohesion in the tight community. I could walk 

in and out of any house, no doors were locked. At mealtimes I would often be invited to join family tables.” 

Emma runs her two restaurants with a keen awareness of others, especially her female staff, of whom she employs 

close to 40 in total. She is aware of their circumstances, understanding that their domestic lives are often not ideal, 

and she tries to guide them and make them aware that life’s obstacles can be overcome or bettered during their own 

lifetime. She knows there are resentments and challenges, and she tries to tell others to be aware of this – a lesson 

she learnt through food. 

“On Sundays, I would go to the market with my mother to help her carry the baskets. Bargaining was the normal 

practice, but I always felt shy when I saw Mom doing it. One day, I saw a neighbour ‘mama’ (that’s how we referred 

to all adult women) crouching on the floor, bargaining with the vegetable vendor. 

“After she had paid, the neighbour grabbed a handful of mushrooms, threw them into her own basket, stood up and 

quickly walked away. I stared at the vendor in shock. 

“When he turned to deal with Mom, he smiled and greeted her in a friendly manner, but I noticed his clenched jaw 

and his unsmiling eyes. My mom was oblivious to what had just happened and started to bargain as usual. 

“I learnt that morning that life can be complicated. 

“Throughout the years, I came to realise that our background plays a significant role in shaping who we are, and I 

remember that when dealing with my staff and my customers.” 

223

Almost 40 years ago, when Emma was a young woman, serendipity extended a hand 

when she was on her way to America to continue her studies in English. After she had 

graduated from the University of Taichung in Taipei, Emma’s uncle told her about the 

beauty of South Africa. 

“This triggered my curiosity. I approached the South African Embassy in Taipei and 

found a post-graduate course at what was then the Rand Afrikaans University, and 

enrolled.” 

Emma was going to Africa. 

“It was the first time I was away from home, and being so far away I was extremely homesick and missed my mom 

terribly. Yet at the same time, I enjoyed the freedom of being a person without a past. I could be whatever I wanted to 

be. I told myself I would experience every new thing that came my way and I never declined an invitation. 

“While I was studying I waited tables. I would stay up late reading and woke up late. My life was my own. I did not 

decide to stay in South Africa. It just happened.” It was eight years before Emma returned to Taiwan for her first visit 

since leaving. 

In 1989, Emma opened The Red Chamber restaurant in Rosebank. “Back then, the Chinese restaurant scene was very 

limited. Most Chinese restaurants and takeaways were based on Cantonese cuisine,” she explains. 

Emma’s decision to open her own restaurant was based on her childhood, where food was made with care and fresh 

ingredients, savoured and shared. 

“Most families lived from one pay cheque to the next. Borrowing cooking oil, spring onions and even salt was 

commonplace. My mom regularly asked me to take pastries that she’d made to our neighbours and I always came 

back with a dish that they’d made in return. 

“Ever since I was little, I learnt that giving and sharing food was a display of caring. All the celebrations were around 

food too.” 

Emma and her mathematician husband Colin often travel in Africa and South Africa. Both share a love of nature and 

the bush. Emma speaks fondly of their travels to Thendele in the Drakensberg, and of Tankwa in the Karoo “where the 

openness, rugged terrain and extreme weather conditions make you realise how vulnerable humans are”, as well as to 

Pafuri camp in the northernmost Kruger National Park “where the magnificent baobab and fever tree forest enchant me”. 

Her trip to the Impenetrable Forest in Uganda several years ago is a highlight, when she and a group of travellers 

spent a whole day tracking an elusive family of gorillas. By the time they finally reached the family, they all fell silent 

in awe at the sight of the magnificent silverback. They soon broke into soft laughter when a few juvenile gorillas 

deliberately came towards them and stared at them curiously, like children. “It was a pity I could not produce one 

good picture,” she sighs, “but I was shaking so much from joy and exhaustion. 

“I thought I knew the African bush, but the first morning I was there I was overcome with the calls and the smells of the 

dense misty forest. I felt alien and at home at the same time.” 

Despite “crushing” on actor Keanu Reeves, and the dashing Mr Darcy from Jane Austen’s Pride and Prejudice, Emma 

describes knowing and marrying Colin as one of the luckiest events in her life. “There is absolute trust between us. I 

trust him for his integrity and honesty. And there is something so sexy about a man who is super intelligent and talks 

like an encyclopaedia,” she laughs. 

224

After years of popping in at Emma’s for quick conversations that become hours of 

gastronomic delight while we solve the world’s problems and reconstruct society, 

chopsticks in hands and dipping sauce at the ready, I know Emma has immense joy, 

humility and wisdom within her. 

She balances her inquisitive, philosophical and sometimes serious nature with wit and 

humour. She has an abundant laugh, capturing life in an instant as it ripples to the 

surface quickly, like crystal. 

“Do not take yourself too seriously,” she always says. 

That is her motto in life. 

Emma loves animals and calls her two Rottweilers “my boys, my children”. 

“I cannot see myself loving two-legged children more than I love my dogs. I grew up with dogs and cats, often quite 

a few at a time. When a stray dog or cat followed us home, my sister and I would make up a sad story to persuade 

Mom to keep the animal. And once Mom had bathed it, it would be another member of the family.” On a more serious 

note, she says, “As a Chinese person, I also feel that I owe the dogs and cats more because of how other Chinese 

people treat them.” And that’s the heart of Emma: the soul of caring. 

Her fondest food memories are associated with events and time spent with loved ones, from her mother’s dumplings – 

“She made them large and flat, without any folds. She said those fancy folds may look pretty, but they were unnecessary 

‘dead’ dough” – to a Peruvian ceviche of large crunchy corn, herbs and raw fish in downtown Santiago de Chile, and 

Taiwanese cold salty goose and beer at a service station in Taichung on the first trip she took with Colin to Taiwan. 

“Braised chicken feet are my favourite nibbles when I watch a film,” she adds. “In Taiwan, chargrilled chicken feet are 

sold outside movie houses. My sister and I would buy four each and take them to the movies with us.” 

Author of her own book, the popular Emperor Can Wait, which was published in 2009, she loves reading and counts 

another Austen novel, Sense and Sensibility, among her favourites. “I will never get tired of reading her novels. The 

wit, the characters, the plots and the happy endings make me reach for them again and again.” 

When she is homesick, even after 30 years in another country, “I read a few chapters from Romance of the Three 

Kingdoms or Journey to the West. 

“When I turned 50, I celebrated my big day by watching the entire Alien Quadrilogy for nine hours straight. I dream 

of one day reading about the discovery of another life form on another planet.” 

If she could invite fictional characters for dinner, it would be Neo from The Matrix and writer Lee Child’s creation Jack 

Reacher (not the Tom Cruise version, though, she adds). “I would sit on Keanu’s lap and feed him one noodle string at 

a time. Jack and I would walk down a dangerous, dark alley, and after he beats up the baddies, we’ll share burgers, 

with a black coffee for him and a latte for me.” She laughs. “Jack doesn’t like Chinese food, but no one is perfect.” 

“I can cry whenever I feel like it.” 

A mother to many, a sister, daughter, wife and mentor, Emma embraces womanhood with brimming humour. 

“I enjoy that I can pretend I know nothing about cars; that I can be a mother to all my staff members; that, as a woman, 

I can cry whenever I feel like it. 

“In life, the important things for me are health, quality of life when I think of my sickly parents, freedom from poverty 

and war when I think of the world, and yet, at the end of the day, perhaps I would say, ‘nothing matters’. 

“But from time to time, I like to pause and truly appreciate the happy moments in life.” 

225

BRAISED CHICKEN FEET 

Ingredients 

1 star anise 

1 small piece of ginger 

2 spring onions 

A few Sichuan peppercorns 

1 chilli 

20ml sunflower oil 

12 large chicken feet, washed, yellow skin removed, claws trimmed off, drained 

5ml salt 

15ml dark soya sauce 

Dash of sesame oil 

Method 

1 Simmer star anise, ginger, spring onion, Sichuan peppercorns and chilli in oil until fragrant. 

2 Stir in chicken feet, salt and soya sauce. 

3 Over medium heat, add enough water to cover the chicken feet halfway, stir and bring the liquid to a boil. 

4 Reduce the heat to low, close the lid and continue simmering for 15 minutes, stirring from time to time. 

5 Open the lid, turn up heat, reduce the residual liquid and drizzle over the sesame oil. 

6 Remove the chicken feet and spread them out to cool. 

Note: Chicken feet are highly gelatinous – if you pile them together while hot, they will stick together like glue. 

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PHOTOGRAPHER: MARIJKE WILLEMS 

227

CRISPY MOROGO AND PEANUTS 

Ingredients 

A large bunch of morogo, stalks removed, washed 

Salt 

A handful of shelled peanuts 

500ml oil for frying 

Method 

1 Choose the larger morogo leaves. Dry them well and cut lengthways into 1–2mm thin strips. 

2 Prepare kitchen towel on a dry clean surface. 

3 Heat oil to about 180°C, add the morogo strips and fry for 10–15 seconds or until they turn a deeper green. 

4 Lift out immediately, spread onto the kitchen towel and sprinkle with salt, to taste. 

5 Peanuts can remain raw if you prefer. Emma normally soaks them first, then drains and roasts them at 140°C for 40 minutes. 

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EMMA CHEN FIRMLY BELIEVES IN THE TRADITIONAL SAYING, “A GUEST IS JUST ANOTHER PAIR OF CHOPSTICKS”. PHOTOGRAPHER: MARIJKE WILLEMS 

231

PORK BUNS 

Ingredients 

Dough: 

5g dry yeast 

10g sugar 

600g cake flour 

350g warm water 

Filling: 

Quarter of a Chinese cabbage 

300g pork mince, not too lean 

1 spring onion 

1 small piece of ginger 

30ml soya sauce 

Salt and pepper 

15ml sesame oil 

Method 

1 Dissolve dry yeast and sugar in warm water. 

2 Make dough by mixing flour and water, work into a smooth dough, cover and set aside in a warm place to rise. 

After an hour, the dough should have doubled in size. 

3 At the same time, prepare the filling. 

4 Blanch Chinese cabbage in a little hot water, squeeze, and keep the juice. 

5 Shred the cabbage, place in a big bowl, add pork mince, chopped spring onion, ginger, soya sauce, salt, 

pepper, sesame oil and the cabbage juice. Mix well. 

6 Punch down the dough and tear it into 20 pieces. Roll each out into a disc (about 10cm in diameter) and place 

the filling in the middle. Pick up and fold each disc towards the middle, making sure they are closed. 

7 Set aside for 10 minutes for the shape to settle. 

8 Steam for 15 minutes on high. 

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AMADUMBE ICE CREAM 

Vegan friendly 

Ingredients 

1kg amadumbe, cleaned and peeled 

500ml coconut milk 

300g sugar 

Method 

1 Boil amadumbe until thoroughly cooked (30–45 minutes). 

2 Cut into small pieces and mash as you would with potato. Add the sugar while the pieces are still warm. 

3 Blend in the coconut milk slowly to reach the right consistency. Amadumbe is starchy so it takes quite a lot of liquid. 

4 Churn the mixture in an ice-cream machine (takes about 45 minutes). 

Note: Amadumbe is light purple in colour. If it is too pale, add some beetroot juice. 

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AMADUMBE ICE CREAM. PHOTOGRAPHER: MARIJKE WILLEMS

It’s All About the 

extraordInary 

At The OrIent 

A stay at The Orient, regarded as one of the African 

continent’s ultimate luxury destination hotels, should be 

on any discerning traveller’s bucket list. 

It’s a little gem in an unlikely location, an independent David in a world of franchised Goliaths and, most 

importantly, home to an award-winning restaurant where the focus is on the combined food and wine 

experience. It’s all about the extraordinary when visiting the breathtaking Orient Private Hotel situated in 

280 hectares of indigenous bush. Hidden in the Crocodile River Valley in the lush Francolin Conservancy 

with its wandering giraffe, buck and zebra, the hotel is within easy driving distance of both Johannesburg 

and Pretoria as well as OR Tambo and Lanseria airports. 

The first sight of The Orient is as unexpected as it is spectacular: it resembles a Moorish-inspired palace 

that looks as if it has been plucked from The Arabian Nights. 

This oasis of tranquillity boasts 10 individually decorated suites, inspired by North Africa, India, the Middle East 

and the Orient. Each one is ravishing in exotic colour and imagination, and filled with beautiful artwork and 

treasures found during the owners’ numerous overseas travels. 

The hotel is also home to one of the finest cellars in the world – a vault filled with some of the best wines from 

around the globe with more than 80 000 bottles under 6 000 different local and international labels. It would be a 

dream come true for any passionate oenophile to be accidentally locked in, with time to discover its great names, 

vintages and hidden gems. 

The cellar is internationally renowned for its extensive range of champagnes, brandies, armagnac and calvados, 

stocking both the famous names as well as those of specialist estates. 

Little wonder then that, should they care to display them all, it would take a separate room to house all the global 

awards and accolades received over the years, bringing international recognition and putting South Africa on the 

global restaurant cellar map. 

238

ELEMENTS OF NATURE: ORCHIDACEAE. PHOTOGRAPHER: DYLAN SWART 

239

THE ORIENT PRIVATE HOTEL. PHOTOGRAPHER: LISA HNATOWICZ 

THE ORIENT PRIVATE HOTEL GATE. PHOTOGRAPHER: MARSEL ROOTHMAN 

THE ORIENT PRIVATE HOTEL ENTRANCE. PHOTOGRAPHER: MARSEL ROOTHMAN 

240

MARI, COBUS AND CHANTEL DARTNALL. PHOTOGRAPHER: MARSEL ROOTHMAN 

241

RESTAURANT MOSAIC. PHOTOGRAPHER: LISA HNATOWICZ 

RESTAURANT MOSAIC’S SOMMELIER MOSES MAGWAZA PHOTOGRAPHER: MARSEL ROOTHMAN 

242

TIFFANY DINING ROOM. PHOTOGRAPHER: LISA HNATOWICZ 

In a first for an African restaurant, Restaurant Mosaic earned the most sought-after 2018 Grand Award from 

the highly acclaimed US publication Wine Spectator for its incomparable wine list and cellar, with Restaurant 

Mosaic’s Chef Chantel Dartnall appearing on the cover of the magazine. Restaurant Mosaic received this 

prestigious accolade again this year. To add to a string of honours, late last year Dartnall visited Paris on behalf 

of the Mosaic team, to receive the 2019 La Liste Award for the Best Wine List in the world. La Liste, a selection of 

the 1 000 best restaurants across the globe and sanctioned by France’s Foreign Ministry, also featured Gautengbased 

Mosaic in the Top 200 best establishments, alongside restaurants like Joël Robuchon and Le Manoir aux 

Quat’Saisons. The honours don’t stop here. 

Last year The World of Fine Wine Awards in the UK awarded Mosaic with their Best Hotel Wine List in the World, 

and added to that were awards for Africa and the Middle East Best Long Wine List; Best Champagne & Sparkling 

Wine List; Best Dessert & Fortified Wine List; Best By-the-Glass Wine List, as well as a special Jury Prize. 

After winning the Diamond Award from Diner’s Club International Winelist Awards for 10 consecutive years, 

Restaurant Mosaic’s cellar was presented with an ICON Award last year, while this year American Express also 

presented a 10 Consecutive Year Award. 

Restaurant Mosaic’s cellar master, Cobus du Plessis is vice-maître of the Commanderie de Bordeaux Afrique du 

Sud and was inducted as a Chevalier of L’Ordre des Coteaux de Champagne, while the South African Eat Out 

Mercedes Benz Restaurant Awards has presented sommelier Moses Magwaza with the Wine Service Award for 

the past two consecutive years. 

Restaurant Mosaic holds regular wine dinners and has recently hosted, among others, Jean-Marie Fourrier from 

France’s Domaine Fourrier, Antoine Gouges from Domaine Henri Gouges, Pablo Álvarez from Spain’s Vega Sicilia, 

and Monsieur Aubert de Villaine from Domaine De la Romanée-Conti. 

243

A glorious tribute to 

South AfricAn impressionists 

Nothing quite prepares the first-time visitor for the quiet 

magnificence of The South African Impressionists Museum 

in the Francolin Museum complex. 

Situated in the tranquil surroundings of the Francolin Conservancy, which houses The Orient Private Hotel and the 

internationally acclaimed Restaurant Mosaic, on arrival you may be forgiven for thinking you are visiting a smallish 

gallery with some attractive artwork. 

In reality what you are presented with is something magical. Think of the Frick Collection located in Henry Clay 

Frick House on the Upper East Side of Manhattan in New York, which exhibits the substantial and world-famous 

private collection belonging to the industrialist, Henry Clay Frick. 

The team behind the Francolin Museum gallery is renowned for creating extraordinary places and spaces, and the 

sheer beauty and scale of this sanctuary for the arts is remarkable. Home to the world’s largest collection of works 

by some of South Africa’s pre-eminent Impressionists, this paean to self-taught artists like Adriaan Boshoff, Alexander 

Rose-Innes and their peers, was years in the planning. 

Restaurant Mosaic and The Orient had one of the largest privately held South African Impressionist art collections, 

displayed through their public spaces – a collection that is continuously expanding. 

In 2007 The Orient opened a museum for sculptor Tienie Pritchard’s work and it now has the largest collection of his 

art in the world, including the three majestic bronzes from South Africa’s indigenous heritage: The African Queen 

Manthatisi, Ndlovunkulu, Shaka, King of the Zulus and Modjadji, Rain Queen of the Balobedu people. 

The Orient’s team – including Mari Dartnall, custodian of the museums that are spread throughout 

the property – travelled to a number of international museums and galleries to study the method and 

techniques of art curation and display. They soon realised how visually saturating it can be to view 

hundreds of images within a certain timeframe. This made them realise the importance of holding the 

viewer’s attention by introducing unexpected shifts between image content and subject. 

Large photographs of the artists are displayed at the entrance to each wing of the museum bearing 

their name. The photos are accompanied by short introductory notes on their lives and artistic 

careers, captivating the visitor and drawing them into the private lives of the artists, and transforming 

the visit into a much more personal experience. 

244

LEGACY MUSEUM COMPLEX AT NIGHT. PHOTOGRAPHER: LISA HNATOWICZ 

LEGACY MUSEUM COMPLEX. PHOTOGRAPHER: LISA HNATOWICZ 

245

MARI DARTNALL. PHOTOGRAPHER: LISA HNATOWICZ 

In the first of the wings now open to the public, visitors will find the exhibition dedicated entirely to Adriaan Boshoff’s 

150 paintings – grouped according to themes. His landscape paintings come first, followed by his popular farm 

scenes. Next are the figure paintings that Boshoff drew in the early 2000s using charcoal and acrylic washes. 

These scenes portray various topics, such as people playing musical instruments, and women preparing for a romantic 

date or drinking coffee at a café. These are followed by his flower studies and still-life works, opening to an extended 

hallway displaying his much-loved thematic oeuvre of mother and daughter. 

It is the final section that is the most poignant, replicating his studio at the time of his death in April 2007, with two 

easels, paintbrushes and three canvases, including The Streets of my Youth. 

Visitors to the gallery will be in awe of the diverse range of work done by this giant in the South African art world and 

his unique kind of Romantic Impressionism, which represented both his African heritage and environment. 

Since opening the first wing to the public earlier this year, The Orient team has created a space for numerous 

Impressionist and Post-Impressionist painters of the 19th century and the beginning of the 20th century by adding an 

extra wing. This glorious museum now houses close to 300 works by Cape Impressionists, including Alexander Rose- 

Innes, Hugo Naudé, Terence McCaw, Robert Gwelo Goodman, Gregoire Boonzaier, Cecil Higgs and Nita Spilhaus. 

Dartnall and her team are putting the final touches to the curation of another section featuring older masters such as WH 

Coetzer, Frans Oerder, Tinus de Jongh and many other artists of this period, while the latest addition to the museum is 

a space that houses more contemporary artists such as Hennie Niemann Snr, Conrad Theys and Lynne-Marie Eatwell. 

Guests staying overnight at The Orient Private Hotel or dining at award-winning Chef Chantel Dartnall’s acclaimed 

Restaurant Mosaic will have the exclusive opportunity to stroll through this world-class museum at their own leisurely 

pace, enjoying a glass of French Champagne while feasting their eyes and senses on fabulous art. It is open to the 

public once a month, or by prior arrangement. 

246

ADRIAAN BOSHOFF’S EXHIBITION. PHOTOGRAPHER: LISA HNATOWICZ 

LEGACY ART MUSEUM GARDEN. PHOTOGRAPHER: KEVIN MARK PASS 

247

THE GENIUS OF ADRIAAN BOSHOFF 

The large photograph of Adriaan Boshoff at the entrance of the museum that bears his name – part of The South 

African Impressionists Museum – is accompanied by a short introduction to his life and artistic career. 

Born on 5 October, 1935, Boshoff spent his youth in the care of his grandmother, becoming independent at the 

age of 12. While growing up he always had an insatiable urge to create. As a self-taught artist with limited means, 

to start afresh with a new composition he often reused a canvas that had been painted on both sides, by scraping 

off the paint. 

He continually criss-crossed South Africa with his family, painting the land he loved and the people of the country, 

whom he admired. Through his tremendous dedication, hard work and keen observation of his surroundings, he 

became recognised as one of South Africa’s leading Impressionists. 

Even though he became successful later in life, Boshoff maintained a humble lifestyle. What mattered most to him 

was spending time with his loved ones, and painting. South African embassies favour his works because of the 

familiar South African scenes and landscapes, and they can also be found in prominent art collections locally and 

abroad. As a result, his works have acquired investment status. 

His works have significant historic value through their portrayal of the distinctive landscapes and cultures of 

South Africa, including the fisherfolk of the Western Cape, farm workers herding their cattle, the majestic cliffs of 

Meiringspoort, the Drakensberg and old cityscapes. Boshoff explored not only the majesty of the land, but also how 

people interacted with these places. 

Three paintings under the microscope 

Flying Bails circa 1990 (26cm x 16cm) 

An oil painting of a young boy playing cricket, it reveals Boshoff’s keen interest in gesture and movement, shown 

here through his use of a broad brush and a rhythmic and gestural painting technique. In a number of his paintings 

Boshoff captures not only a moment in time, but through the impression of animated movement, succeeds in imagining 

the narrative further. 

Meiringspoort circa 1975 (120cm X 124cm) 

In many instances, landscape compositions encompass a linear perspective with an extensive horizon that recedes 

into the distance, but here just a section of the sheer cliff-face is the focus. Boshoff chose to concentrate on the ratio 

comparison between the compelling size and volume of the mountainous backdrop and the tiny ox-wagon in the 

foreground. The oxen and two figures are placed centrally, and as though with almost perfect timing, the subjects are 

highlighted by the sun breaking through the clouds, as if divinely blessed. On this canvas, Boshoff has captured the 

magnificent geometry and dramatic tones of shadow and light typical of the Meiringspoort landscape. 

Serendipity of Mom’s Closet (49cm x 64cm) 

This is reminiscent of childhood where a mother’s make-up, clothes and jewellery offer hours of fun and entertainment 

for her daughters. Here, Boshoff created a simple formal balance by positioning the two animated girls on either 

side of the static dressing table, thereby focusing on the girl’s activities. The short rhythmic brush strokes and brilliant 

primary colours express the gestures of playfulness and cheerfulness, capturing both a fleeting moment in time and an 

air of carefree, innocent child-play. 

248

ENTERING ADRIAAN BOSHOFF’S EXHIBITION. PHOTOGRAPHER: LISA HNATOWICZ 

ADRIAAN BOSHOFF’S EXHIBITION. PHOTOGRAPHER: LISA HNATOWICZ 

249

Alchemist At work 

Chantel Dartnall’s ethereal quality and alluring personality are the makings of magazine covers, and 

she’s graced several over the past few years, but it’s in the kitchen at Restaurant Mosaic where 

this culinary alchemist weaves her magic and accomplishes what she does best – transferring her 

creations to the plate in a visual and magical feast for the senses. 

Little wonder that she’s one of South Africa’s most lauded chefs and has regularly been feted on 

the international stage with numerous top awards. 

Highlights include Chef Chantel and her Restaurant Mosaic being listed among the top 200 best 

restaurants in the world by the prestigious La Liste awards, an international honour she received 

in Paris in 2018. 

Recently Dartnall was named 2019 Chef of the Year in Haute Grandeur’s Africa and Middle East selection with 

Mosaic also being named Restaurant of the Year. 

She has twice been named South African Chef of the Year at the annual Eat Out Restaurant Awards, and received the 

title as Best Female Chef in the World, and was placed at number 32 of the best chefs in the world by The Best Chef 

Awards Top 100 list for 2017 – the highest-positioned woman and one of only three to make the top 50. In the same 

year the prestigious Luxury Travel Guide Awards named Chef Chantel Chef of the Year for Africa and the Middle East. 

She’s also no stranger to showcasing South African cuisine to a global market and was chosen to be South Africa’s 

ambassador of gastronomy at the prestigious Wines of South Africa 360 Years of Winemaking History celebration, 

which took place in Hong Kong in April 2019. 

Dartnall regularly travels the world to keep up with global trends, while also working with both leading South African 

and international chefs to ensure that Mosaic continues to compete with the best dining establishments around the globe. 

After graduating from Prue Leith in Centurion Dartnall headed to the UK to work in the kitchens of Nico Ladenis and 

Michael Caines, and says, “As a chef it is important for me to know what is happening in my industry and I enjoy meeting 

other chefs, sometimes working with them, and experiencing their creativity. It inspires me to continuously evaluate myself 

to ensure that our quality at Mosaic is equal to what you would encounter in the best restaurants anywhere.” 

However, the place she feels most at home is the unabashedly seductive Restaurant Mosaic at the Orient, an opulent 

and whimsical fantasy where Morocco meets Art Nouveau. 

Dartnall and her team present a new menu twice a year at equinox – one for spring and summer and the other for 

autumn and winter. Both are available in market and grande degustation offerings, with the choice of enthusiastic 

and connoisseur wine pairings. There is also a non-alcoholic pairing, which has become increasingly popular. 

250

CHANTEL DARTNALL. PHOTOGRAPHER: DYLAN SWART 

ELEMENTS OF NATURE: MONT BLANC. PHOTOGRAPHER: DYLAN SWART 

ELEMENTS OF NATURE: CYNARA. PHOTOGRAPHER: DYLAN SWART 

251

CHANTEL DARTNALL. PHOTOGRAPHER: CHRISTIAN WOLF 

FAN FIDDLE HEADS AND FOREST FERNS. PHOTOGRAPHER: NADINE DE BEER 

CHANTEL DARTNALL AND TEAM. PHOTOGRAPHER: CHRISTIAN WOLF 

252

“We want to create a magical taste journey for our diners, so simply offering sparkling mineral water is not an option. 

At Restaurant Mosaic we are passionate about the entire food and drink experience,” she explains. 

The extraordinary thing about visiting Restaurant Mosaic is that you eat a meal you believe is one of the best you’ve 

ever had, only to return months later to discover that this talented chef has outdone herself yet again. 

New dishes are months in the planning, inspired by anything from time spent in nature to global travels and 

precious childhood memories. Dartnall lovingly sketches pictures of how she imagines a dish might look in her 

notebook, while the team tastes and refines the dish and looks for the perfect wine or drink to accompany it – long 

before it is revealed in all its artistic splendour to Mosaic diners. 

“Those who have followed Mosaic since we opened 13 years ago know I have never stood still when it comes to 

creating dishes, so it will always be an evolution for us,” Dartnall explains. “We have a current benchmark, and we 

always push ourselves to be better and to produce a menu that will please both the eye and the palate. When people 

arrive at The Orient they are exposed to something quite extraordinary. It is designed to stimulate all of the senses, 

and we constantly tap into this. The restaurant is the stage and I put on the show.” 

And what a performance she and her team deliver. Her food is unapologetically feminine, sensual and delicious. 

Dartnall draws her inspiration from Restaurant Mosaic’s lush surroundings and the abundance of plant life in the 

Francolin Conservancy, where there are no distractions from the beauty of nature. Sourcing the best seasonal 

ingredients and working closely with local farmers and suppliers is an important aspect of her food philosophy. 

“It’s very important for any chef to create a strong bond with suppliers – especially the local farmers,” she says. “I find 

the best way to do this is to visit the farms where the produce is grown and the animals are reared. We can take small 

steps towards helping to create awareness and pass on this knowledge to our staff and our guests.” 

Dartnall goes to great lengths to source organic and fresh produce from local family farms and suppliers 

in the community – ensuring that only the purest produce is served at Mosaic, all while being aware 

of its origins and roots. Good relationships with farmers in her area bring another level of excellence 

to Restaurant Mosaic. 

Since inception, Mosaic has focused on uplifting the local community by employing its members in 

the restaurant as well as the hotel, and developing their skillsets and confidence. Quite a few of the 

longest-standing members of the kitchen and front of house teams had no formal training or restaurant 

experience before they started at Mosaic. Their skills have been developed over the years and with the 

knowledge they have gained they are now able to work in the best establishments around the world. 

Dartnall concludes: “Since ancient times, food has had a magical connection. It was left as offerings to the gods, used 

as protection for a new home or feasted on to celebrate the changing seasons. Some of these traditions continue today 

and with the artful use of the correct ingredients, we are able to inspire individuals, becoming alchemists of old.” 

Restaurant Mosaic is located in The Orient Private Boutique Hotel in the Francolin Conservancy, Elandsfontein, Pretoria. 

GPS Location: 25 ° 45 ‘ 40.0 ” S (-25.761114), 27 ° 59 ‘ 56.6 ” E (27.999083) 

Tel: +27(0)12 371 2902/3/4/5 

Email: reservations@restaurantmosaic.com 

Website: www.restaurantmosaic.com and www.the-orient.net 

253

Elements of nature 

The current menu, Elements of Nature, represents Wu Xing and the five elements of nature: wood (ki), fire (hi), earth 

(tsuchi), metal (kin) and water (mizu). 

It includes a selection of tantalising amuse bouche – miniature taste explosions and bite-sized works of art – 

followed by a prelude of first courses and choice of three mains. 

It’s hard to pick a favourite from this cornucopia of carefully thought-out courses, which are all designed to work in 

harmony with each other. 

Mont Blanc combines shavings of rich foie gras with the earthy flavours of compressed tender leeks and a light and 

refreshing citrus confit. Under the Veil is a composition of baby langoustine, white peach and hibiscus. Oysters & 

Pearls consists of wild oysters with a velouté, creamy tapioca pearls and a decadent spoonful of salty Sturgeon 

d’Aquitaine caviar. By the Great Oak was motivated by Dartnall’s truffle-hunting expedition with a professional 

truffle hunter just outside La Morra in Piedmont, and is a creation of airy potato soufflé balls, a wild mushroom 

ragout and black truffle shavings. 

The Ohmi Wagyu beef course was inspired by a trip to Singapore. The beef – diners can choose 

either South African Purdon Angus Wagyu beef or imported Ohmi Wagyu at a surcharge – is 

accompanied by melt-in-the-mouth braised tongue and caramelised sweetbreads. It truly brings on 

an outpouring of superlatives: delicious, decadent, divine. 

“To see Chef Tetsuya Wakuda of Waku Ghin working was mesmerising,” Dartnall says. “His knife 

skills are meticulous and tasting his Japanese Ohmi Wagyu with wasabi and citrus soy was one 

of those unforgettable culinary moments that will stay with me. With Wagyu beef easily ranking in 

the top five noble ingredients to be experienced alongside truffles and foie gras, I just had to bring 

this unforgettable taste sensation to Mosaic for our guests to enjoy. With minimal preparation, this 

is one of those ultimate encounters where the ingredient must speak for itself and where the ego of the chef should 

play second fiddle and let nature’s language of umami, of simultaneous simplicity and complexity, shine through.” 

This course is paired with Grangehurst Cabernet Sauvignon/Merlot 2003, Chateau de Fesles La Chapelle Vieilles 

Vignes 2015 or Emperor Pu-Erh (TWG tea). 

Desserts are mini artworks too, and include a light and refreshing deconstructed pavlova or the superb Orchidaceae, 

made with Tahitian vanilla, orchid extract and tonka beans from South America. 

Mosaic is famous for its bread and butter selection – it serves a different one with each course and the breads are 

made daily by a team of artisan bakers. Think pink peppercorn hibiscus loaf with olive oil cream; a mushroom, 

caramelised onion and thyme roll with wild mushroom truffle butter; mini mosbolletjies with a dunker (a delicious 

aged Parmesan cheese sauce) or Mosaic’s signature anchovy butter with tuiles. 

It is also renowned for its cheese trolley and diners can opt for this (it includes Époisses de Bourgogne, reputedly 

Napoleon’s favourite cheese) or the 36-month-matured Charles Arnaud Comté. 

The crockery is also part of the culinary journey, and this is reflected in exquisite tableware, with specific plates – 

many hand-painted and made to order – selected for each course. 

254

ELEMENTS OF NATURE: UNDER THE VEIL. PHOTOGRAPHER: DYLAN SWART 

255

PAPILLON 

Yield: 50 Portions 

Components 

Lychee sorbet 

Hibiscus sorbet 

Peach-infused oolong tea 

Dry ice callets 

Lychee sorbet 

500ml water 

1,5L lychee juice 

500ml passionfruit cordial 

40ml glucose (Liquid) 

80ml castor sugar 

6 rooibos teabags 

Method 

1 In a large pot heat the water, lychee juice and passionfruit cordial. Add the sugar and glucose and bring to the boil. 

2 Add teabags and simmer for 3 minutes. 

3 Cover pot and leave to cool. 

4 Remove teabags from liquid and churn until granita consistency. 

Hibiscus & rosehip sorbet 

500ml water 

1,5L cranberry juice 

500ml pomegranate juice 

50g dried hibiscus 

50ml glucose (Liquid) 

60ml castor sugar 

30g Florte rosehip tea 

Method 

1 In a large pot heat the water, juice and dried hibiscus. Add the sugar and glucose and bring to the boil. 

2 Add teabags and simmer for 3 minutes. 

3 Cover pot and leave to cool. 

4 Remove teabags from liquid and churn until granita consistency. 

Peach-infused oolong tea 

5L cold water 

100g oolong loose-leaf tea (peach) 

Method 

1 Bring water to 97°C. 

2 Add oolong tea and let steep for 3–5 minutes. 

3 Strain through muslin cloth, and leave to cool. 

4 Reheat to 70°C when serving. 

Preparing teapot 

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PHOTOGRAPHER: DYLAN SWART 

Assemble 

1 Reheat the tea to 70°C, and place in a separate teapot (instead of one). 

2 At the bottom of the infuser fill with a third of the lychee sorbet. 

3 Add dry ice to make a layer in the centre. 

4 Fill with hibiscus sorbet and make a small garden on top of the sorbet using edible flowers. 

5 Place the infuser inside the teapot, and place on a tray that has been garnished with flowers. 

6 At the table pour warm tea through the infuser in the teapot in a steady stream to make the ‘smoke’ effect on the 

dry ice. 

7 Serve approximately 40–50ml per person. 

Garnish 

Sorbet 

White pentas 

Yellow-pink violas 

Tray 

Hibiscus flowers 

Candy pea flower 

257

258

motoring 

PHOTOGRAPHER: PHILIPP ARLT 

259

260

experience 

AmAzing 

261

While the premium market is plummeting the world over, Lexus 

South Africa is flying high and demonstrating double-digit 

growth. CHARLEEN CLARKE believes the astoundingly good 

product range is the reason why. New vehicles – such as the UX 

and RC F – should bolster sales even further. 

THE UX IS A REAL BEAUTY, FROM ITS UNIQUE SPINDLE GRILLE TO ITS EYE-CATCHING REAR LIGHTS 

262

The UX is the entry-level crossover within the Lexus range, but actually, there’s nothing entry-level about 

this vehicle at all (except maybe the price). That’s because, like every single model in the Lexus range, 

this compact crossover oozes style and luxury. 

For many motorists, however, it is their first foray into both the world of Lexus and the world of luxury. 

So, what can these modern urban explorers expect? 

First and foremost, they will get a vehicle that – despite being an urban crossover (the UX name is derived 

from the design’s guiding concept and describes the vehicle’s mission: Urban + X-over (crossover) = 

UX) – delivers an engaging and dynamic driving performance. The UX boasts a surprisingly low centre 

of gravity, which translates into exceptional handling. 

If the handling of the standard vehicle doesn’t get your engine revving (we think it will), there’s the F Sport package, 

which offers a tweaked suspension, rear performance damper and 18inch, twin-spoke aluminium alloy wheels. 

Two engines are up for grabs. Whether you opt for the UX 200 (which features a new high-efficiency 2.0-litre, fourcylinder 

engine coupled with a new DirectShift Continuously Variable Transmission) or the UX 250h (which pairs 

an even higher-efficiency version of the 2.0-litre petrol engine with a new hybrid drive system), this vehicle offers 

a sublime driving experience. 

Like every new Lexus, two of the UX model derivatives come with a full house of safety features. The F Sport and 

hybrid grades both come standard with Lexus Safety System+, which includes Adaptive Cruise Control, Pre-Crash 

System, Blind Spot Monitor, Lane Keep Assist with Lane Departure Alert and the ED Adaptive High-beam System. All 

models come standard with eight airbags. But, while the technical underpinnings of this exceptional car are mighty 

impressive, the vehicle’s good looks – both inside and out – are probably what will set the tongues wagging. 

Think crossovers are dreary? Not this one; the UX is a real beauty, from its unique spindle grille to its eye-catching 

rear lights. The former truly is a thing of wonder; it features a new block-shape mesh pattern with individual 

elements that gradually change in shape as they radiate outwards from the central Lexus emblem. It’s almost as 

if the grille has a life of its own. We love the back of the vehicle just as much, especially the full-width rear lights, 

which project a distinctive night-time signature formed by a sequence of 120 LEDs. 

The profile of the vehicle is a thing of beauty too. It features crisp, prominent sculpted surfaces, dramatically flared 

front and rear fenders and – in a world first – wheel arch mouldings that protect the body from gravel thrown up 

by the tyres. The mouldings not only keep the UX looking picture-perfect, they also use airflow over their edges 

to reduce turbulence and lift, boosting the vehicle’s stability. The 5-spoke 18 x 6.5inch aluminium alloy aero 

ventilating wheels (yet another world first) also reduce wind resistance while cooling the disc brakes. 

Naturally, a full palette of colours is on offer. We particularly like the three new colours specially developed for the UX: 

Blazing Carnelian (orange), Terrane Khaki (green) and Celestial Blue, which boasts glass flakes that sparkle in sunlight. 

While the exterior is simply ravishing, the interior puts the UX into luxury – it boasts a ‘wow factor’ and depth of 

quality that will be especially apparent to those buying a luxury-brand vehicle for the first time. The seats – available 

in simulated leather (UX 200 EX) or smooth leather (F Sport and Hybrid) – look glorious, but they’re incredibly 

comfortable too, thanks to the use of springs and foam that gently envelop occupants while uniformly dispersing 

pressure under their sciatic area. 

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The three-spoke steering wheel and analogue clock – ‘borrowed’ from the magnificent Lexus LS – are elegance 

personified. The same can be said of the UX instrument panel design, which incorporates a 7inch TFT LCD display 

meter that digitally creates realistic, analogue gauges in a three-dimensional space. However, the F Sport features 

a larger 8inch TFT LCD display. For the F Sport only, the movable meter ring, which originated in the Lexus LFA 

supercar and is also featured in the LC premium coupé, allows displayed content to be easily changed. Pushing a 

switch on the steering wheel moves the ring to the right and enlarges the multi-information display. 

The Lexus Remote Touch Interface is both easy to use and easy on the eye. Instead of a traditional joystick, the 

system employs a slick and intuitive track pad interface similar to that found on a laptop computer. 

In keeping with the rest of the interior, the sound system is decidedly first class. The standard Lexus Premium Sound 

System boasts eight speakers. It uses bamboo charcoal speaker diaphragms to reduce mass and deliver naturalsounding 

voices. The 13-speaker Mark Levinson Premium Surround Sound System is standard on the F Sport and 

Hybrid models. Much like the rest of the UX, both systems are literally music to the driver’s ears. While the UX is 

undoubtedly the most desirable urban crossover around, if it’s performance you’re after, another Lexus should blast 

onto your horizon… 

POWER TO THE PEOPLE! 

Enter the revised RC F range, which includes the first-ever RC F Track Edition, created specially for those motorists 

who regard the racetrack as their second home. With this formidable pair, performance-enthused South Africans 

are in for a real treat because, whether you are on the racetrack or open road, the new RC F sports coupés deliver 

an incredible driving experience. 

Now sharper and more exhilarating, the RC F’s new look was inspired by the acclaimed RC F GT500 and RC F 

GT3 racecars. So, it looks like a real racing car – and it behaves like one too! 

Some subtle exterior changes to the RC F are purely aesthetic. For instance, the vehicle has new 

high-grade LED headlights and L-shaped taillights, a new side mirror design and a new black 

stainless surround for the window (this used to be stainless steel). Plus, the signature spindle grille 

and lower bumper air intakes have been broadened to help deliver a bolder look and more 

aggressive stance. The RC F does indeed look better than ever (which is quite some achievement – 

in its previous guise it was already drop-dead gorgeous). 

But most of the exterior changes have been made to enhance the actual performance of this 

sports coupé. Some of these measures include new enlarged side ‘air breathers’ (they allow the 

suspension to operate more smoothly), the introduction of a fin (which limits body roll) and a new 

concave surface in front of the rear wheel (which enhances straight-line stability). Extraordinary effort was also 

placed on reducing front lift. 

A lighter car also means better performance – and the engineers worked really hard to shave off kilograms 

wherever they could. For instance, they came up with a world-first bumper reinforcement that combines carbon-fibre 

reinforced plastic (CFRP) and aluminium (a 0.5kg reduction resulted), quad exhaust pipes produced in titanium 

(minus 7kg), the outer casing of the front suspension upper supports changed from steel to aluminium (minus 0.7kg), 

ditto the rear toe control arm bracket (minus 0.5kg) and the driveshaft was hollowed (minus 1.8kg). 

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THE RC F TRACK EDITION BOASTS A 0 – 100KM/H TIME OF JUST 4.1 SECONDS! 

Furthermore, the RC F Track Edition has a CFRP front spoiler which, together with a CFRP bonnet and roof, reduce 

vehicle kerb weight by 9kg. Plus, there’s a 25kg reduction in unsprung weight thanks to the fitment of lightweight 

alloy wheels and carbon-ceramic disc brakes. 

Numerous other technical tweaks have been made to the RC F, resulting in more engaging handling with improved 

driver feedback, the enabling of higher turn-in speed to a corner, greater chassis stability during rapid direction 

changes, and improved steering and throttle response. 

All these improvements mean the newly revised and freer-breathing 5.0-litre V8 delivers a truly stunning performance. 

It churns out a stonking 351kW of power and 530Nm of torque. This translates into 0 – 100km/h times of 4.3 

seconds for the RC F and 4.1 seconds for the RC F Track Edition. Drivers can change gears automatically or 

manually (by interacting with a centre-console-mounted tip-shifter or steering-wheel-mounted paddle-shifters). And 

the great news is that, when in SPORT S and SPORT S+ modes, the transmission delivers the most sophisticated and 

aggressive performance yet! Downshifting is even quicker than the LC sports car! 

While the RC F is all about the driving experience, no compromises were made when it comes to luxury, refinement 

or safety. The interior is even more premium than before – we love the glass-fibre ornamentation on the RC F 

and simply adore the exotic red carbon-fibre ornamentation on the RC F Track Edition. The expansive 10.3-inch 

widescreen centre display – featuring satellite navigation, digital radio and Bluetooth phone and audio streaming – 

is easy to use, while the 17-speaker Mark Levinson audio system delivers sensational sound quality. 

Safety features include Pre-crash (Brake Synchronised) safety system with pedestrian detection, Standard-Adaptive 

Cruise Control, lane-departure warning with steering assist and LED-Automatic High Beam. A blind-spot monitor, 

reversing camera, front clearance and rear parking sonars and rear cross-traffic alert are also standard. 

Does this sound simply irresistible? Grab an RC F in White Nova, Sonic Titanium, Solar Storm Red, Poseidon Blue, 

Naples Yellow or Graphite Black. The RC F Track Edition comes in White Nova, Sonic Titanium, Mercury Grey 

Metallic as well as Graphite Black. 

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266

Supercar 

SenSation 

267 269 

NEW MEETS OLD!

The Nissan GT-R is turning 50! But, as CHARLEEN CLARKE 

notes, this 50-year-old behaves like the youngest – and most 

thrilling – supercar on the block. 

1969 was quite some year. The first in vitro fertilisation of a human egg was performed in Cambridge, England. 

Two Beatles (Paul McCartney and John Lennon) got married – to Linda Eastman and Yoko Ono respectively. 

President Nixon announced the withdrawal of 25 000 US troops from Vietnam. Woodstock took place and half a 

million people arrived for a feast of sex, drugs and rock and roll. Muammar Gaddafi became the de facto leader of 

Libya after leading a group of young Libyan military officers against King Idris I in a bloodless coup d’état. British 

troops arrived in Northern Ireland, signalling the beginning of a decades-long conflict. Neil Armstrong and Buzz 

Aldrin took a trot on the moon. Closer to home, the biggest earthquake in the history of South Africa (it registered 

6.3 on the Richter scale) took place in the small Boland town of Tulbagh. 

And the very first Nissan Skyline GT-R, a four-door sedan rather unimaginatively known as the PGC10, made its 

public debut at the 15th annual Tokyo Motor Show. Given its rather boxy shape, it was fondly referred to as the 

Hakosuka (‘hako’ means ‘box’, ‘suka’ is the Japanese pronunciation of the ‘Sk’ in Skyline). 

According to auction house Bonhams, the Hakosuka was powered by the S-20, “a true jewel of a 

motor”. This 1 989cc DOHC 24-valve inline six-cylinder powerplant – which delivered a mighty 

158hp (118kW) – boasted a stratospheric 7 500rpm redline and “a signature wail known by anyone 

who has ever seen the car pass by in anger”. The engine was derived from the popular Nissan R380 

racecar, which gained fame when it beat the Porsche 906 at the 1966 Japan Grand Prix. Only 832 

Hakosuka sedans were ever built by Nissan. 

The Hakosuka, described by many as “20 years ahead of its time”, was one of Japan’s most-loved 

sports cars – and it’s a firm favourite of classic car collectors today. 

In March 1971, a coupé version of the GT-R was launched. The following year, the successor to the PGC10, the 

C110 debuted at the 1972 Tokyo Motor Show. It was followed by the R32 – complete with a new 2.6-litre twin 

turbocharged engine and an all-wheel drive concept, designed by Nismo – which went into production in May 

1989. It went on to claim five consecutive championship wins at the Japanese Touring Car Championship, over 

200 individual race wins, the unofficial lap record for a production car at the world-famous Nürburgring racetrack 

and victories in the Australian Touring Car Championship. The sixth generation GT-R – the R35 – made its public 

debut at the 2007 Tokyo Motor Show. 

Fast forward to 2019 and we have the latest successor to the Hakosuka, the iconic 2020 GT-R, which also comes 

in 50th Anniversary Limited Edition guise. It’s set to achieve equally legendary status – even though, in certain 

respects, it shares very little in common with the first GT-R. 

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ONLY AROUND 500 OF THESE ORIGINAL GT-RS STILL CRUISE JAPAN’S ROADS TODAY 

THE LATEST GT-R REPRESENTS THE PINNACLE OF AERODYNAMICS 

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The first is the name. Whereas the 1969 GT-R enjoyed the rather dainty nickname of Hakosuka, which sounds like 

it could be a yummy Japanese dish, the modern-day GT-R is popularly known as Godzilla. Australian motoring 

journalists allegedly coined the nickname, which is now used the world over. 

The second big difference is the styling. Yes, the boxy styling of the Hakosuka was très chic in its day. But it isn’t 

quite up to scratch with the latest incarceration of the car that now traverses our roads. Au contraire, Godzilla 

is a big, bold, brash, athletic beast of a car. With its wide, deep grille up front, prominent character lines, wide 

shoulder line and those four in-your-face rear taillights, it has a decidedly aggressive look. This is a car not to be 

messed with! 

The design is not just about aesthetic appeal though; the designers very cleverly came up with a concept that would 

best utilise one of nature’s greatest gifts: air. So, for instance, the design creates a vortex on the front fascia that 

sends swirling air to the wheels, cooling the brakes and enhancing efficiency. 

Speaking of air, the latest GT-R represents the pinnacle of aerodynamics. The Nissan GT-R team spent a whopping 

two years at the Lotus Group’s rolling-road wind tunnel in Europe and one and a half years at Yoshitaka Suzuka in 

Japan in order to fine-tune the aerodynamics of this incredible supercar. The designers were obsessed with creating 

the perfect car. For instance, when they found a 1% energy loss around the C-pillar, they redesigned it right away, 

creating a cleaner and more effective design in the process. 

The special edition model, specifically, comes in three heritage-era, two-tone exterior colour combinations, which 

hark back to the GT-R’s liveries from the Japan GP series. My favourite by far is the glorious Bayside (Wangan) Blue 

livery, which – as one would expect – comes complete with white racing stripes. The GT-R 50th Anniversary Limited 

Edition is subjected to something like a sunbed on steroids: a four-coat, double-heat treatment. The car doesn’t come 

out nicely tanned though; instead it emerges with a vivid blue featuring striking highlights and deep shadows. Blue 

accents on the wheel spokes are among several fine touches made to celebrate the GT-R’s milestone. 

Is blue not your thing? Pearl White with red stripes and Super Silver with white stripes are up for grabs too. 

The interior is also a far cry from the original Hakosuka. Its interior was gorgeous, don’t get me wrong! 

It boasted super-cool analogue dials and lots of wooden interior accents, for instance. But the interior 

of Godzilla really is something else. I love the fact that it’s quite clean and relatively uncluttered; 

you’re not faced with dozens of buttons that you have to fiddle around with. Instead, you control lots 

of the functions via Nissan’s proprietary Display Command system. 

I also love the beautiful dashboard, which is covered in a single Nappa leather hide, hand-selected 

for tone and free of the slightest imperfection. Gently folded, the piece requires less padding, which 

improves the driver’s view and saves weight. It’s like a stunning work of art. Naturally, the seats are 

upholstered in Nappa leather too. In fact, the entire interior is luxury personified. 

The 2020 Nissan GT-R comes in two trim levels in the South African market: GT-R Premium and GT-R Black 

Edition. In select regions, Pure, Prestige and Nismo models will also be available. But it is the 50th Anniversary 

Edition that truly celebrates the GT-R’s rich heritage. It boasts a special grey interior colour scheme, which I love 

because – while undoubtedly upmarket and elegant – it is also quite serene and calm (in total contrast to the 

actual personality of the car itself). 

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VARIOUS 50TH ANNIVERSARY FEATURES HIGHLIGHT THE UNIQUE NATURE OF THIS VEHICLE 

Additional 50th anniversary features include unique steering wheel and shift knob trim, special seat embossing, an 

Alcantara headliner with unique stitching and Alcantara-wrapped sun visors. 

The entire interior and exterior package is most enticing, as Shinichiro Irie, programme design director for the GT-R, 

points out: “The Nissan GT-R has been the icon of our company’s driving performance for the past half century. We 

were highly motivated to ensure that the GT-R 50th Anniversary Edition stands out. While the exterior and interior 

changes may seem subtle at first glance, they’re still impactful, especially with the new paint schemes, keeping the 

car’s lines and overall presence modern and edgy.” 

But, of course, while the exterior and interior are truly remarkable, the GT-R has never really been created in order 

to excel in beauty competitions. Rather, for 50 years, it’s been designed for driving! And this is something that the 

original Hakosuka and the current Godzilla most certainly have in common. 

Whether on the track or on the road, both cars are nothing short of mind-blowing. It is for this reason that the 

original GT-R dominated the Japanese GP series. Commentators at the time remarked how “the way it puts power 

down on corner exit is unlike anything else of the period”. “It’s this turn-in agility followed by the ability to put all its 

power down on the way out of corners that made the GT-R such a formidable weapon,” wrote British auto journalist 

Richard Meaden in an article for EVO. 

And the current GT-R offers exactly the same. Actually, I sometimes wonder why drivers sans a GT-R even bother 

to pitch up at events like the Jaguar Simola Hill Climb; the Nissan GT-R has won both production and modified 

classes outright for the last three years running and has won the King of the Hill title for seven of the ten years that 

the competition has been held. It is also the most popular car bar none in the Modified Saloon class, where eight 

of the nine competitors who competed in this year’s competition chose to race in GT-Rs. That’s massively impressive. 

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THE GT-R’S CABIN REPRESENTS THE IDEAL BLEND OF LUXURY AND SPORT 

Away from the track, it’s equally awesome. While the Hakosuka churned out 158hp (118kW), the 3.8-litre V6 twin 

turbocharged DOHC powerplant in Godzilla’s belly delivers 550hp (410kW). And the Godzilla ‘signature wail’ is 

more of a thunderous roar… but let’s not be pedantic. Something else shared by both cars is the handling; the grip 

is almost uncanny. Godzilla clings to the corners like Oscar-winning actors cling to their statues. Ask the Hillclimb 

competitors, who race up that hill and around bends at scary speeds… 

Godzilla’s engine has long been hailed by speed freaks, who adore its gutsy performance. But, incredibly, the 

Nissan engineers decided they could improve on perfection. So, they’ve added new turbochargers, which help to 

increase the engine’s low rpm response, providing tighter clearances and a 5% increase in efficiency. 

There’s an even sharper engine response in and out of corners – so you can really up the ante when 

blasting out of them. Mid-corner balance is nothing short of exemplary. A revised six-speed dualclutch 

transmission further enhances the driving experience; I love the more aggressive downshifts. 

Speaking of the transmission, I also like the shift paddles on the steering wheel. Although – it must be 

said – they’re hardly ever required because the gearbox is incredibly intuitive. 

While the latest GT-R still rides (and handles) like a supercar, it does have a tweaked suspension, 

which provides better cornering stability and a smoother ride. The steering is more precise and 

there’s a new brake booster, which increases the initial braking response. Braking is quite brilliant, 

as a result. Given the immense power of Godzilla, this is a Seriously Good Thing! 

Finally, I simply must mention the exhaust. The sound that emerges from it is music to any petrolhead’s ears. Oh, 

and I simply adore the funky blue-tinged titanium exhaust outlets. 

Come to think of it, there’s not much that I DON’T adore about the very latest GT-R. If there’s such a thing as car 

heaven, and a Hakosuka parked in it, looking down on us, I think it would be mighty proud of its successor. 

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SHIFT PADDLES ARE MOUNTED TO THE SPORTY STEERING WHEEL, WHICH ALLOW DRIVERS TO CHANGE GEARS IN MID-TURN WITHOUT TAKING THEIR HANDS 

OFF THE WHEEL 

THE REAR LIGHTS ARE BOLD AND EYE-CATCHING. ALL PHOTOS BY PLAN C PRODUCTIONS 

273

THE EXCEPTIONAL KIA SELTOS IS ABOUT TO ARRIVE IN SOUTH AFRICA 

274

MArriAge of design 

with quAlity 

The history of Kia, the largest car manufacturer in Korea, reads a 

bit like a script from a Hollywood blockbuster. It’s resplendent with 

drama, courage, hardship and triumph, as CHARLEEN CLARKE 

reports… 

275

Our Hollywood blockbuster begins in 1944, when a company with the somewhat less catchy name of 

Kyungsung Precision Industry was formed in Korea. It manufactured bicycle parts and steel pipes – rather 

well, if the history books are to be believed. 

In 1951, Kyungsung Precision Industry turned its attention to making a bicycle called the Sumchully. It did 

so with aplomb, swiftly building up a reputation for producing a product boasting the finest quality. One 

year later, Kyungsung Precision Industry decided to change its name to the far catchier Kia, which means 

‘rising out of Asia’. 

Initially, Kia branched out into the production of motorcycles and then trucks. It was only in 1974 that Kia started 

manufacturing cars. Its very first car was called the Brisa, and it was based on Mazda’s Familia, a rather uninspiring 

compact car. It is fair to say that few people believed the brand was poised for greatness. 

Despite this, Kia traded with considerable success, producing a whopping 95 000 vehicles in 1985. But then, as 

is always the case in a Hollywood blockbuster, disaster struck! Chun Doo-hwan, the military dictator ruling Korea 

at the time, enforced the industry’s consolidation. He ruled that Kia could no longer produce passenger cars! It was 

nothing short of a disaster for the relatively young company which, in 1986, built just 26 cars. Things went from 

bad to worse and, by 1997, the Asian financial crisis caused Kia to declare bankruptcy. Many said that Kia was 

doomed, and that its name would forever be erased from the annals of automotive history. 

But, quite incredibly and contrary to what people believed possible, Kia rose from the ashes. It became part of 

the Hyundai Motor Group, and suddenly things started looking better. Kia started to launch vehicles that looked 

nice while representing terrific value for money. This combination resonated with motorists who, by 2006, 

rewarded the automaker with a whopping 1 141 000 vehicle purchases. It also started launching products such 

as the Sorento which, as an SUV, was the right vehicle at the right time. Kia was on the up! But, as is often the 

case with those Hollywood blockbusters, the best was yet to come. 

Things started looking even more promising when Peter Schreyer, one of the greatest car designers ever 

(he played no small part in building the Audi and Volkswagen brands), joined the company that same year 

(2006). He vowed to change the face of Kia. He wanted to change the design from somewhat neutral to quite 

extraordinary, thereby creating a much-admired global design identity. And so he did. Within just a couple of 

years, Kia became one of the most awarded design brands in the world. Its vehicle line-up shared absolutely 

nothing with the Brisa – except the Kia name. 

Schreyer has subsequently passed the design baton to Karim Habib, who was appointed senior vice president and 

head of the Kia Design Centre earlier this year. Habib has had a long and much-admired career within vehicle 

design at companies such as Infiniti, BMW and Daimler. 

At the same time that Schreyer was appointed, Kia decided to focus on quality like never before. Over a billion 

dollars was spent on research, focusing exclusively on how to improve quality. Significantly, while not entirely 

shunning vehicle sales, the company took the decision to focus on quality above volume. Factories around the world 

introduced new measures to ensure that Kia’s quality would be world class. 

And it is. In fact, it’s not just world class today. It’s also the best in the world. Oh, and this is not just marketing talk. 

This fact has been proven beyond any doubt by the results of JD Power’s Initial Quality Study; it has ranked Kia as 

number one in quality for a whopping five consecutive years. Last year – with the highest ranked compact car, large 

car, small SUV, mid-size SUV and compact multi-purpose vehicle in initial quality – Kia received more model awards 

than any other nameplate. So, Kia produces vehicles that are top of their game when it comes to both design and 

quality. This much we now know. But what of the actual product range? 

276

KIA SELTOS INTERIOR 

As the needs of the market change, so too has the company’s product line-up. SUVs are now the 

name of the game, and Kia is leading the charge in this regard. Of course, it still offers more 

conventional cars in its line-up – the plucky Picanto and the stylish Rio (which recently acquired a new 

six-speed automatic transmission) are testament to this. Significantly, the Picanto has just gained a 

two-year/30 000 km service plan – big news in this price-sensitive segment of the market. 

But its SUVs – the Sportage and Sorento – are seeing it soar to new sales heights. The former – a 

benchmark in the compact SUV segment – is Kia’s most popular model globally, and it’s much loved in 

South Africa too. It has just received a refresh, and it boasts revisions to the engine and transmission options as well 

as exterior and interior design tweaks. Similarly, the Sorento – Kia’s flagship SUV in South Africa – has also received 

some nips and tucks. It boasts a refreshed exterior design as well as an upgraded interior, an incredible new eightspeed 

automatic transmission (standard across the range), seating for up to seven passengers and leather upholstery as 

standard in each and every derivative. 

Kia’s flagship people-mover in South Africa, the Grand Sedona, has also been enhanced. In addition to its upgraded 

exterior and interior, the Grand Sedona now has enriched specification levels and an eight-speed automatic as 

standard across the range while a new eight-seater variant has joined the line-up. 

These models are about to be joined by the all-new Seltos, which slots in beneath the Sportage. This vehicle is 

produced in Kia’s state-of-the-art new facility in India – and South Africa is the largest export market. The first Kia 

to launch in India, it has broken every record in its segment in that country: first-day pre-bookings amounted to a 

whopping 6 046 units, with total pre-bookings of 31 786 and 6 200 units sold in the first 10 days. This mid-sized 

SUV has also been launched in Australia, where some say it has the makings of a class leader. Like the rest of the 

Kia range, it offers a stylish, contemporary design and it boasts world-class quality. We reckon that the Seltos is 

bound to be yet another high point in the Kia blockbuster. 

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corporate 

PHOTOGRAPHER: LOGAN LAMBERT 

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RARE AVIS 

“Mens is op die regte tyd en plek, straks heel toevallig, 

maar jy láát ook dinge gebeur. Mens moet besef dat 

wanneer ‘n geleentheid opduik, jy dit moet benut, anders 

gaan dit verlore. Jy sit byvoorbeeld voor iemand en voer ‘n 

informele gesprek, maar in der waarheid is dit ‘n massiewe 

geleentheid.” WILMA DE BRUIN gaan vind uit waarom 

Johann Grosskopf opgewonde oor Suid-Afrika se toekoms is. 

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JOHANN GROSSKOPF. FOTOGRAAF: MERWELENE VAN DER MERWE 

281

Uitnemendheid pasgemaak vir jóú behoeftes. 

Dít is nie net die slagspreuk die Pretoriase prokureursfirma Grosskopf Prokureurs nie; maar onder 

leiding van die firma se stigter, Johann Grosskopf, wil die dinamiese span hul kliënte dagin en -uit 

met uitsonderlike diens, gesonde oordeel en professionele uitnemendheid bystaan. 

“Reg uit die staanspoor, toe die firma in 2007 gestig is, het die firma se kultuur van diensgerigtheid 

ons in staat gestel om, pleks van ‘eie gewin’, uitsluitlik op die behoeftes van ons kliënte, 

plaaslik sowel as internasionaal, te fokus; om hulle uiters professioneel en uitnemend met hoogs 

gespesialiseerde regsdienste tevrede te stel,” verduidelik Grosskopf en brei verder uit: 

“Mens is op die regte tyd en plek, straks heel toevallig, maar jy láát ook dinge gebeur. Mens moet besef dat 

wanneer ‘n geleentheid opduik, jy dit moet benut, anders gaan dit verlore. Jy sit byvoorbeeld voor iemand en voer ‘n 

informele gesprek, maar in der waarheid is dit ‘n massiewe geleentheid.” Juis vanweë die span se ingesteldheid om 

geleenthede te identifiseer, is daar meer as genoeg werk. Trouens, sommige kliënte moet weggewys word. En die feit 

dat die firma rats en gespesialiseerd is, onderskei hom van sy mededingers, glo Grosskopf. “Behalwe dat ons baie 

vinnig kan beweeg, is ons koste-effektief. Ons het nie deftige kantore in blou paleise in Sandton nie, benut tegnologie 

en uitkontrakteer nie – kritieke funksies – dus is ons oorhoofse koste ook laag.” 

Sedert sy stigting in 2007, het die firma ook hande met Europese firmas gevat, vervolg hy. “Ons hier in Pretoria is 

die ‘fabriek’, die Europese kantore is die ‘gesig’. Weens die swak wisselkoers en laer arbeidskoste in Suid-Afrika 

het dit baie sin omdat ons die werk baie meer koste-effektief kan doen. Ten opsigte van waarde vir geld gaan dit 

moeilik wees om ons te klop.” 

Die geheim van kliëntediens is dat laasgenoemde te alle tye voel of hy boaan jou lys is. Daarbenewens is eerlikheid 

deurslaggewend. “Vir baie mededingers gaan dit slegs oor geld, wat hul oordeel vertroebel. Doen net jou werk so 

goed as moontlik, dan kom die geld vanself. Jy moet ook rats en betroubaar wees. As jou prestasie dáárvan getuig, 

kom alles vanself en val die dinge vir jou in plek.” 

Daar is ‘n paar basiese stappe wat ‘n mens nougeset moet toepas, vervolg hy. “Vir my is deeglike voorbereiding 

allerbelangrik. As jy by ‘n vergadering instap, moet jy altyd beter voorbereid wees as enigiemand anders in daardie 

vergadering, selfs in gevalle waar jy dalk nie so goed vertroud is met die onderwerp nie. Jy moet ook te alle tye 

stiptelik wees en jou werk netjies doen. Dit is dalk klein goedjies, maar dit maak ‘n gróót verskil.” 

Grosskopf Prokureurs se span van ses prokureurs mag klein wees, maar elke lid is met die hand uitgesoek op grond 

van hul kundigheid en gespesialiseerde kwalifikasies – daarvan is Grosskopf self ‘n sprekende voorbeeld. Daar hou 

dit nie op nie – deur volgehoue navorsing wil hulle aan die voorpunt bly. 

Ofskoon hy aanvanklik, weens ‘n groot belangstelling in ekonomie, in 1990 B Com aan die Universiteit van Pretoria 

(UP) gaan studeer het, het Grosskopf later in die voetspore van sy oom, asook sy pa se neef, wat albei appèlregters 

was, op ‘n regsloopbaan besluit. Ná die verwerwing van sy B Com-graad, het hy kortliks by die departement van 

justisie gewerk waar hy grootliks hofwerk gedoen en sy LLB in 1992, ook aan die UP, behaal het. In 1993-’94 het hy 

sy leerklerkskap in die Jakarandastad voltooi en met LLM-studies – met internasionale besigheidsreg, belastingreg, 

internasionale insolvensiereg en deliktereg as vakke – aan Unisa begin, wat hy in 1995 voltooi het. Hy skryf ‘n 

groot mate van sy sukses toe aan goeie leermeesters soos Gerhard Ploos van Amstel en regter William de Villiers. 

In 2001 behaal hy die sertifikaat in gevorderde korporatiewe en sekuriteitereg met lof. 

In 1995 skop sy loopbaan as prokureur by Van der Merwe Du Toit af. Daar doen hy hoofsaaklik hofwerk, maar 

begin stelselmatig oor beweeg na korporatiewe en besigheidsreg. Hy fokus meer op intellektuele goederereg vir groot 

farmaseutiese maatskappye, die verkoop van sakeondernemings en konsessie-ooreenkomste. Verdere spesialisasie 

volg van 1999 tot 2007 by Maree Theunissen Prokureurs, waar hy verskeie genoteerde inligtingstegnologie- en mynboumaatskappye 

ten opsigte van samesmeltings, oornames en gesamentlike ondernemingsooreenkomste adviseer. 

282

Kliënte klop ook reeds om advies by hom aan oor die herstrukturering van maatskappye, die uitreiking 

van voorkeuraandele, skuldbriewe en die opstel van werknemertrusts. Hy gee ook advies aan 

die land se kommersiële banke en adviseer oor krediet-, afgeleide instrument- en gestruktureerde 

finansieringsooreenkomste. 

Met swart ekonomiese bemagtiging (SEB) in die laat negentigerjare, vroeë 2000’s sterk op die 

voorgrond, adviseer hy nie net talle maatskappye ten opsigte van die implementering van SEB-beleid 

nie; hy verteenwoordig ook SEB-maatskappye in verskeie gesamentlike ondernemings-, verkrygings- en 

aandeelhouersooreenkomste. 

Hy adviseer ook talle maatskappye oor die uitreiking van aandele aan die publiek, asook oor verwante aangeleenthede 

van maatskappyreg. Die praktyk het ook uitgebrei om verskeie internasionale kommoditeitsooreenkomste en 

ooreenkomste met betrekking tot die Suid-Afrikaanse termynbeurs (SAFEX) op te stel. 

Ondanks ‘n propvol werkprogram, sien hy kans om ook as nie-uitvoerende direkteur in talle direksies en ouditkomitees 

te dien. Sedert 1996 is hy ook lid van die dissiplinêre komitee van die Prokureursorde van die Noordelike Provinsies, 

nou bekend as die Regspraktisynsraad (Legal Practice Council).Deeglik geskool in al bogenoemde regsaspekte, neem 

hy in Augustus 2007 die stap om sy eie regspraktyk op die been te bring waar hy onvermoeid voortgaan om al sy 

vaardighede verder te slyp en die nodige leiding te gee met ‘n kultuur van lewenslange opleiding. 

Danksy Grosskopf en sy span se wye ondervinding op veral kommersiële regsgebiede, stel dit die firma in staat om ook 

‘n wye reeks gespesialiseerde dienste in die korporatiewe en handelswêreld aan te bied. Ten opsigte van handelsreg, 

fokus die firma op samesmeltings en verkrygings, gesamentlike ondernemings, internasionale handelsreg, kontraktereg, 

mediese skemas, kommoditeitsverhandeling en konsessies (frachising). Finansiële ooreenkomste behels bategebaseerde 

sekuriteit, korporatiewe finansiering, krediet- en gestruktureerde finansierings- en buitelandse valutatransaksies. 

Daarbenewens doen die firma ook eiendomsoordragte, deeltitelontwikkelings en die kansellasie en registrasie van 

eiendoms- en notariële verbande. Alle aspekte van arbeidsreg word ook gedek – van ontslag en stakings tot onbillike 

arbeidspraktyke. Ook op die gebied van intellektuele eiendomsreg, is die fokus omvattend: van nasoeke tot aansoeke 

om die registrasie van handelsmerke, en kopiereg tot die kommersialisering van intellektuele goedere. Kommersiële 

litigasie in hoër howe, arbitrasie en alternatiewe dispuut-beslegtingsoplossings is nog ‘n belangrike fokusarea en 

behels 30% van die firma se werk. 

Deesdae in Suid-Afrika word die howe, waar litigasie geneig is om lank te sloer, as’t ware “geprivatiseer” – en ook 

in hierdie opsig gee Grosskopf Prokureurs die pas aan. “Dít beteken dat die oorwig van belangrike siviele gedinge 

vir groot banke, mynmaatskappye en kommoditeits- verspreiders met arbitrasie besleg word. ’n Voorsittende beampte, 

byvoorbeeld, ’n oudregter of senior advokaat word aangewys. Jy kies die arbiter, die reëls van toepassing en die 

tyd waarbinne alles afgehandel word. Die bevel wat uitgereik word, kan indien nodig ’n bevel van die hof gemaak 

word, maar dit is ’n veel korter en effektiewer proses. Hierdie departement het ’n suiwer uitkomsgedrewe benadering, 

wat uiteraard groot byval vind.” 

“Dit is baie belangrik dat ons land se howe en regstelsel onafhanklik bly, anders is daar eenvoudig nie die nodige 

wig en teenwig nie,” beklemtoon Grosskopf. “Howe sal doeltreffender moet word en vinniger moet werk. As veral 

die blootleggingsproses meer vaartbelyn kan word, kan dit wel gebeur. 

“Terselfdertyd sal die opleidingsgaping oorbrug en tegnologie beter benut moet word. Om die volumes en minder 

komplekse sake te kan hanteer, is ’n groter verskeidenheid forums en howe straks die antwoord. Die uitdaging egter is 

om deur die nodige siftingsproses die regte kanaal vir die spoedige oplossing van ’n geding te bepaal,” vat hy saam. 

Hy bly optimisties en positief oor die uitdagings en geleenthede in Suid-Afrika en spreek die hoop uit dat politici die 

ekonomie voorop stel in hul besluitneming. 

283

THE 

DIFFERENTIATOR 

Growing up on a family farm in the Karoo offered Roelof 

Lategan the opportunity to roam freely in the veld and enjoy 

a fulfilling life close to nature – moulding him perfectly for his 

role as a financial entrepreneur, CEO and sole shareholder of 

Aquarius Capital. “I’m simply not a corporate animal,” he says 

in no uncertain terms. WILMA DE BRUIN went for a visit. 

286

ROELOF LATEGAN. PHOTOGRAPHER: MERWELENE VAN DER MERWE 

287

Nothing makes him happier than being able to assist a wide range of clients to obtain the corporate 

financing and funding advice they need to succeed, which translates into a positive contribution to 

the welfare of South Africa. “To make a difference in this country, to create and help retain jobs, has 

always – and will continue to be – our vision,” he emphasises. 

Lategan’s philanthropic inclination goes beyond just helping clients – he also assists with school fees 

and funding for a number of the children living on his farm. 

After completing his studies at the University of Pretoria and shortly after finishing his articles at a local 

auditing firm, he decided to go solo and established Aquarius Capital… and he has never looked back. 

With more than 20 years’ experience in the highly specialised field of corporate financing and a long list of successful 

transactions over many industries under his belt, Aquarius Capital focuses on transactions of between R30 million 

and R1 billion. “I also prefer that development – job creation or expansion – forms part of the transaction,” he says. 

“This way there is a higher probability of sustainable success and contribution to society as a whole.” 

Personal and professional services remain his compass. “I personally handle every communication line as well as the 

transaction with a client. For every meeting with a client, I avail myself within a day or two, anywhere in the country. 

You simply cannot leave a client who has a funding need of R500 million in the hands of an inexperienced clerk. 

“I have concluded many transactions and have vast experience in this field. To transfer this to a junior staff member 

takes time and cannot happen overnight. Therefore I ensure that I personally communicate and work with a client. In 

addition, great care is taken to keep all information strictly confidential. 

“We ‘play’ hard, but we play according to the rules; we are ethical. I believe we are making a difference. We do 

what we undertake to do – and stick to our agreements. The fact that Aquarius Capital has been in existence for 

16 years is proof of a successful business plan. Our varied and sought-after client list and long list of transactions 

are personal highlights.” 

Sure, it has not always been plain sailing, Lategan admits. “But hitches and stumbling blocks taught me that no matter 

how much you wish to help all the companies and clients smoothly along the way, new industries and companies are 

always difficult to establish.” Yet despite the weak economy and restrictive government policies, he is here to stay, 

committed to continue doing his bit to make South Africa a better place for all. 

AQUARIUS CAPITAL SPECIALISES IN THE FOLLOWING SERVICES: 

Business planning, specifically in writing and compiling business plans and investment packs. Business plans comply 

with the strict criteria of both local and global investors, including the major South African commercial banks. Because 

the business plans are well matched to the criteria of banks and investors, they serve as a valuable model to help 

clients’ businesses on their road to success. 

Corporate finance and structures 

International tax beneficial structures 

Facilitation and arrangement of business finance 

Structured term loans 

Capital equipment finance 

Due diligence and feasibility studies 

Business valuations 

Restructurings 

Expansions and acquisitions 

288

A FEW OF AQUARIUS CAPITAL’S SUCCESS STORIES: 

AGRICULTURE AND AGRO-PROCESSING 

Graaff Fruit (Pty) Ltd: “The well-known family from the Western Cape. We handle their capital raising requirements.” 

Hendri Pieterse Boerdery (Pty) Ltd: “A large farming enterprise in the Groblersdal area and also a founding member of 

Top8 grape exporters.” 

SIS Farming Group: “One of the biggest feedlots in the country.” 

VS Agri (Pty) Ltd: “A private company with the biggest farmers in the Eastern Free State as shareholders.” 

SIS Apples (Pty) Ltd: “A sizable apple farm in the Hendrina district in Mpumalanga.” 

Rockdale Industrial (Pty) Ltd: “A large feedlot in the Middelburg district, formerly known as Kanhym Estates.” 

Havildar (Pty) Ltd: “One of the largest farming groups in South Africa, which is Black women owned.” 

Mahela Farming Group: “The second-largest citrus exporter in South Africa.” 

Somerhoek Boerdery: “A respected farming operation in Limpopo.” 

Northern Cape Raisins (Pty) Ltd: “One of the top seven raisin export companies in the Northern Cape.” 

Schoonbee Landgoed (Pty) Ltd: “One of the largest exporters of high-quality grapes and citrus in South Africa.” 

MINING AND RESOURCES 

Trans Hex Limited: “We handle all their capital expansion requirements.” 

West Coast Resources (Pty) Ltd: “A newcomer to the South African alluvial diamond mining industry and a subsidiary of 

Trans Hex Limited.” 

HEAVY MANUFACTURING, STEEL AND CONSTRUCTION INDUSTRIES 

Top Fix Holdings (Pty) Ltd: “One of the best-known brands in the construction, steel manufacturing and scaffolding industry.” 

Automa (Pty) Ltd: “One of the largest polystyrene manufacturers in South Africa.” 

Electro Systems (Pty) Ltd: “This reputable company has over 25 years’ experience in the process control industry.” 

Triton-Leo Group (Q20): “The largest water-displacement product and lubricator supplier in South Africa.” 

Capital Star Steel (Pty) Ltd: “The largest pipe manufacturing facility on the African continent.” 

Rayal Industrial (Pty) Ltd: “The largest manufacturer of floor tiles on the African continent.” 

PHARMACEUTICAL AND HEALTH INDUSTRY 

CoMED Health (Natura): “The largest homeopathic manufacturer and retailer in South Africa.” 

Benchmark Group: “One of the most innovative developers of day hospitals for the medical industry.” 

FRANCHISING 

Talisman: “A franchise with one of the biggest footprints in Southern Africa.” 

289

A culture of excellence 

The two main pillars of The Toyota Way – Continuous 

Improvement and Respect for People – define the company’s 

DNA the world over, resulting in reliable vehicles and the 

sustainable development of the organisation. WILMA DE BRUIN 

popped in to their South African head office in Johannesburg 

to find out more... 

Whether it’s the sturdy Hilux bakkies, reliable Corollas, snazzy RAV4s or economical 

Ses’fikile minibus taxis, Toyota vehicles are omnipresent on South Africa’s highways 

and byways. Not surprising. Renowned and respected for its reliable, durable and 

affordable vehicles for nearly 50 years, Toyota South Africa Motors (TSAM) has 

managed to consistently lead the pack in terms of total sales and customer satisfaction. 

In perfect synergy, according to the latest results from the annual NADA Dealer 

Satisfaction Index, car dealers across the country maintain an excellent relationship 

with both Toyota and its truck manufacturer, Hino. Carried out annually for the past 

24 years to monitor the health of the relationship between dealers and their respective 

manufacturers, Toyota and Hino came out tops again this year, both taking gold awards, just like they did in 2018. 

Since TSAM opened its doors for business in 1961, courtesy of the tireless efforts of renowned and respected 

South African entrepreneur, Dr Albert Wessels, the company has made significant progress in securing the trust 

of South African consumers and dealers by producing top quality and sought-after vehicles. Wessels not only 

convinced Toyota Japan to grant him a licence to bring Toyota to South Africa, he also finally succeeded in 

obtaining an import permit from the government authorities. 

Fast forward to today, and Toyota South Africa Motors is a colossal auto manufacturer straddling the length and 

breadth of the country. Now wholly owned by Toyota Motor Corporation (TMC) in Japan, TSAM’s head office 

is located in Sandton, Gauteng while the organisation’s manufacturing plant operates from Prospecton, Durban. 

The Durban plant is the largest automotive factory in South Africa, producing Hilux, Fortuner, Corolla and Hiace 

Ses’fikile minibus taxis. TSAM is also responsible for the management and distribution of the Hino (trucks) and 

Lexus brands in South Africa, and a Hino manufacturing plant is currently under construction in Durban. In 

addition, TSAM has a huge parts distribution warehouse in Boksburg. 

290

ANDREW KIRBY, PRESIDENT AND CEO OF TOYOTA SA MOTORS. IMAGE SUPPLIED 

291

PARENT COMPANY 

TSAM corporate PR manager, Mzo Witbooi, explains: “Toyota vehicles are sold in more than 170 countries and 

regions, and TMC in Japan oversees manufacturing affiliates in 28 countries and regions. 

“As the parent company, TMC’s role is to streamline its various operations across the globe. However, the 

organisation is aware that it cannot adopt a ‘cookie-cutter approach’ in its operations as there are varying social, 

cultural, political and economic dynamics at play in each region. 

“That said, some of the organisation’s core business principles are virtually invaluable and apply internationally. 

For example, The Toyota Way forms the backbone of the synergies that exist between TMC and its affiliates, 

including TSAM.” 

CULTURE 

TSAM regularly engages with all employees through a series of Toyota Touch workshops across the country, 

Witbooi says. “The workshop content – whether delivered in front of a dealer, management or plant/manufacturing 

audience – remains the same, to ensure that the organisation’s vision, culture and values at TSAM are common 

for all staff. Equally, to build a strong corporate brand, TSAM needs brand ambassadors – employees who are 

thoroughly engaged, connected and committed to the organisation. 

“The two main pillars of The Toyota Way are Continuous Improvement (kaizen) and Respect for People. These two 

ideals are so important that they define the Toyota DNA the world over. We endeavour to act in accordance with 

these guiding principles to produce reliable vehicles and the sustainable development of our society,” Witbooi 

points out. 

MILESTONES 

Among the many highlights in TSAM’s illustrious history of nearly 60 years are the half-century anniversaries of the 

Corolla and Hilux, in 2016 and 2019 respectively. “The two models have not only sold millions of units in SA but 

have also endeared themselves in the hearts of many South Africans. Not far off is the ubiquitous Toyota Hiace, 

which averages sales of 1 300 units a month,” Witbooi notes. 

“The R6,1 billion investment Toyota made to facilitate the production of the all-new Hilux and Fortuner at its 

Prospecton plant in Durban was one of our proudest moments. It also reaffirmed TSAM as the largest automaker 

in South Africa,” he continues. “When the Toyota Gazoo Racing South Africa team won the Dakar rally for the 

first time earlier this year, the victory wasn’t exclusively for Hilux drivers; it was for the country as a whole as the 

winning car was locally manufactured.” 

The introduction of new models such as the C-HR and the return of Toyota GR Supra were also memorable 

occasions – “an indication that we are not just about mass appeal, but also have millennial and niche products 

in our repertoire. 

“However, it is our aftersales support, through TSAM’s wider dealer network, as well as the quality of our products 

that really sets us apart. The quality, durability and reliability (QDR) of our products are the mainstay of the Toyota 

brand,” he stresses. 

292

UPS… AND DOWNS 

But it certainly hasn’t always been plain sailing, Witbooi concedes. From a global perspective, the ‘accelerator 

issue’ in the USA will most likely be remembered as a bad, near-fatal glitch. 

“Just three months after being appointed president and CEO of TMC in 2009, Akio Toyoda began his term 

in office having to face the so-called ‘accelerator scandal’. In an event that almost brought the company to its 

knees, accelerator pedals of some Toyota models in the US were reportedly sticking, at times trapping drivers in 

out-of-control vehicles that would eventually crash. However, after huge recall campaigns, court cases, heartfelt 

apologies and investigations, it transpired that incorrectly fitted floor mats were to blame for the acceleratorrelated 

incidents,” Witbooi explains. 

“The key lesson for Toyota across the globe was that every vehicle part, no matter how insignificant it may seem, 

has to function optimally and that standardisation was key when it came to vehicle fitments.” 

Locally, and going back to the 90s, the infamous 49-day strike in 1992 also caused the company a serious 

hiccup, as it severely curtailed its ability to meet the strong demand for products. As a result, the after-tax income 

for the year saw a decrease of 49,5% compared to the 1991 figure. Once the strike ended, however, it was 

business as usual. 

“TSAM is a learning organisation, and we are truly grateful for the manner in which our executive managements 

have fared over the years, particularly in difficult situations. We are an organisation that has been able to renew 

itself and have been agile enough to adapt in very challenging and turbulent times,” he points out. 

EXPORTS 

Toyota already has a strong foothold in Africa as it is the biggest seller of vehicles on the continent, Witbooi adds. 

“We are looking at strengthening our business in Africa through becoming the regional hub for the continent. As 

TSAM, we export to 42 countries on the continent and despite the substantial decline in Africa, 2017 was the 

bottom of the curve and 2018 showed an increase. Orders for 2019 also indicate growth.” 

EMPLOYEES 

Just as passionate as Toyota SA is about satisfying customers through service excellence, the company believes that 

a content and motivated workforce has a higher probability of making significant contributions to the organisation, 

Witbooi stresses. 

“It is for this reason that the organisation invests in various engagement measures with its staff. Employee 

engagement scores on various cultural and operational aspects are closely analysed to determine necessary 

organisational modifications. This is an ongoing process and is founded on the kaizen spirit of continuous 

improvement. Communication is also key at TSAM and takes place across various platforms. 

“Our latest platform is called T-Talk and it is a cellphone SMS system that allows every employee to engage with 

management and vice versa. We also have Team Brief meetings at the beginning of each year, in both Joburg 

and Durban, when our TSAM management review the previous year as well as share the organisation’s vision and 

targets for the new year. Team Brief meetings are attended by all staff.” 

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ONGOING TRAINING 

To continuously build and develop talent and elevate people globally to be at their very best at all times, about 

10 years ago Toyota introduced an accelerated development programme to address concerns about the lack of 

highly skilled female engineers, Witbooi says. 

Potential candidates were then assigned international projects based in Japan and Thailand. This opportunity has 

been extended to assignments positioned in various European affiliates – Turkey, Belgium, UK, Poland and France. 

The latest assignments will now venture into India and USA. 

“Similarly, Toyota South Africa has underlined its commitment to comprehensive and ongoing training and skills 

development with the opening of dedicated state-of-the-art training facilities called TALA in Sandton and Durban. 

The academy provides skills development opportunities for those employed by Toyota, its dealers, and suppliers 

– all members of the extended Toyota family in South Africa. 

“Our dealers are also encouraged to upskill previously disadvantaged staff (including departmental managers), 

and from these individuals there will be a pool for both managers as well as dealer principals,” he adds. 

ECONOMIC EMPOWERMENT 

Instead of focusing just on the BEE scorecard, TSAM strives to ensure participation, ownership and equity across 

the full value chain, Witbooi explains. 

“Toyota Purchasing has aligned its localisation and transformation activities. The imported component exhibitions 

that were held offered opportunity to further increase the spend with local suppliers as well as offering an 

opportunity to develop Black-owned suppliers at Tiers 2 and 3. The upcoming NAACAM show, where Toyota 

has sponsored Black-owned suppliers, creates a platform for networking with the entire automotive community. It 

offers an access to market opportunity for Black-owned suppliers. In an industry where economies of scale are a 

significant success factor, this opportunity is invaluable.” 

In partnership with Ubuntu Institute, TSAM has created 447 job opportunities for previously disadvantaged South 

African youths. The initiative is in response to President Cyril Ramaphosa’s call for the private sector to play a 

significant role in job creation through the Youth Employment Service (YES) programme. The initiative is part of the 

Yes4Youth campaign, which is championed by Ramaphosa and driven by the private sector. 

To support industrialisation on the continent, the Toyota Wessels Institute for Manufacturing Studies (TWIMS) has 

partnered with the Gordon Institute of Business Science (GIBS) to open a non-profit manufacturing institute in 

KwaZulu-Natal. A team of leading academics – led by Professor Justin Barnes, TWIMS executive director – has 

developed the manufacturing-focused curriculum. 

The TWIMS campus was officially opened on 26 November by representatives from all tiers of government, 

Toyota, GIBS, several leading academics, the Toyota SA Educational Trust, and members of the founding Wessels 

family. TWIMS aims to become the hub for manufacturing research in Africa. For this purpose, it is creating 

dedicated research fellows and is facilitating links with manufacturing research centres across the world. 

In terms of business operations across the continent, Toyota would like to position itself as the mother plant in 

Africa, Witbooi says. 

INNOVATION 

As president and CEO of TMC, Toyoda also made the pursuit of building better-driving cars a top priority for Toyota, 

Witbooi points out. 

294

“He believes that Lexus should be ‘a little funky’ and deliver an initial impulse to ‘drive this car forever’. He also 

believes that Toyota should have mass-market appeal without selling out to mass mediocrity. Toyoda took a very keen 

personal interest in the development of Toyota products and also made it his mission to connect with customers in 

every way possible. 

“To further strive towards building ever-better cars, in 2014 TMC launched 5 Continents Drive – a project that sees 

Toyota employees traversing the globe to drive in diverse conditions while collecting crucial data to be used in 

vehicle manufacturing. The team has already been to Australia, the US and Europe and covered the African leg of 

5 Continents Drive in 2018. The project finishes in Asia next year.” 

FUTURE VISION 

Going forward, Toyoda announced in January 2018 that Toyota aims to make the transition from an automaker to 

a fully fledged mobility company providing mobility-related services. Following this announcement, the company 

has made exciting monthly announcements as it accelerates this mobility-focused strategy. 

To this end, TMC and SoftBank, which is focusing on AI development, are working together to create an entirely 

new form of mobility, referred to as the Mobility AI revolution. In addition, Toyota is investing US$500 million in 

Uber and working with the company on joint development of a self-driving mobility vehicle based on the Sienna 

minivan. The plan is to introduce it into Uber’s rideshare network in 2021 – setting the scene for the global dawn 

of a brand new, exciting Toyota era. 

THE TWO PILLARS AND FIVE KEYWORDS 

OF THE TOYOTA WAY 

Continuous improvement 

Challenge: We form a long-term vision, meeting 

challenges with courage and creativity to realise 

our dreams. 

Kaizen: We improve our business operations 

continuously, always driving for innovation and 

evolution. 

Genchi genbutsu: We practise genchi genbutsu... 

go to the source to find the facts to make correct 

decisions, build consensus and achieve goals at 

our best speed. 

Respect for people 

Respect: We respect others, make every effort to 

understand each other, take responsibility and do 

our best to build mutual trust. 

Teamwork: We stimulate personal and professional 

growth, share the opportunities of development and 

maximise individual and team performance. 

TOYOTA GLOBAL VISION 

Rewarded with a Smile by Exceeding Your 

Expectations 

The Toyota Global Vision, published in March 

2011, was created through exhaustive, companywide 

re-examination and discussion of the kind of 

company that Toyota aspires to be and the values 

that it esteems in light of the company’s losses 

following the global economic crisis of 2008 and 

the series of recalls in 2010. We are implementing 

a positive cycle of making ever-better cars that 

exceed customer expectations, enriching the lives 

of communities, being rewarded with the smiles of 

customers and communities and thus reinforcing 

our stable base of business. 

By maintaining and enhancing this cycle, we aim 

to continuously provide value to society in the 

forms of safety and peace of mind, environmental 

sustainability and Waku-doki (excitement and 

exhilaration that wows you) while enhancing 

Toyota’s corporate value. 

Source: 2018 Toyota Annual Report 

295

EDITORIAL 

CONTRIBUTORS 

ELZILDA BECKER 

Publisher 

DEON MAAS 

p 140 

THERESA MEYER 

Marketing 


pp 60, 210 

MIMI GREYLING 

Afrikaanse taalversorging 

JACQUI GENG 

pp 78, 80, 83 85, 87, 89, 91 

KIM SHAW 

Subeditor 

LEON VAN NIEROP 

p 74 


Art Director 

MARTIE BESTER 

p 92, 156, 160, 176, 220 

MATTY NAUDÉ 

Layout & Production 

MELANIE TAIT 

p 28 

PAULA VAN HUYSSTEEN 

Layout & Illustration 

MIMI GREYLING 

p 130 

MARY WILLEMSE 

Marketing 


p 20 

CONTRIBUTORS 

PIET CROUCAMP 

p 152 

CAREL VAN DER MERWE 

p 112 

SCHALK VAN DER MERWE 

p 146 


pp 262, 268, 272 

THEO KEMP 

pp 122, 192 


pp 32, 78 

WILHEM VAN RENSBURG 

p 42 

DEBBIE HATHWAY 

p 180 


pp 170, 136, 282, 286, 290 

296

PHOTOGRAPHERS 

PETRI HEISKANEN 

p 19, 41 


pp 21, 22, 24, 26, 27 

ALET PRETORIUS 

p 26 

MERWELENE VAN DER MERWE 

pp 29, 75, 100, 171, 283, 287 

MARY WILLEMSE 

p 31 

MARC STEENBEKE 

p 33 

WILD VIBEZ 

p 35 

PAVEL NEKORANEC 

p 37 

RICARDO GOMEZ ANGEL 

p 39 


pp 93, 96 

HANNELIE BRUWER 

p 99 

GRANT MCKINLEY 

p 100 


p 109 

JOHAN WILKE 

pp 112, 113, 157 

LEOPOLD FRECHOW 

p 125 

SIBUSISO GCABA 

pp 131, 133 

JAKE DAVIES 

pp 139, 179 

NARDUS ENGELBRECHT 

p 141 

GASTON ROULSTONE 

p 147 

CRISTIAN NEWMAN 

p 153 

KEVIN MACKINTOSH 

pp 159, 161, 163, 164, 165, 167, 169 

DENNIS LEUPOLD 

p 181 

KREATIVE MIND PRODUCTION 

p 189 

CORLIA BREDELL 

p 195 

FIONA JOY 

p 196 

CAREY SLADE 

pp 195, 196, 197 

AZAMAT ZHANISOV 

p 199 

CHARLES RUSSELL 

pp 205, 207, 208, 209, 213, 215, 217, 219 

JEAN PIERRE UYS PHOTOGRAPHY 

p 207 

MATTHEW IBBOTSON 

p 211 

MARIJKE WILLEMS 

pp 221, 227, 229, 230, 231, 233, 235, 236, 237 

DYLAN SWART 

pp 238, 251, 255, 257 

LISA HNATOWICZ 

pp 240, 242, 243, 245, 246, 247, 249 

MARSEL ROOTHMAN 

pp 240, 241, 242 

KEVIN MARK PASS 

p 247 

NADINE DE BEER 

p 252 

CHRISTIAN WOLF 

p 252 

PHILIPP ARLT 

p 259 

PLAN C PRODUCTIONS 

pp 268, 269, 271, 273, 274, 275 

LOGAN LAMBERT 

p 281 

297

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Curious about communication 

Through the use of a variety of papers, typography brings each article to life as we 

present a paper stock with a similar degree of visual interest. Using a range of papers, 

with contrasting texture, color and finish, delivers the sensation of having arrived at a 

comfortable location in print. 

Curious about translucent 

Paper allows us to communicate the relevance and impact of our ideas. It allows us to 

connect our ideas and people in a more meaningful and creative fashion. 

Print remains the world’s most powerful means of communication and choosing paper is 

a creative act. 

Contact Kalideck for your own paper experience. 

www.kalideck.co.za

DEKAT 

2019

DEKAT DIGITAL 2019 - 2020

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