Difference between revisions of "Kaatje Kekkelbek, or Life Among the Hottentots"
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| − | == The text | + | == The original text == |
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| + | From [[Stephen Gray]]'s introduction to ''[[South Africa Plays]]'', pg. viii: | ||
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| + | "Kaatje Kekkelbek features the popular 'Hottentot Venus' character in full cry against the indignities heaped on her to obtain her co-operation in the colonial enterprise: brandy, fences, prison... The sketch, complete with shrieks and feathers, is a turn that parodies an authentic shuffle-and-chant routine." Gray suggests the subject of the piece is essentially the "po-faced Puritans who forget that theatre must accommodate many South African voices, even if the real world outside systematically excludes them." | ||
Generally accepted as the first piece of performed stage writing incorporating a large chunk of "kitchen-Dutch", or [[Afrikaans]]. Very popular and apparently performed (most probably in various forms) a number of times over the years. | Generally accepted as the first piece of performed stage writing incorporating a large chunk of "kitchen-Dutch", or [[Afrikaans]]. Very popular and apparently performed (most probably in various forms) a number of times over the years. | ||
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| + | Originally published as ''[[Caatje Kekelbek, or Life Among the Hottentots]]'' in [[Sam Sly]]’s [[Journal Space]] 1846, also reproduced in its entirety in Laidler (1926: pp. 41-44). Only the first stanza is reproduced (from Laidler) by Bosman (1928, Appendix X: pp. 541-543) and the ''Wikipedia'' entry on Andrew Geddes Bain[http://en.wikipedia.org/wiki/Andrew_Geddes_Bain]. | ||
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| + | ==Performance history in South Africa == | ||
There is also some uncertainty about the first performed Grahamstown, with both Laidler (1925) and Fletcher (1991) saying 25 October 1838, Du Toit 5 November 1839, and F.C.L. Bosman arguing that at the earliest it could have been in 1844. | There is also some uncertainty about the first performed Grahamstown, with both Laidler (1925) and Fletcher (1991) saying 25 October 1838, Du Toit 5 November 1839, and F.C.L. Bosman arguing that at the earliest it could have been in 1844. | ||
| − | + | Gray gives its first performance as 1846, by 'an amarteur cross-dresser in a Border regiment', and states the piece was regularly included in 'smokers and family entertainments'. | |
| − | + | == Translations and adaptations == | |
| + | The central character of "[[Caatje Kekelbek]]" (or "[[Kaatje Kekkelbek]]", as she is more commonly known today), the fiery and articulate housemaid, has become a stock figure in a number of South African works over the years, including plays by [[Stephen Black]] and [[Guy Butler]]. (Laidler for example makes the comment in his 1926 publication that "Kaatje" is well known to Capetonians. See further Binge pp. 4-5 for the general influence of this song, especially on the [[Afrikaans]] literary and playwriting tradition.) | ||
== Sources == | == Sources == | ||
Revision as of 16:36, 16 January 2024
Kaatje Kekkelbek, or Life Among the Hottentots (or Caatje Kekelbek, or Life Among the Hottentots) is a sketch in verse and prose, in the form of a "comic song", by Andrew Geddes Bain and George Rex. (Though the father George Rex, was long seen as the author, Ludwig Binge - 1969, pp3-4 - argues convincingly for the son, Andrew Rex.)
Contents
The original text
From Stephen Gray's introduction to South Africa Plays, pg. viii:
"Kaatje Kekkelbek features the popular 'Hottentot Venus' character in full cry against the indignities heaped on her to obtain her co-operation in the colonial enterprise: brandy, fences, prison... The sketch, complete with shrieks and feathers, is a turn that parodies an authentic shuffle-and-chant routine." Gray suggests the subject of the piece is essentially the "po-faced Puritans who forget that theatre must accommodate many South African voices, even if the real world outside systematically excludes them."
Generally accepted as the first piece of performed stage writing incorporating a large chunk of "kitchen-Dutch", or Afrikaans. Very popular and apparently performed (most probably in various forms) a number of times over the years.
Originally published as Caatje Kekelbek, or Life Among the Hottentots in Sam Sly’s Journal Space 1846, also reproduced in its entirety in Laidler (1926: pp. 41-44). Only the first stanza is reproduced (from Laidler) by Bosman (1928, Appendix X: pp. 541-543) and the Wikipedia entry on Andrew Geddes Bain[1].
Performance history in South Africa
There is also some uncertainty about the first performed Grahamstown, with both Laidler (1925) and Fletcher (1991) saying 25 October 1838, Du Toit 5 November 1839, and F.C.L. Bosman arguing that at the earliest it could have been in 1844.
Gray gives its first performance as 1846, by 'an amarteur cross-dresser in a Border regiment', and states the piece was regularly included in 'smokers and family entertainments'.
Translations and adaptations
The central character of "Caatje Kekelbek" (or "Kaatje Kekkelbek", as she is more commonly known today), the fiery and articulate housemaid, has become a stock figure in a number of South African works over the years, including plays by Stephen Black and Guy Butler. (Laidler for example makes the comment in his 1926 publication that "Kaatje" is well known to Capetonians. See further Binge pp. 4-5 for the general influence of this song, especially on the Afrikaans literary and playwriting tradition.)
Sources
http://www.thegreatkaroo.com/page/andrew_geddes_bain
http://en.wikipedia.org/wiki/Andrew_Geddes_Bain
Ludwig Wilhelm Berthold Binge. 1969. Ontwikkeling van die Afrikaanse toneel (1832-1950). Pretoria: J.L. van Schaik: pp.
F.C.L. Bosman. 1928. Drama en Toneel in Suid-Afrika, Deel I: 1652-1855. Pretoria: J.H. de Bussy. [2]: pp. 389, 413, 389, 496, 506-7, 541-543
F.C.L. Bosman. 1980. Drama en Toneel in Suid-Afrika, Deel II, 1856-1916. Pretoria: J.L. van Schaik: pp.
P.J. du Toit. 1988. Amateurtoneel in Suid-Afrika. Pretoria: Academica
Jill Fletcher. 1994. The Story of Theatre in South Africa: A Guide to its History from 1780-1930. Cape Town: Vlaeberg: p.
P.W. Laidler. 1926. The Annals of the Cape Stage. Edinburgh: William Bryce: pp. 41-44
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