Grond/Santekraam en bientang : gesitueer in globale swart seeroetes

dc.contributor.authorBurger, Bibi
dc.contributor.emailbibi.burger@up.ac.zaen_US
dc.date.accessioned2023-03-09T04:50:32Z
dc.date.available2023-03-09T04:50:32Z
dc.date.issued2022
dc.description.abstractThe Afrikaans poetry collections grond/Santekraam (2011) by Ronelda S. Kamfer and bientang (2020) by Jolyn Phillips both centralise the ocean and both deal with attempts at recovering repressed black histories. Apart from figuring as a source of spiritual fulfilment and connected to figures in the collection’s livelihoods, the ocean is represented in these collections as the bringer of European colonisers and of slaves to South Africa. In this article I contend that references to slavery and colonialism and the use of words in languages brought to South Africa through slave networks position these collections as products of the transnational Black Atlantic tradition, as theorised by Paul Gilroy. The fact that the narratives of both collections take place in the Overstrand region, near the meeting place of the Atlantic and Indian Oceans, gives an indication of how Gilroy’s theory needs to be adapted to be applicable to Afrikaans literature: as many English-language South African theorists have argued, oceanic literary studies in South Africa should pay as much attention to routes in the Indian Ocean as to Atlantic routes. The emphasis in both collections on not only a history of slavery, but also one of the displacement of and violence against the people already inhabiting the area when colonisers alighted, further serves to indicate what an Afrikaans black aquatic literature looks like. When taking into account these differences between Afrikaans and other versions of black aquatic art, reading grond/Santekraam and bientang as part of a global black aesthetics allows the researcher to identify the ways in which these collections are characterised by a hermeneutics of suspicion (an interpretation of contemporary life that recognises the ways in which it is structured and functions in anti-black ways) and a hermeneutics of memory (an interpretation of this anti-black contemporary as a continuation of the history of the dehumanisation of black people).en_US
dc.description.departmentAfrikaansen_US
dc.description.librarianam2023en_US
dc.description.urihttp://www.letterkunde.up.ac.za/en_US
dc.identifier.citationBurger, B. 2022, 'Grond/Santekraam en bientang : gesitueer in globale swart seeroetes', Tydskrif vir Letterkunde, vol. 59, no. 1, pp. 62-74, doi : 10.17159/tl.v59i1.8964.en_US
dc.identifier.issn0041-476X (print)
dc.identifier.issn2309-9070 (online)
dc.identifier.other10.17159/tl.v59i1.8964
dc.identifier.urihttps://repository.up.ac.za/handle/2263/90032
dc.language.isoAfrikaansen_US
dc.publisherTydskrif vir Letterkunde Assosiasieen_US
dc.rights© 2022. This work is licensed under the Creative Commons Attribution License.en_US
dc.subjectRonelda S. Kamferen_US
dc.subjectJolyn Phillipsen_US
dc.subjectSlavery in literatureen_US
dc.subjectPaul Gilroyen_US
dc.subjectBlack atlanticen_US
dc.subjectBlack aquaticen_US
dc.subjectBlack Afrikaans writingen_US
dc.subjectAfrikaans poetryen_US
dc.subject.otherHumanities articles SDG-10
dc.subject.otherSDG-10: Reduced inequalities
dc.titleGrond/Santekraam en bientang : gesitueer in globale swart seeroetesen_US
dc.title.alternativeGrond/Santekraam and bientang: Situated in global black oceanic routesen_US
dc.typeArticleen_US

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