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The Helgaard Steyn Awards

1987 – 2013

The Helgaard Steyn Awards

’n Volledige katalogus in Afrikaans is aanlyn beskikbaar

http://bit.ly/1y4BA6E

1987 – 2013

Exhibition presented by

THE HELGAARD STEYN TRUST

in collaboration with

LA MOTTE MUSEUM, LA MOTTE WINE ESTATE, FRANSCHHOEK

Enquiries regarding this publication may be directed to:La Motte Wine Estate

La Motte Museum

PO Box 685

Franschhoek

7690

South Africa

T: +27 (0)21 876 8850

F: +27 (0)21 876 3446

E: [email protected]

Enquiries regarding the Helgaard Steyn Trust may be directed to:Absa Trust Limited

PO Box 1033

Sanlamhof

7532

South Africa

Exhibition and catalogue compiled by: Dr. Lydia M. de Waal

Eliz-Marié Schoonbee, La Motte Museum

© 2014

ISBN 978-0-620-61361-3

Cover:Coen (Conrad Theodor) van Oven (1883 – 1963)

Portrait of Dr. Jan Steyn

1948

Oil paint on canvas

59 x 44cm

Africana collection – Dr. Jan Steyn Donation

Ferdinand Postma Library

Potchefstroom campus, North-West University

Photo courtesy of North-West University

Foreword .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i

The Helgaard Steyn Trust.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii

The Helgaard Steyn Awards in the context of their specific time period .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v

1987 Painting – Graphic art Pippa Skotnes Lament/Klaagsang (1985) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

1988 Literature Karel Schoeman ’n Ander Land (1984) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

1989 Sculpture David Brown Voyage II (1987) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

1990 Musical composition Roelof Temmingh Three Sonnets (1988) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

1991 Painting Nel Erasmus Jazz baby spent autumn (1991) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

1992 Literature John Miles Kroniek uit die doofpot. ’n Polisieroman (1991) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

1993 Sculpture Jackson Hlungwani Tiger Fish III; Adam and the birth of Eve; Large Crucifix; God and Christ; Michael Star; Altar of God (1990) . . . . . . . . . . . . . . . . . . . . . 13

1994 Musical composition Peter Klatzow From the Poets (1992) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

1995 Painting Robert Hodgins South African Summer: All This is So, And Yet … (1992).. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

1996 Literature Breyten Breytenbach Nege landskappe van ons tye bemaak aan ’n beminde (1993) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

1997 Sculpture Gert Swart Grace (1996) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

1998 Musical composition Stefans Grové Afrika Hymnus II (1997) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

1999 Painting No Award

2000 Literature JC Kannemeyer Leipoldt: ’n Lewensverhaal (1999) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

2001 Sculpture Willem Boshoff Blind Alphabet A (1993 – 1995) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

2002 Musical composition Roelof Temmingh Kantate: Wenn wir in höchsten Nöten sein (2001) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

2003 Painting Cyril Coetzee T’kama-Adamastor (1999) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

2004 Literature Dan Sleigh Eilande (2001) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

2005 Sculpture Jan van der Merwe Showcase/Vertoonkas (2003) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

2006 Musical composition Roelof Temmingh Kantorium (2004) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

2007 Painting Bronwen Findlay All about everything (2005) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

2008 Literature Hermann Giliomee Die Afrikaners: ’n Biografie (2004) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Marlene van Niekerk Agaat (2004).. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

2009 Sculpture Andrieta Wentzel Aspects of the Dark Other (2006) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

2010 Musical composition Hans Huyssen Proteus Variations (2006).. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

2011 Painting Pauline Gutter Silenced I (2008) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

2012 Literature PG du Plessis Fees van die ongenooides (2008) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

2013 Sculpture Wim Botha Blastwave (2010) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57Sources.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59

INDEX

THE HELGAARD STEYN AWARDS / i

During the eighties of the previous century a series of prestige prizes were introduced for South African art, to give recognition to art disciplines on an individual as well as a combined basis.

Over the past twenty-seven years, the Helgaard Steyn Awards have acknowledged South African art in a unique way – these awards honour, on a basis of rotation, individuals in four different disciplines for their contribution towards the arts.

Through bequeathing the entire proceeds of his estate, Dr. Jan Steyn, known as a versatile man who wore a bow-tie and excelled as a diplomat, Member of Parliament, businessman, Free State farmer, sportsman and friend, founded the Helgaard Steyn Trust (named after his father).

For thirty-three years (1948 – 1981) Dr. Steyn was a director of four listed companies in the Rembrandt Group, as well as a beloved family friend.

The exhibition affords the public a comprehensive picture of the winning works of art up to and including 2013 and serves as a reminder of the awards, their history and the winners. It simplifies and enhances the way in which those who attend the exhibition or read the catalogue get to know the honoured composers, artists, authors and prize-winning works of nearly three decades.

With the La Motte brand’s association with art and culture supporting my passion for preserving our heritage, it is a privilege and an honour to me to celebrate, through this exhibition in the La Motte Museum, the Helgaard Steyn Trust and its winners for each one’s continuous influence upon and contribution towards South African arts.

My sincere thanks to the following organisations and individuals for their support and co-operation in compiling this exhibition and the catalogue.

I remember how , whenever board meetings were held in Stellenbosch, he always stayed at our home. It was as though we three children were his own children.

He was inspired by my father, Dr. Anton Rupert, and my mother, Huberte Rupert, to support the preser-vation of art and culture. In this way, my father was instrumental in the foundation of the Helgaard Steyn Trust. My father and his two brothers, Jan and Koos Rupert, were honoured by being appointed as the first three co-trustees of the Helgaard Steyn Trust. My mother continuously supported the Trust and the arts and, on an annual basis, handed the awards to the winners. After the decease or retirement of trustees, we as children or children-in-law of the three Rupert brothers were appointed as trustees.

The exhibition of the Helgaard Steyn Awards (1987 – 2013) was compiled to celebrate Dr. Jan Steyn’s extraordinary vision and contribution towards sup-porting South African arts, as well as the sentiment regarding the relationship between Dr. Steyn and the Rupert family, our continuous presence as trustees and the honour of currently serving as a trustee.

FOREWORDMs. Hanneli Rupert-Koegelenberg, Trustee

ii / THE HELGAARD STEYN AWARDS

Contributors � Dr. Lydia M. de Waal � Dr. Francis Galloway � Prof. Willie Breytenbach � The Helgaard Steyn Trustees � Carel Gersbach of ABSA TRUST LTD � Deon Herselman of The Rupert Museum

Information about artists and availability of visual art-works � Johannesburg Art Gallery � Nelson Mandela Metropolitan Art Museum

(Port Elizabeth) and Andrieta Wentzel � Oliewenhuis Art Museum (Bloemfontein),

Jan van der Merwe and Willem Boshoff � Pretoria Art Museum (City of Tshwane),

Pippa Skotnes and David Brown � Standard Bank Art Gallery (Johannesburg)

and Bronwen Findlay � SMAC Art Gallery (Stellenbosch) and Nel Erasmus � STEVENSON (Cape Town) and Wim Botha � Tatham Art Gallery (Pietermaritzburg) and Gert Swart � University of the Free State and Pauline Gutter � University of the Witwatersrand and Cyril Coetzee

Information about and availability of literature and books � NB Publishers and Eben Pienaar � Human & Rousseau Publishers � Karel Schoeman, John Miles and

Breyten Breytenbach � Tafelberg Publishers � Dan Sleigh, Marlene van Niekerk, Hermann

Giliomee and PG du Plessis � PROTEA Book Shop (Stellenbosch)

and Louis Esterhuizen

Information about composers and availability of recordings � Prof. Izak Grové, Music Department,

University of Stellenbosch � Peter Klatzow � Stefans Grové � Hans Huyssen

History of the TrustTHE HELGAARD STEYN TRUST

THE HELGAARD STEYN AWARDS / iii

The Helgaard Steyn Trust originates from the estate of the late Dr. Johan Heinrich (Jan) Steyn. He was born on 20 April, 1902 and was the eldest of six children of Barendina Wilhelmina (Dina) Richter and Hillegard Mulder (Helgaard) Steyn. Dr. Steyn was an ex-student of the former Grey University College (the present-day University of the Free State). He obtained a doctorate in Economy and Political Science (cum laude) from the University of Heidelberg in Germany. In 1961, Potchef-stroom University College (the present-day North-West University) awarded him with an honorary doctorate in Economic Science. Until his retirement, in 1966, he served as an MP for Potchefstroom. Dr. Steyn was never married. He died in Bloemfontein on 15 December, 1983 at the age of 81 years.

The Trust was named after Dr. Steyn’s father, Hillegard (Helgaard) Steyn (the difference in names is on account of a spelling error in the will), a former MPC for Bloemfontein and youngest brother of the last Republican President of the Orange Free State, Marthinus Theunis Steyn.

The current trustees of the Helgaard Steyn Trust are Ms. Hanneli Rupert-Koegelenberg, Mr. Gerard Rupert, Mr. Francois van der Merwe and ABSA TRUST LTD.

The objectives of the Helgaard Steyn Trust are, firstly, the advancement of Afrikaans culture and, secondly, the practical illustration of the maintenance of Free State farm properties, the improvement of natural grazing on such properties and the procurement of further agricultural land. Fifty percent of the net rental originating from the conservation area is appropriated annually to a Helgaard Steyn award. In course of time, the value of the award has grown substantially and the award is one of the largest art-prizes in the country (the value has already reached R500 000).

The prize is awarded in a four-year cycle and is alter-nated between the disciplines of musical composition, painting, literature and sculpture. It is awarded, in turn, at Potchefstroom and Bloemfontein.

In accordance with the stipulations of the estate, the rectors of the North-West University (Potchefstroom campus) and the Free State University each appoints a judge in the relevant art discipline annually, and these two judges jointly nominate a third judge.

In terms of Clauses C.5 and C.6 the awards and criteria with requirements are applicable to the nomination and recipient of the Helgaard Steyn award, as follows.

Helgaard Steyn Awards are awarded annually, alter-nated in a four-year cycle, to:

a). The composer who, during the afore-going four years, composed the best piece of music and offered at least ten complete copies available for sale on the open market.

iv / THE HELGAARD STEYN AWARDS

These requirements have been further extended in terms of a court order, to include the following:

1. Music compositions that have either been:

1.1. performed in public in front of a paying audience; or

1.2. broadcast or telecast in exchange for payment; or

1.3. recorded on a record or magnetic tape or other sound-recording equipment and of which at least ten (10) were offered for sale on the open market.

b). The painter who, during the afore-going four years, produced the best painting and offered it for sale at a public exhibition, or who produced such painting, commissioned by a private person or a public body, on the understanding that it be placed in public in a way that allows reasonable public access.

b). That the person has been spiritually acclimatised in this country through:

(i) either having been born in the Republic of South Africa (or in a unitary or federal state of which the Republic of South Africa may become a part in future); or

(ii) having spent at least two thirds of his or her life in Africa south of the equator before accepting the award.

The Helgaard Steyn Awards are subject to the conditions of alternation, as explained in C.5 above and are awarded annually and in full. In terms of each discipline, the judges make their decision on the grounds of a majority vote and announce their choice of an award winner without comment. Their decisions are final. www.helgaardsteyntrust.co.za

c). The author of the best work of any nature in Afrikaans that, during the afore-going four years, was offered for sale on the open market in at least three hundred (300) print-copies.

d). The sculptor who, during the afore-going four years, produced the best sculpture and offered it for sale at a public exhibition, or who produced such sculpture, commissioned by a private person or a public body, on the understanding that it be placed in public in a way that allows reasonable public access.

Any person, of whatever gender or race, qualifies for a Helgaard Steyn award, provided that he or she and the relevant work adhere to the following conditions:

a). That the work considered for the award is solely the relevant person’s own and original product;

It is possible, however, that such creations, whether visual art or literature, will not always be regarded as ‘good’ or ‘aesthetically pleasing’.

But not all artists necessarily respond to the spirit of their time or reflect it in their work. There are always those who find fulfilment in a higher spiritual order or who find inspiration in South Africa’s rich natural and cultural heritage, for example – or who create art simply for the sake of art.

A closer look at the socio-political sphereA summaryThe period of 28 years, from 1985 to 2013, saw great socio-political moments: in 1987, the country was aflame, states of emergency were being enforced as well as sport and economic isolation. In 1990 came F.W. de Klerk’s speech and Nelson Mandela’s release; from 1991 to 1993 followed the political negotiations that led to a majority government and a democratic constitu-tion, which some wrote off as a sell-out, while others nurtured expectations of a future filled with less poverty and more work opportunities.

The arts flourished through the KKNK, word festivals, new bookshops, new arts awards – the Helgaard Steyn Awards among them – which led to voluntary cultural organisations working with a renewed drift and drive. The new constitution does, after all, guarantee freedom, including artistic freedom.

In accordance with Dr. Jan Steyn’s testamentary stipu-lations, the works that won the Helgaard Steyn Awards had to have been completed four years before they won the awards.

The works – works of visual art, literature and musical composition – were, therefore, created during a specific time period (1985 to 2010) in South African history. During that period, South Africans found themselves in a social and political landscape that was character-ised by unrest, strikes, a national state of emergency, a democratic election, and farm murders and other evils.

Would these events necessarily have spoken to the social consciousness of the creators of these works? Whether in the service of the church, the state or a private employer or whether in resistance to political or social upheaval, the arts have always – across the centuries – played a role as the interpreter of their times, holding up a mirror to their societies.

The South African art historian Esmé Berman expresses this as follows: Art does not occur within a vacuum. It exists within a social context and is the product of a particular time and place. It is responsive to extrinsic forces, is impregnated by prevailing thought and ideology, and takes form in overt service to a wide diversity of cultural and social courses ... (Berman 1995:295)

The Helgaard Steyn Awards in the context of their specific time periodINTRODUCTION

The old inequalities of the past, which were a racial issue, have now been replaced with new inequalities – those of the present – which are becoming a class issue. It is now no longer necessarily only white people who are the wealthy ones and black people who are the only poor ones. The unrest in trade unions and under the unemployed is evidence of these new realities. (Breytenbach 2014)

The scene unfoldsThe 1980s were preceded by resistance against apartheid, particularly against the pass system and against the use of Afrikaans as the medium of instruc-tion in some subjects in high schools in Soweto. This resulted in the riot of 16 June 1976 “and the reckless use by the police of live ammunition”, which led directly to the riot developing into a full-scale uprising. (Giliomee & Mbenga 2007:362)

Political censorship, not only of the news but also of literature – such as the work of André P. Brink – was instituted and the writer Breyten Breytenbach was jailed. From 1980, renewed unrest set in, leading to, among other actions taken, the boycotting of schools.

In 1983, a referendum on a new constitution was held among the electorate – which was white – resulting, in September 1984, in the Tricameral Parliament. In the same month, unrest erupted in the Vaal Triangle, “which was accompanied by great violence” and which spread to other areas and other provinces. (Pretorius 2012:406)

THE HELGAARD STEYN AWARDS /v

This was followed by P.W. Botha’s Rubicon speech, as it became known, which did not satisfy reform demands and resulted in further sanctions. On 20 July 1985, a partial state of emergency was declared and, a month later, a national state of emergency.

With the first democratic elections in South Africa, in April 1994, the apartheid regime of nearly 46 years came to an end. The interim constitution, which was accepted on 27 April 1994, was regarded as “one of the most liberal constitutions in the world”. It made provision for a human-rights commission, for example, as well as a commission for gender equality (549).

The new president, Nelson Mandela, “saw as his principal task the building of a new nation … Important reforms, including land reform, affirmative action and black economic empowerment, were launched. Con-siderable progress was also made in the promotion of national unity” (551).

One of the most distressing phenomena after 1994 has been the rise in crime, branding South Africa one of the crime meccas of the world. Urbanisation, ineffec-tive policing and the inadequate prosecution system have been cited as probable reasons, this according to Brits (570). We do, however, have more freedom than ever before.

In 1995, the Truth and Reconciliation Commission was established to investigate human-rights violations since 1960. Various publications and reports on the events disclosed during and the witnesses appearing before the Commission were published, of which Antjie Krog’s Country of my Skull (1998) is regarded as one of the most important. Others included Anthea Jeffery’s The truth about the Truth Commission (1999) and Marlene Burger’s and Chandré Gould’s Secrets and Lies (2002).(Giliomee & Mbenga 2007:413)

The political scene after Nelson Mandela“The pursuit of national unity began to lose momentum after Nelson Mandela left the political scene. The ‘Madiba Magic’ disappeared; Mandela’s successor had different priorities.” (579). High on the agenda of President Thabo Mbeki – Nelson Mandela’s successor – was transformation; affirmative action was also consid-erably accelerated during his term from 1999 to 2004.

By 2004, the governing party – the African National Congress (ANC) – completely dominated the political scene in South Africa, but the challenges that it faced in the socio-economic and social arenas were formidable.

Brits writes about this as follows:As a young democracy, South Africa’s image was being deeply tarnished by corruption on all fronts of society and by an unacceptably high rate in crime. The government made a commitment from the start to combat these social evils but, by 2004, it did not have much to show for its efforts.

Internal divisions within the ANC were coming to light, which, between 2005 and 2007, degenerated into a “political street brawl”, this according to Jan-Jan Joubert (Pretorius 2012:583). On 24 September 2008, President Mbeki resigned as president of the country and Kgalema Motlanthe took his place.

After the 2009 elections, President Motlanthe was, in turn, replaced by Jacob Zuma. This heralded a new con-troversial period, which had much to do with President Zuma’s private lifestyle – which, in turn, heralded a period rich in material for political cartoonists.

The position of Afrikaans literature and writersDuring the 1970s, Afrikaans literature was ripped from its ivory tower and placed firmly in the midst of the political struggle. Events that led to this included the two trials of Breyten Breytenbach and the impact of these on the image of Afrikaans writers, as well as reader reaction to and censorship regarding several Afrikaans texts.

vi / THE HELGAARD STEYN AWARDS

The shifts, alliances and polarisation that gave the myth of Afrikaner unity the death knell in the political arena were echoed by splits and similar polarisation within the Afrikaans literary arena. In this era, during which Afrikaner intellectuals were reconsidering their positions on language and culture, the debate in the Afrikaans literary world revolved around the nature and function of the art-form of writing and the role of the Afrikaans writer.

During the debate around ‘involvement’ more radical (younger) voices argued for ‘involvement’ with South Africans and the rest of Africa, as well as the develop-ment of a South African identity and literature and a continuing rebellion against injustice. (Galloway 1990)

Within the cultural context of the so-called new political dispensation of the 1980s, disparate forces were at work: on the one hand were the initiatives by the government and the Afrikaner establishment aimed at the reformation of apartheid and Afrikaner culture and on the other hand were the democratisation initiatives of diverse extra-parliamentary and anti-establishment groups. While alternative art-forms of expression and a swing to performance art shifted the boundaries of the Afrikaans cultural context, the democratisation of black culture was coming under the influence of the worker class and of trade unions.

In the eighties new conceptions of literature lead to new groupings, which were created and driven by magazines, societies, institutions, publishers and Afrikaans departments at universities.

In 1989 the so-called literary-mafia debate took place in, amongst others, the independent newspaper Vrye Weekblad. Proponents of the ideologically critical/Marxist literature approach argued that it required of people [writers] to become involved in change.

On the eve of the true new political dispensation, the big question was who would be able to deliberate in which way for Afrikaans literature during the transition.(Galloway 1990)

Since the early 1990s, a state of uncertainty has been holding sway in the country, one of “change, transition, confusion, democratisation” (Roos 1998:93) as well as one of the “apparently final splintering of Afrikanerdom” (96). According to Roos, “paradoxical and sometimes even directly conflicting phenomena in the sphere of Afrikaans literature and culture” reflect the all-perva-sive atmosphere of uncertainty and change. On the one hand are events that “add new and broader per-spectives to the discourse on art and ideology”, such as the lifting of cultural and academic boycotts and the rapprochement of Dutch academics and institutions.

On the other hand is this era increasingly bringing about the realisation “that Afrikaans is losing its status as the official and . . . dominant language in South Africa” (97). This era also sees the closure of leading publishers and media of the previous era, and the establishment of new imprints and new news media. The establishment and existence of a national literature are “championed, perceived and questioned” – a sign that Afrikaans literature “has entered a new and bigger space” (98).

Louise Viljoen argues that the period from 1976 to 1990 in the Afrikaans literary sphere was characterised by “resistance” and that the period since 1990 has been characterised by “Afrikaans literature repositioning itself in various ways with regard to the changing political and social landscape”. The most important trends in the literature of this period are the “revisiting of history, the emergence of new voices and the appearance of a body of texts representing dystopic views on post-apartheid South Africa”. (Viljoen 2012)

South African music (composition)By its very nature, art-music is a less demonstrative art-form than verbal and image-centred fine arts. It takes descriptive titles for music to prevent its expressive qualities from being, at best, abstract and devoid of associations. Even the most “eloquent” music can only deliver a version of concrete events by means of explanation. Composers themselves sometimes “explain” their own work in different ways. With a few exceptions, the tense events in South Africa during the eighties have left no lasting musical “record”.

THE HELGAARD STEYN AWARDS / vii

Creative responses to the musical “segregation” of the apartheid years did, however, attract attention after, but also before, 1994. The musical material of the (black) indigenous peoples, viewed as being inferior during the 20th century, resisted assimilation to complement the corpus of folk-music from the own environment, as had been done by European composers (such as the Hungarian, Bela Bartók).

Even before apartheid, at the beginning of the century, Jan Gysbert Bosman had already tried to incorpo-rate what he considered to be Zulu music with his own – unfortunately amateurish – compositions. The ideal of such assimilation also inspired the first local composer to receive international recognition during the fifties, viz. Arnold van Wyk. The first local composer to attempt such integration seriously, even describing the transition as a sort of musical “home-coming”, was Stefans Grové (1922 – 2014), who came to be noticed with his violin sonata “on African motives” (1983).

Despite his permanent foreign residence, Kevin Volans (born 1949) attracted international acclaim with his unique concept of the pollination of Western art-forms with musical ideas from Africa. The “Africanisation” of Western “art-music” has continued and is seen by some in the local music industry as the final answer. By contrast, the works of established and internationally

respected composers, such as Peter Klatzow, Hendrik Hofmeyr and the late Roelof Temmingh, are basking in their almost exclusively “Western” aesthetics, with isolated Africa elements interspersed only incidentally and only for the sake of illustration.

Similarly, local academic musicology has started showing signs of change since the end of the previous century. Influenced, to a large extent, by isolated occur-rences in the Anglo-American musicological practice, attempts are made to recognise alternative musical trends such as popular music, indigenous functional music, music informing the gender issue, etc. Such trends often encroach on fields beyond the traditional musicological domain.

Performances of both local and international music are thriving, although relying largely on the standard repertoire of European music of the 18th and 19th centuries. This is borne out by the full houses during the recent authentic performances of J.S. Bach’s Mass in b minor by the combined efforts of the Konservatorium in Stellenbosch and the Johannes Gutenberg University. Although the previous sponsors and auspices of art music (such as the earlier SABC) are no longer around, instances such as SAMRO (the South African Music Rights Organisation) remain loyal in principle. Indepen-dent bodies that bestow awards (such as the Helgaard

Steyn Awards) on deserving works, highlight the need for contemporary art-music. Performances of music by local composers from the recent past, such as Van Wyk, Grové, Klatzow, Temmingh and others are seldom acknowledged and are relatively rare, and yet they can count on substantial audiences. (Grové 2014)

viii / THE HELGAARD STEYN AWARDS

THE HELGAARD STEYN AWARDS / 1

Cape Town artist, Pippa Skotnes, was the first receiver of the Helgaard Steyn Award, in 1987, for her portfolio Lament/Klaagsang. This work was published in 1985 as part of a portfolio entitled Shelter/Skuiling.

Curriculum VitaeSkotnes is an artist, curator, author and director of the Centre for Curating the Archive, University of Cape Town. She has obtained an M.A. degree (Fine Arts) and a D.Lit. degree. During her years of study she received eight scholarships and grants that enabled her to travel to the USA and Europe.

Her major interests include book-arts, curatorship, representation and the San (in particular rock art and the Bleek and Lloyd archive), and the visual as a site of meaning. Major projects have included various pub-lications around the Bleek and Lloyd archive (housed at UCT’s Manuscripts and Archives library, Iziko and the National Library), including Sound from the thinking strings (1991, that won the UCT Book Award); In the wake of the white wagons (1993, that was the Standard Bank Young Artist Award Winner exhibition); Miscast: negoti-ating the presence of Bushmen (1996, that accompanied a major exhibition at the SA National Gallery); The digital Bleek and Lloyd, a complete, searchable digital archive published with the book Claim to the country (2007); Unconquerable Spirit: George Stow’s history paintings of the San (2008, accompanied by an exhibition at Iziko South African Museum).

More recently, Skotnes published Rock art made in trans-lation (2010, to accompany an exhibition at the Iziko SANG) and Landscape to literature (2011), a catalogue to the exhibition of the same name at the Michaelis Galleries, that marked the century conference of the publication of Bleek and Lloyd’s Specimens of Bush-man folklore.

The Lament/Klaagsang series of four etchings shows poor, but not unfriendly or uninviting, kitchen interiors. The empty holders (cans, bottles and a bucket) have their own “life”, that of being lifeless.

Ballot (1988) shares the thought that the series portrays the result of a full existence in an almost audible silence and shadowed atmosphere. This is something that could remind one of the decaying and futility of earthly goods, as the users, even though absent in the work, have been involved indirectly.

In two of the etchings in the series there is an element of life portrayed, by means of a flying owl, a symbol of wisdom, attribute of darkness, the night or even the human soul. In one etching the owl is shown in full and, in another, only the point of its wing is seen.

Lament/Klaagsang (1985)PIPPA SKOTNES (1957 – )Painting – Graphic art 1987 [R10 000]

2 / THE HELGAARD STEYN AWARDS

Lament/Klaagsang I,II,III,IV (1985), etching on paper, 68 x 47.5cm eachPretoria Art Museum, City of TshwanePhotos courtesy of Helenus Kruger –

Communication, Marketing and Events, City of Tshwane.

Do the owl’s fluttering and ultimately trapped presence perhaps attempt to symbolise the factors of uneasiness, threat, deprived freedom, or even the inevitable death in this type of social context, clearly portrayed by the interiors?

According to Werth (1987) the social commentary about the current cultural-political circumstances under which we live in South Africa is no strange occurrence or subject in the arts. This theme has been addressed from the beginning of the decade. Artists either portray a positive or negative involvement through their work. “Unfortunately” artists are regarded by viewers and authorities as rebels, as being radical and immoral, and part of sinful elements in the society when they try to share social commentary through their work. Werth further states that what artists are actually trying to do, is make a contribution to the arts and in no way act like rebels, even though circumstances in our country make them feel uneasy or cause discomfort.

www.michaelis.uct.ac.za/staff/skotnes


’n Ander Land (1984)KAREL SCHOEMAN (1939 – )Literature

Curriculum VitaeKarel Schoeman was born in Trompsburg in the Free State on 26 October, 1939 and matriculated at Paarl Boys’ High School in 1956. Here his first work in English was published in the school’s annual. In 1959 he obtained a B.A. degree in Languages from the University of the Free State. In 1961 he joined the Franciscan Order in Ireland as novice for the priesthood, but later returned to Bloemfontein to obtain a Higher Diploma in Library Studies.

Before finally returning to South Africa in 1983 he worked, inter alia, as a librarian in an Amsterdam library and a nurse in Glasgow, Scotland. From 1983 until his retirement in 1998 he worked as an archivist at the South African National Library in Cape Town. At present he lives in his home-town, Trompsburg.

Schoeman is not just known as a novelist, but also as a historicist and translator. He has won the Hertzog Prize for Prose three times, the Recht Malan Prize for Non- fiction four times, as well as various other awards. The South African Academy for Science and Art presented him with the Stals Award for Cultural History in 1997.

Schoeman received the State President’s Award for Service Excellence in 1999, as well as two honorary doctorates from the University of Cape Town (2000) and the University of the Free State (2004).

To date, the following works by Schoeman have been published: 19 prose works and 47 non-fiction (bibli-ographies, history publications, autobiographies and accounts of travels). His autobiography, released in 2002, is titled Die laaste Afrikaanse boek.

Apart from ’n Ander Land other translations are: � Na die geliefde land (1972) – in English

Promised Land (1978) and in French Retour au pays bien-aimé (2006)

� Olive Schreiner: ‘n lewe in Suid-Afrika (1989) – in English Olive Schreiner: A Woman in South Africa (1991)

� Afskeid en vertrek (1990) – in English Take Leave and Go (1992) and in French La Saison des Adieux (2004)

� Hierdie lewe (1993) – in English This Life (2005) and in French Cette Vie (2009)

� Merksteen (1998) – in Dutch Merksteen: Een Dubbelbiografie (2004)

The first receiver of the Helgaard Steyn Award for Afrikaans Literature, in 1988, was Karel Schoeman, for the novel ’n Ander Land.

1988 [R12 000]


The Helgaard Steyn Award was accepted on Schoe-man’s behalf by his publisher, Mr. Koos Human of Human & Rousseau Publishers at Potchefstroom. In his speech, as read by Mr. Human, the author claimed that the award was valued beyond just its pure literary reasons, because it has been initiated and named after a Free Stater whose family played a significant role in the development of the Free State.

Schoeman mentioned in his speech that it is coinci-dental that the award is presented to an author who was born in the Free State, one who cherishes the Free State, and for a book with a Free State theme that lends special symbolic value to the Free State landscape.

He further emphasised how much one should guard against sectionalism and chauvinism because of the dangers they hold. It is also important to be aware of one’s origin and the influences that helped shape one. To the Free Stater, in general, the most important of these influences are, no doubt, the province where he was born and those empty landscapes filled with promise, symbols of death. (3 September 1988)

’n Ander Land has received three other prizes: the Old Mutual Prize (1984), The W.A. Hofmeyr Prize (1985) and the Hertzog Prize for Prose (1986).

The English translation of this work, Another country, was released in 1991; the Dutch translation, Een Ander Land, in 1992; and in German, as In einem fremden Land, the year after. The French translation, En étrange pays was released in 2007.

www.humanrousseau.com/authors


Voyage II (1987)DAVID BROWN (1951 – )Sculpture

The first Helgaard Steyn Award for Sculpture was presented to Cape Town artist David Brown in 1989. He received this for Voyage II, as it was regarded by the judges as the best work that was produced in South Africa during the previous four years.

Curriculum VitaeDavid Brown was born in Johannesburg and studied design and photography at the Michaelis School of Fine Art in Cape Town. Cecil Skotnes introduced him to sculpture in 1975. He won the Johannesburg Centenary Sculpture competition in 1985 and the AA Mutual Life Vita Art Now Award in 1989. The exhibitions Dogwatch (1993) and Dialogue at the Dogwatch (1995) included his biggest and most ambitious sculptures at that stage in his career.

His sculptures feature in many public collections, including the Iziko SA National Gallery, Cape Town, Durban Art Gallery, Johannesburg Art Gallery, Pretoria Art Museum, Tatham Art Gallery, Pietermaritzburg, and in the permanent art collections of the University of Cape Town, the University of the Witwatersrand, Johannesburg and Stellenbosch University.

The ship of corten (rusted) steel and bronze figures portrays a world of violence and pathos where the under-standing of “civilisation” has been thrown overboard. The figures in charge are masked, occupied with aimless activities and have lost control over all the chaos.

David Brown is not given to lengthy theorising about his life or his art: he would rather be at work in his studio and allow his powerful combinations of steel, rusted corten steel and bronze to speak for themselves.

And indeed, the image of the decaying ‘ship of fools’ on wheels, peopled by distorted and vicious puppet-like humanoids, is a metaphor for a brutal power-hungry world gone mad. (Korber 1989)

Elsa Miles states in the Pretoria Art Museum Bulletin of 1989 that the world of the rusted ship is doomed to fail and all the activities of the crew (also a few female figures) are aimless and even tragic in the futility and pain that overpower it all.

“The artist has made a powerful statement on the inhumanity of man to man and a world in which man is a helpless victim of the forces of unreason”. (De Villiers 1990)

The different ships in the series Voyages “are destined to sail to no new destination, there is no hope for their human cargo, yet they contain the destruction, as if Brown were symbolically packaging the horror and holding it up for our scrutiny”. (arc.uct.ac.za)

www.arc.uct.ac.za/the-visual-university

1989 [R16 000]


Voyage II (1987), corten steel, stainless steel and bronze, 223 x 273 x 182cmPretoria Art Museum, City of Tshwane

Photos courtesy of Helenus Kruger – Communication, Marketing and Events,

City of Tshwane.


Three Sonnets (1988)ROELOF TEMMINGH (1946 – 2012)Musical composition 1990 [R22 000]

Temmingh’s work, being that of a creative artist, generally portrays originality in inspiration, form and technique. Distinctive titles are typical and often of an ironic or humorous nature.

The Three Sonnets bear the strange titles of Flarde, Penta and Dodeka and d-moed. Where the first refers to the fragmentary nature of the material, the second movement refers to a popular facet of twentieth century music, i.e. the use of pentatonic material and the use of all twelve (duo-deca) chromatic tones of the available Western tonology. The third title is a play of words referring to both the character of the movement and the pitch or key signature of D. (Grové 2014)

Curriculum VitaeTemmingh was a member of a musically gifted family (father, two brothers and a sister were musicians) who emigrated from the Netherlands to South Africa in 1958. Initially, he studied theology at the University of Stel-lenbosch, then pursued a career in music, with mentors such as Gideon Fagan and Gunther Pulvermacher.

He became a lecturer in music at UNISA and the then University of Port Elizabeth. As the winner of a competi-tion for composers in 1972, he was able to continue with his studies in Darmstadt, at the time a leading centre for post-war avant-garde music. From 1973 to 2004 he was a lecturer at the University of Stellenbosch.

Early challenging compositions earned him a reputation as enfant terrible of South African music of that time. Since the mid-eighties more moderate and listener-friendly music evolved, representing the more important compositions. Apart from earlier electronic ventures, Temmingh delivered contributions in all genres, including the lied, choral preludes, instrumental works, spiritual choir music and opera. His last large work is the violin concerto of 2010.

The first Helgaard Steyn Award for Musical Composition was presented to Stellenbosch composer dr. Roelof Temmingh at Potchefstroom in 1990. In 2002 he also received a Helgaard Steyn Award for the German cantata on the German choral melody Wenn wir in höchsten Nöten sein and, in 2006, for the expansive oratorium work Kantorium. Both works were commissioned by the Evangelisch-Lutherische Kirche of the Pfalz, Germany.


Jazz baby spent autumn (1991)NEL ERASMUS (1928 – )Painting

Solo exhibitionsErasmus has held more than 30 solo exhibitions in all the major centres in South Africa, from the first, in 1957, at the Lidchi Gallery, Johannesburg, until the most recent, in 2012: Review; a retrospective exhibition, SMAC Art Gallery, Stellenbosch.

Previous retrospective exhibitions: 2000, in the Sasol Art Museum, Stellenbosch University; 1986, at the Pretoria Art Museum; 1985, at the Iziko South African National Art Gallery, Cape Town; the University of the Free State, Bloemfontein and the US Art Gallery, Stellenbosch.

Group exhibitionsErasmus took part in 90 group exhibitions, the first in 1950 at the Arts Festival (Council of Cultural Societies), University of the Witwatersrand, Johannesburg; the 10th Salon des Realites Nouvelles, Musée d’Art Moderne, Paris, France in 1955; Fifty Years of Abstract Painting, Gallery Creuze, Paris, France, 1957; Second Biennale of Paris, Musée d’Art Moderne, Paris, France 1961; São Paulo Biennale, Brazil, 1965; Republic Festival Exhibition, Pretoria, 1966; A Century of South African Art, Johannesburg, 1969, and in 1978/79, Art in South Africa, touring the United States of America. The latest exhibition was in 2012: Collection 17 (SMAC), at the Aardklop National Arts Festival, Potchefstroom.

Curriculum VitaeNel Erasmus was born in Bethal in 1928 and currently lives and works in Johannesburg. She obtained her B.A. degree (Fine Arts) in 1950 from the University of the Witwatersrand and, in 1952, the National Art Teacher’s Certificate from the Witwatersrand Technical College. Further studies followed under the Czech-German painter, Gina Berndtson, at the École Nationale des Beaux-Arts and Académie Ranson, Paris, France (1953 – 1955), and the Académie Ranson, Paris, France (1960 – 1961). From 1957 to 1977 Erasmus worked at the Johannesburg Art Gallery, initially as a Professional Officer and during the last decade as Director. Since then she has become a full-time artist.

1991 [R30 000]


Represented in Art Collections Iziko South African National Gallery, Cape Town; Johan-nesburg Art Gallery; Pretoria Art Museum; Oliewenhuis Art Museum, Bloemfontein; Hester Rupert Art Museum, Graaff-Reinet; Sanlam Art Collection, Cape Town; Sasol Art Collection, Johannesburg; Polokwane Municipal Art Collection; University of the Witwatersrand, Johannes-burg; University of Johannesburg; Stellenbosch University; University of North-West, Potchefstroom Campus; University of the Free State, Bloemfontein; Rembrandt Art Foundation, Stellenbosch; Telkom, Pretoria; Rand Merchant Bank, Cape Town; Anglo American, Johan-nesburg; Dimension Data, Johannesburg.

The artist communicates with Jazz baby spent autumn a dynamic multi-faceted interchange of forms and marks on the flat surface. The main element, a Y-form in the picture, suggests a process of genesis, becoming and change.

In their multiplicity, forms are expressions of the unlimited freedom of the human being, freed on a spiritual level from the limits set by time and tradition. Jazz baby spent autumn reflects mankind’s preparedness to step into other living spaces – spaces that are free of cause and antecedent. (Theron 1992)

Even though the portrayals in her work move away from realism, she does not see her work as abstract. She believes something of the philosophy of the Freedom of the Sixties found in the Afrikaans literature that can be detected in her art. (Die Volksblad, 11 November 1991). At this stage, authors such as Jan Rabie and Bartho Smit crossed her path.

www.nelerasmus.com

Jazz baby spent autumn (1991), acrylic paint on paper on board, 101 x 68cmOliewenhuis Art Museum, BloemfonteinCopyright Nel Erasmus. Photos courtesy of SMAC Art Gallery, Stellenbosch.


Kroniek uit die doofpot.’n Polisieroman (1991)JOHN MILES (1938 – )Literature

Miles is the co-founder of Taurus, the Afrikaans publishing house established in the 1970s with the objective of publishing books that the mainstream publishing houses were not willing to issue, due to the Publications Act. The other founding members were Ampie Coetzee and Ernst Lindenberg. André P. Brink’s ‘n Oomblik in die wind was one of the first books published by Taurus.

In 1978 his satiric novel Donderdag of Woensdag was banned by a committee of publications, but in 1983 the ban was lifted.

Taurus published Miles’ book Stanley Bekker en die boikot in 1980 and it became the first Afrikaans children’s book to be banned. The book, told from the perspec-tive of a coloured boy experiencing the discrimination of apartheid, was declared prohibited reading matter.

Curriculum VitaeJohannes Daniel (John) Miles was born in Port Elizabeth on 1 August 1938 and matriculated at Erasmus High School in Bronkhorstspruit. He obtained an M.A. degree (Sociology) at the University of Pretoria, followed by an honours degree in Afrikaans. Miles became an Afrikaans Language lecturer at the University of Natal in Pietermaritzburg and, from 1967, was involved with the Department of Afrikaans and Nederlands at the University of the Witwatersrand for a lengthy period of time.

His first poems appeared in 1963, in Standpunte, and one in D.J. Opperman’s and Le Roux’s Stiebeuel 2 of 1965. He made his debut in 1970 with the collection of short stories, Liefs nie op straat nie. In 1991 Kroniek uit die doofpot was released and also awarded with the M-Net and CNA Prizes. The English translation, Deafening Silence, was reworked into a mini series shown on television, in 1997. Since his retirement in 1998 Miles has lived on the farm Katstaartlaagte near Nieuwoudtville, where he farms with rooibos tea, olive trees and buchu.

1992 [R32 500]


PublicationsProse1970 Liefs nie op straat nie1973 Okker bestel twee toebroodjies1978 Donderdag of Woensdag1983 Blaaskans – die bewegings van Flip Nel2003 Die buiteveld2009 Voetstoots

Children’s books1980 Stanley Bekker en die boikot

Kroniek uit die doofpot is subtitled ‘n Polisieroman – A police novel – an “innocent” subtitle that creates the illusion that it is light reading. In contrast, the reader is confronted by a series of frightening and upsetting events, presented in an under-emphasised less is more way that creates even greater upset. (Commendatio 1992)

The novel dates back to the State of Emergency during the eighties. In his acceptance speech of 1992 Miles stated: “With this novel I deliberately wanted to reach as many readers as possible, also those readers who do not share my views. I wanted to do everything possible to convince my fellow-Afrikaner of the madness of intol-erance, inequity and, ultimately, the absolute folly in which the policy of ‘Totale Paraatheid’ [on red alert] landed us”.

“Kroniek uit die doofpot is ’n meesleurende verhaal. Dis aangrypend, ontstellend en kan geen leser koud laat nie.” Joan Hambidge, Beeld (1991)

“Die gespanne, gelade prosa maak Kroniek uit die doofpot Miles se allerbeste werk en een van die merk-waardigste en sterkste romans in die Afrikaanse prosa as sodanig.” JC Kannemeyer, Beeld (1991)



Tiger Fish III; Adam and the birth of Eve; Large Crucifix; God and Christ; Michael Star; Altar of God (1990)

JACKSON HLUNGWANI (1923 – 2010)Sculpture

The curator of the exhibition, Ricky Burnett, visited the countryside and searched for work by unknown black artists whose work had previously been labelled as “traditional art”, craft or even curios.

“Suddenly prevailing canons were subverted … and assumptions about the supremacy of Western aesthetic values were exposed as self-deceptive and essentially elitist …” according to Berman. Jackson Hlungwani’s work was included here.

Why this sudden enthusiasm for artistic expression that was regarded as inferior before? Berman’s opinion is that this unexpected appearance of work rooted in tra-ditional values, uncontaminated by the prevailing art movement and especially free from the rhetoric and rage in most artistic expressions of the time, was like a cool breeze on a hot summer’s day.

Its appeal to common sensibilities, across the barriers of culture, race and ideology, performed a healing function and seemed to signal a ray of hope. (Berman 1993)

Even in full sensibility of the upheaval all around them – maybe because of it – there were artists in South Africa who recognised the healing, humanising value of artistic vision and who sought spiritual essence amid the harshness of objective truths. (1993)

Curriculum Vitae Hlungwani was a priest-sculptor and charismatic spiritual leader of a group of African Zionist Church followers in Gazankulu.

“Hlungwani combines traditional elements from his Tsonga heritage with those of his Christian belief in his personalised spiritual philosophy. These ideas are also the source of his images and the inspiration for his sculpture.

He reminds us of universal truths. Especially, he reminds us that man has free will, the creative space to express himself and his world in many ways. It is up to us to express this difference, this unique creative spirit, in sincere and genuine ways if we are to change the world …” (Hopkins [s.a.])

Esmé Berman (1993) refers to a leading exhibition in 1985, the BMW Tributaries, that stood out in the turbulent socio-political conditions of the late eighties because it did not reflect or portray the brutality and violence, but rather the artists “who recognised the healing, humanising value of artistic vision and who sought spiritual essence amid the harshness of objective truths”.Courtesy of: Neillen van Kraayenburg Collection www.gallery181.com

Photographer: Merwelene van der Merwe www.merwelene.co.za

1993 [R40 000]


Adam and the Birth of Eve (1989), ntoma wood, 404 x 142 x 87cm Altar of God, [s.a], wood and stone, size variable Large Crucifix (1990), wood, pencil and charcoal, 293 x 178 x 120cm

Tiger Fish III (1987 – 89), nkonono wood, 94 x 470 x 26cm

In the collection of Johannesburg Art GalleryPhotos courtesy of Johannesburg Art Gallery


From the Poets (1992)PETER KLATZOW (1945 – )Musical composition

pieces involving that poet’s Drie Diere (Three Animals) and Vier Gebede by jaargetye in the Boland (Four Prayers at seasons in the Boland).

Klatzow’s piano suite From the Poets bears strong ties with indigenous poetry. It consists of four works which might be typified as free “ballades”, based on three Afrikaans poems and one English poem.

The title of the suite – and of the first piece – was taken from D.J. Opperman’s poem Gebed om die gebeente (Prayer for the Bones), the tale of the rebel Gideon Scheepers, as “related” by Scheepers’s mother. The final movement of the suite, Impundulu, reflects poet A.G. Visser’s version of the Zulu legend of the “lightning bird”. The other two poems included Dae voor Winter (Days Approaching Winter) by Phil du Plessis and The Watermaid’s Cave by R.M. Bruce. (Grové 2014)

Klatzow mentioned in his word of thanks after the prize ceremony that “we are no longer isolated from the international artistic society. But with the recent inter-nationalism we should not forget our own identity, that which is own to us must be protected and developed. High on this list is the Afrikaans language …” (Klatzow 1994)

Curriculum VitaePeter Leonard Klatzow was born in Springs in 1945 and spent his youth on the East Rand, where he received his first music education. Since 1964 he received training at, inter alia, the Royal College of Music in London and Nadia Boulanger in Paris. He lectured at the College of Music of the University of Cape Town from 1973 until his recent retirement.

Klatzow’s style can be seen as largely dependent on the Western Classical-Romantic canon, with more specific influences possibly being Brahms, Liszt, Ravel, Prokofiev, Copland, Messiaen and others. His clear affil-iation with his specific community in this country and his apparent hesitation to venture into a fundamental stylistic “Africanisation” have prompted doubts about the representativeness of his music as “truly South African,” according to some definitions.

An essential characteristic is his penchant for drawing inspiration from paintings and poetry. Numerous works originated under the impression of paintings by Paul Klee, Douglas Portway, Irma Stern and others. His interest in Afrikaans poetry while still at school occasioned a first setting of Eugène Marais’s iconic poem Winternag (Winter’s Night). Similarly, Van Wyk Louw’s work led to

1994 [R40 000]


South African Summer: All This is So, And Yet ... (1992)ROBERT HODGINS (1920 – 2010)Painting 1995 [R40 000]

collaboration was celebrated in the tenth year, with an exhibition in the Johannesburg Art Gallery.

Robert Hodgins is one of South Africa’s leading artists. His work can be found in private and public collections throughout South Africa. He exhibited extensively in Europe and South Africa. Hodgins worked at The Artists’ Press for many years. Mark Attwood had a special place at his press for Hodgins, as he felt that the “old man” pushed him harder and challenged him more than most other artists. Hodgins used monoprints as his starting point and developed ones that he liked most into lithographs. He also experimented with hand-coloured prints.

There are paintings that stem from memory and from a sombre look at the human condition. Paintings about the construction and confusion of contemporary urban life, but also paintings about the pleasures of being alive, pleasures that crowd in upon the pessimism everywhere – that crowd in and refuse to be ignored. Robert Hodgins (Goodman Gallery 2000)

Robert Hodgins avoided a standardised style, even though his work is recognised by the strong use of

Curriculum VitaeRobert Hodgins was born in Dulwich, UK in 1920 and died in Johannesburg in 2010. He is best known for paintings and printmaking.

Despite having exhibited since the early 1950’s, it was not until 1981 that he was taken seriously. The impact was such that a major retrospective was hosted by the Standard Bank National Arts Festival, Grahamstown in 1986.

An early career highlight in 1980 was a two-man show with Jan Neethling, called Pretty Boy Floyd. The almost sixty experimental silkscreens were based on a newspaper photograph of a gangster in the Depression years of the 1930’s. These monoprints were exhibited in the Market Theatre Art Gallery by hanging them on washing lines. Hodgins cited this as a true “corrobo-ration” of minds. Eventually, Hodgins and Neethling exhibited together for 35 years.

Hodgins produced a variety of multi-media works with William Kentridge and Deborah Bell. His first exhibition with Bell was in 1983, with Hogarth in Johannesburg, followed by the Little Morals series, Easing the Passing (of the Hours) and Ubu 101. The highlight of their


www.artprintsa.comwww.artthrob.co.zawww.rosekorberart.com

colour, a flowing painting technique and innovative compositions. His clever pictorial commentary, witty but scorching, was especially applicable to the South African situation, but did outweigh the local relevance as a universal statement of humanity’s madness. (Commendatio 1995)

In his acceptance speech, on 4 December 1995, Hodgins referred to the first recipients of the Helgaard Steyn Award and remarked: “I think what runs through our work as a common stream is that we are none of us consolatory artists – we do not soothe, we do not address ourselves to what our society would perhaps prefer that we did.

“In my own case, I am a man most disappointed in my time … We are conquering disease, we are producing more food than in the history of the world, we have had no conflict in fifty years. All this is so. And yet. We have AIDS, over-population, horrors from Bosnia and Rwanda. All this is so, so indeed. And indeed and yet.”

Being an artist is about putting something into your subject matter … lifetime love-affairs – you never know until you get cracking. (Robert Hodgins [s.a.])

South African Summer: All This is So, And Yet … (1992), oil and acrylic paint on canvas, 205 x 305cm

Sandton Art Gallery collection, Johannesburg Art GalleryPhoto courtesy of Johannesburg Art Gallery


Nege landskappe van ons tye bemaak aan ’n beminde (1993)BREYTEN BREYTENBACH (1939 – )Literature

Breytenbach’s work includes poetry, novels, plays and essays, most of which are in Afrikaans and a number originally published in English. Most of his books are translated into several languages. He is also known for his art-work. Exhibitions of his paintings and prints have been held in various cities, including Amsterdam, Stockholm, Paris, Edinburgh and New York.

Other awards � APB Prize in 1965 for Die ysterkoei moet sweet

and Katastrofes � CNA Prize five times for: Die huis van die dowe (1967),

also awarded with the Reina Prinsen Geerling-prijs voor Zuid-Afrika in 1968; Kouevuur (1969); Lotus (1970), which also received the Lucy B and C.W. van der Hoogt-prijs in 1972; Yk (1983) and Memory of snow and dust (1989)

� Perskor Prize in 1977 for Voetskrif � Hertzog Prize for Oorblyfsels: ‘n roudig and

Papierblom in 1999 � His poem, Die windvanger (2007), received the

University of Johannesburg Prize for Creative Writing, the Hertzog Prize, as well as the W.A. Hofmeyr Prize.

� In 2010 he received the Mahmoud Darwish Prize and Max Jacob Prize for Outre Voix/Voice Over, the French translation of Oorblyfsels: ‘n roudig.

Curriculum VitaeBreyten Breytenbach is considered one of the greatest living poets in Afrikaans. He was born in Bonnievale in the Western Cape on 16 September 1939, matric-ulated at the Huguenot High School in Wellington in 1957 and studied Art at the University of Cape Town. His first poems appeared in the student newspaper Groote Schuur in 1959. In the 1960s he left South Africa for Paris.

Breytenbach made his debut with the innovative volume Die ysterkoei moet sweet in 1964. A work of prose, Katastrofes, appeared in the same year.

After his marriage to Yolande Ngo Thi Hoang Lien (the name meaning “Yellow Lotus”), a French woman of Vietnamese origin, he was not allowed to return to South Africa, in terms of the Mixed Marriages Act. In 1973 a special visa was granted to him and Yolande and they returned, amid extensive media coverage, to South Africa for a writers’ congress held at the University of Cape Town. During a visit to South Africa in 1975, under a false passport, Breytenbach was arrested on a charge of terrorism and sentenced to nine years’ imprisonment. After seven years, though, he was released. He was presented with the Hertzog Prize for Poetry in 1984 for Yk, but refused to accept it.

1996 [R50 000]


PublicationsPoetry28 volumes between 1964, Die ysterkoei moet sweet, and 2011, Die beginsel van stof.ProseFrom the short story Katastrofes in 1964 to A Veil of Footsteps in 2008, a total of 18 works.CD’sMondmusiek (2001) and Lady One (2002).

TranslationsThe debut volume of 1964, Die ysterkoei moet sweet, was translated into English as The Iron Cow Must Sweat. In the years to follow, 21 other works were translated into various languages, including English, Dutch, German, French, Arabic, Polish, Danish, Basque, Swedish, Portuguese, Spanish and Italian.

“In a collection of poems, Breytenbach includes works that, in many experts’ opinion, only befit prose. In the same way as a painter, he tries to portray an ever-changing landscape on canvas of large and smaller proportions – surveys a life-time journey as a series of metamorphoses. Nostalgically, in an elegical tone, a lamentation is sung about what was and what is in decay – especially, perhaps, the human body and its pleasures. Yet, a song of happiness rings out about exactly those aspects that – in paradox – live on in memory, also as a product of art.

”Nege landskappe van ons tye bemaak aan ‘n beminde is dedicated to Hoang Lien, the dark loved one. She is a given by being the female aspect of the cosmos, the dark Isis that can cure and heal; Kali where creation and destruction coincide; the bride in the alchemy. But she also represents death, described as dark and lovely in Canticles. ‘Lovely’, because death precedes rebirth. In the volume it is, in fact, death that is present as the eternal beloved which, paradoxically, lets life and earthly pleasures make sense. In a strange way, death is converted into the muse of the artist during his search for wholeness and insight during his journey.” (Commendatio 1996)

Nege landskappe van ons tye bemaak aan ’n beminde was translated into Dutch by A. van Dis in 1995.



Grace (1996)GERT SWART (1952 – )Scuplture 1997 [R50 000]

“Grace is a singular work. While much of Swart’s work rages with grief over the brokenness of our world, the pain and struggle of our lives, the brokenness of our technological interaction with the rest of creation, the brokenness of our political mis-arrangements, Grace goes beyond rage. Yes: it recognises this brokenness to the extremity of death in its torpedo-like coffin speeding across the river Styx. And yet it exults rainbow-like in the victory over death, festooned with ribbons flying in the wind, celebrating the exhilarating freedom gained in grace. It marks our dependence – a smaller vessel within a larger vessel. At the same time the sculpture suggests no flight from the material world.

“The base holding Grace up, and what looks to me like webbed feet, is most intriguing. These are sort of duck-like feet – earthy and humorous. They serve to me as reminders that this vision of grace is rooted in ‘our’ earthy reality – something far bigger than ourselves is at work in this liberty of the Spirit. In this sense the webbed feet correspond to the boat within a boat.” (Bartholomew 1997)

Curriculum VitaeGert Swart was born in Durban in 1952 and matricu-lated at Queensburgh Boys’ High School. He obtained a Public Health Diploma from the Natal Technikon in 1972 and was conscripted for National Service in 1973 (South African Medical Corps). In 1980 he resigned as Government Health Inspector to concentrate on art. He studied Fine Art at Natal Technikon under Andries Botha and Jeremy Wafer.

For two decades Gert Swart lived and worked in Pietermaritzburg. His most important exhibition of this period was in 1997, Contemplation: a body of work by Gert Swart, at the Tatham Art Gallery. It expressed the redemption of an individual as a metamorphosis from the curse of death to the hope of resurrection, and how this transition affects the individual’s relationship to society, nature and God.

One of Swart’s most significant commissions was a monument erected on the battlefield at Isandlwana in 1999. In the past, only monuments to fallen British soldiers were erected there. The artist redressed this injustice and designed a monument that honoured the fallen Zulu warriors, but does not glorify war.


Christian faith has played a crucial role in Swart’s work. His friend Rick Andrews (1997) writes of this journey of shared struggle with art and faith, saying “We were not really sure of what we understood by ‘Christi-anity’, but we were inspired by the vision of hope it contained – the glory behind the appearance of things. The obligations of love. We awakened to a new sense of purpose. The thorns of apartheid tore us at every turn. Its laws were so patently damaging to the human spirit and to the nation. Our knowledge was limited, but our enthusiasm led to deep exploration, questioning, strength to resolve, and to times of great testing …

“Art done from this perspective has the tall order in our day of probing with exquisite finesse the hurts and hidden charms, the atrocities and wounded glories of people’s lives in our day and context that will command the respect of secular specialists, TV addicts and God’s own people ...” (Strauss 1997)

www.gertswartsculptor.homestead.com

Grace (1996), wood, metal and paint, 188 x 203 x 136cmTatham Art Gallery, PietermaritzburgPhoto courtesy of Tatham Art Gallery


Afrika Hymnus II (1997)STEFANS GROVÉ (1922 – 2014)Musical composition

In course of time his musical style, which strongly relates to musical expressionism (with Arnold Schönberg as principal representative) underwent substantial adap-tations – the most recent being a deliberate decision (since 1983), to involve the indigenous musical elements of Southern Africa as a source of inspiration. The composer conjures a theme which he considers rep-resentative of the traits of Africa music and its various ways. Grové’s use of the organ in his three Afrika Hymnus compositions represents a unique approach towards the instrument beyond its traditional associ-ation with the church. The timbre possibilities of the instrument are reinforced by the composer’s first-hand knowledge of technical performance and sound com-binations. By choosing the reference of “hymns” he pays homage to the grandeur of the African heritage.

The second Hymnus, for which Grové received the Helgaard Steyn Award, dates back to 1997. The work consists of five movements, with titles which became typical of Grové’s Africa oeuvre: 1. Dancing maidens; 2. Afrika Madonna (after Ernest Mancoba’s sculpture); 3. Vuka! Wake Up! Get moving! 4. Outside my window – the wide, endless night; 5. The Praise Singer. (Grové 2014)

Curriculum VitaeStefans Grové was born from a family noted for their musical talents from both the father’s and the mother’s side. (His mother and two uncles on the mother’s side were all practising musicians.) After having received training from his mother and uncle, David Roode, he was tutored by Prof. W.H. Bell at the South African Music College in Cape Town, so that a programme, devoted to his music, could be presented as early as 1946. A recital of his Three Piano Pieces before an international audience in Salzburg (1952) contributed to him being awarded a Fulbright scholarship in 1953, for studies at Harvard University. This event led to him spending 18 years as a USA resident.

On his return to South African, in 1972, he was employed by the University of Pretoria. Grové was versatile in his work, which comprises almost all known music genres. At the time of his death, on 29 May 2014, he had completed the first movement of a concerto for viola and orchestra.

1998 [R50 000]


Leipoldt: ’n Lewensverhaal (1999)JC KANNEMEYER (1939 – 2011)Literature 2000 [R55 000]

Other awards1979 Recht Malan Prize – Geskiedenis van

die Afrikaanse Literatuur I1987 Ou Mutual Prize for non-fiction –

D.J. Opperman: ’n biografie1988 Gustav Preller Prize for Literêre Kritiek1996 Recht Malan Prize – Langenhoven: ’n Lewe2000 Recht Malan Prize – Leipoldt: ’n Lewensverhaal2003 N.P. van Wyk Louw Medal

Publications1968 Prosakuns (’n inleiding tot die tegniek van die prosa) 1970 Op weg na Welgevonden (about Etienne Leroux) 1973 Nederduitse digkuns (Lecture at Bloemfontein)1978 Geskiedenis van die Afrikaanse Literatuur I1979 Kroniek van klip en ster: ’n studie van

die oeuvre van D.J. Opperman1983 Geskiedenis van die Afrikaanse Literatuur II1990 Die dokumente van Dertig1992 Figuur en fluit1993 Die Afrikaanse Literatuur: 1652 – 19871993 A History of Afrikaans Literature1995 Die gespitste binneblik1998 Op weg na 20001998 Verse vir die vraestel2000 Kaap van skrywers: ’n literêre reisgids2000 Sonklong oor Afrika2005 Ek ken jou goed genoeg – Die briefwisseling tussen

N.P. van Wyk Louw en W.E.G. Louw 1936 – 19392005 Die Afrikaanse Literatuur: 1652 – 2004

Curriculum VitaeJohn Christoffel (JC) Kannemeyer was born in Robertson on 31 March, 1939. In 1964 he obtained his doctorate, under D.J. Opperman, from the University of Stellenbosch. Kannemeyer lectured “Afrikaans en Nederlands” at the University of Cape Town, the RAU (now the University of Johannesburg) and the University of Stellenbosch. He was also a professor in “Afrikaans en Nederlands” at the University of the Wit-watersrand from 1982 to 1987. In 1993, together with Wium van Zyl, he began organising literature tours that focused on taking tour-goers along the footsteps of famous authors.

From 2004 Kannemayer was an “Afrikaans en Neder- lands” professor at the University of Stellenbosch. He is known for his biographies about famous authors such as D.J. Opperman, C. Louis Leipoldt and C.J. Langenhoven. Also in 2004 the biography Jan Rabie was released by Tafelberg Publishers. Kannemeyer is further known for books on the history of Afrikaans Literature, for example Die Afrikaanse Literatuur: 1652 – 2004.


Biographies1986 D.J. Opperman: ’n biografie1993 Wat het geword van Peter Blum?1994 Die bonkige Zoeloelander and

Opperman se lewe in beeld1995 Die dienswillige dienaar and

Langenhoven: ’n Lewe1999 Leipoldt: ’n Lewensverhaal; Uit die skatkis van

die Slampamperman. So blomtuin-vol van kleure: Leipoldt oor Clanwilliam

2002 Die lewe en werk van Uys Krige: die goue seun and Uit die skatkis van die goue seun

2004 Jan Rabie: ’n biografie2006 Hannes van der Merwe: argitek en

skrywersvriend2008 Leroux: ’n lewe2009 Briewe van Peter Blum, (Edited and

initiated by J.C. Kannemeyer)

The man of “charming nonsense”, the “Slampamper-man”, is described in JC Kannemeyer’s biography, Leipoldt: ’n Lewensverhaal, as a valuable and valued con-tribution to the series of publications that have received the Helgaard Steyn Award over the years. (The award represents the biggest prize value for publications in South Africa.)

It is a fact that the story of Leipoldt: ’n Lewensverhaal fits like a glove. It is the work of a respected and prominent literator in the person of John Kannemeyer. The work is about an artist and Afrikaans poet who has a prominent place in the Afrikaans Literature and still grabs the attention as a poet.

“It is true that biographies can create fuss and tarnish, but I think John Kannemeyer had no need to tarnish. He focused on the illustrious, but naturally eccentric figure. Where does one find so many capacities unified in one person: a poet, physician, philosopher, literator, cosmopolitan, actor, connoisseur/chef, wine expert and botanist?

The Helgaard Steyn Award pays homage to John Kannemeyer, who contributed greatly to the cultural treasures of Afrikaans with Leipoldt: ’n Lewensverhaal. It also honours Kannemeyer for other works that he delivered in this field, also in respect of Opperman, Langenhoven and Blum. (Commendatio 2000)

www.tafelberg.com/authors


Blind Alphabet A (1993 – 1995)WILLEM BOSHOFF (1951 – )Sculpture 2001 [R50 000]

performances of KYK AFRIKAANS and lectures on language, concrete and visual poetry. A guest lecturer for the Smithsonian Institution at universities and schools in Washington during 2005.

A judge for art competitions and advisor to art institu-tions, the Standard Bank Visual Arts Committee and the Sanlam Collection. Trustee of and advisor to the Ampersand Foundation, an organisation that awards fellowships to artists for cultural enrichment in New York, and member of the Fine Art Advisory Committee, University of Johannesburg.

CollectionsUNISA Art Gallery; BHP Billiton Art Collection, Johan-nesburg; University of Johannesburg; Iziko SA National Gallery, Cape Town; Johannesburg Art Gallery; University of the Witwatersrand; Nelson Mandela Metro-politan Art Museum, Port Elizabeth; Durban Art Gallery; Pretoria Art Museum; Jack Ginsberg Collection of Book Arts, Johannesburg; Pierre Lombart Collection of Con-temporary South African Art; David Krut Collection of Fine Art, Johannesburg; Gordon Schachat Collection, Johannesburg; Sackner Archives of Concrete and Visual

Curriculum VitaeWillem Boshoff was born in Vereeniging in 1951. He is the father of four children (Karen, Martin, Willem and Emma).

Studies, 1970 – 1974: Johannesburg College of Art (now University of Johannesburg, FADA), National Art Teacher’s Diploma; 1980 Technikon Witwatersrand (now University of Johannesburg, FADA), National Higher Diploma in Fine Art – Printmaking; 1984 Technikon Wit-watersrand, Master’s Diploma in Technology in Fine Art – Sculpture. Study visits to Austria, Germany in 1982, and again in 1993, to England, Wales and Scotland.

In a teaching career spanning 23 years, Boshoff taught various art-related subjects to students at all levels of development: teacher, lecturer and, later, senior lecturer at Technikon Witwatersrand, and Associate Director and Head of Department at the same insti-tution. External examiner for a number of tertiary institutions in South Africa and examiner for many post-graduate students.

Boshoff regularly presents slide shows at numerous institutions in South Africa and abroad. Frequent guest speaker at exhibition openings and events. Since 1981,

Willem Boshoff creates primarily language/text-related art prepared over long periods and referring to a social context in the form of large installations, visual poetry, concrete poetry, sculpture. Uses wood, stone, objet trouve, mixed media and various graphic media.


Poetry, Miami, Florida, USA; Robert Loder Collection of International Art, London; collection of ARTSENSE, a group that promotes art among the Blind, Birmingham UK; Sammlung der Städtische Galerie, Göppingen, Germany; MTN Art Collection, Johannesburg; Sanlam Corporate Collection, Cape Town; Museum Boijmans van Beuningen, Rotterdam; Dimension Data, Johan-nesburg; Constitutional Court of South Africa; Reserve Bank of South Africa; Ferguson Collection, Boston.

Other Awards/Grants 1971 Prize-winner, Sculpture, New Signatures1974 Prize-winner, Graphic Art and

Drawing, New Signatures 1974 Best Student Teacher Award

in art graduate course 1995 Recipient of a grant from Anglo American

Chairman’s Fund to facilitate exhibition costs for Blind Alphabet ABC at Johannesburg Biennale; recipient of a research grant from the Foundation for the Creative Arts to continue work on the Blind Alphabet project; nominated for the Alumnus of the Year Award by Technikon Witwatersrand

1996 South African representative at the São Paulo Biennale

1997 Winner of the FNB Vita Award for Art1998 Winner of the Ludwig Giess Preis für Kleinplastik

by the LETTER Stiftung, Cologne, Germany1999 Winner of Gauteng Arts Culture and

Heritage Award for Visual Art2000 Winner of the Aardvark prize as top artist at the

Aardklop National Arts Festival, Potchefstroom2001 Recipient of an honorary medal for

Visual Arts, Sculpture from the SA Academy for Science and Art

2005 With Ogilvy SA, winner of the Golden Loerie Award as well as the D&AD Global Award

2008 Honorary Doctorate, University of Johannesburg.

Blind Alphabet A forms part of the Blind Alphabet ABC, a project that Boshoff started in 1995 as a continuous undertaking. As the project was incomplete in 2001, only Blind Alphabet A qualified for the award. Other components of this project have already been exhibited in America, the UK, Portugal and Spain. The whole Blind Alphabet C was acquired as a permanent exhibition in the National Library for the Blind in Birmingham, England. Boshoff received a research donation from the Association of Creating Art to continue his work on the Blind Alphabet project.


Boshoff is an acclaimed conceptual artist, known for his thoughtful and innovative work. His work deeply involves relationship and social interaction. Boshoff claims that his work is created generally to start con-versation, especially conversation between groups that are not so often or easily linked to each other. The work acts as an ice-breaker, as it forms a forum of community interest. Boshoff states he works in Braille, for example, to further and develop the rela-tionship between the sighted and the blind, but uses sculptured forms to enhance the process. Otherwise he uses the tradition of oral survival of indigenous groups in South Africa within the structure of a Western writing-idiom with resulting social interaction. (Catalogue: Kring van Kennis, RAU, 2001)

This complex project, possibly the biggest of its kind, has become a social interaction over a long period of time.

During 1991, while Boshoff was busy compiling a profound post-modern dictionary for the blind, he came across an interesting word that describes form, structure and texture. He realised that sculptors and critics of sculpture were unaware of specific and morphological words. Had the blind had a developed language at their disposal for objects and surfaces by the sense of touch, it would have made them credible

witnesses of such experiences. Usually it is the sighted that helps the blind to, supposedly, “see” through descriptive language.

The artist holds the opinion that the sense of touch consists of a more intimate sensory experience than the sense of sight. Touch eliminates distance, in comparison to sight that is more of an illusion and is superficial. Boshoff realised over a long period of time that the leading experts on the terrain of touch-aes-thetics are supposed to be the blind, because their survival is dependent on their sense of touch. His work also tries to correct the blinds’ unfortunate situation that is labeled as “incompetence” and “ignorance”. He wants to ennoble the conditions of the blind within the context of speech as a perception of false notion. (Venter 2001)

Boshoff devotes most of his time to research in prepa-ration for art works and talks. This includes drawing up botanical check-lists at major botanical gardens of the world and writing dictionaries.

Main areas of exploration: Dictionaries, botanical gardens and nature, medieval and early music, avant-garde music, ethnic music and philosophy.

www.willemboshoff.comwww.helgaardsteyntrust.co.za www.artthrob.co.za


Blind Alphabet A (1993 – 1995), wood and metal, 72.5 x 35 x 50cmOliewenhuis Art Museum, BloemfonteinPhoto courtesy of Oliewenhuis Art Museum


2002 [R62 000]

Kantate: Wenn wir in höchsten Nöten sein (2001)ROELOF TEMMINGH (1946 – 2012)Musical composition

Curriculum VitaeTemmingh was a member of a musically gifted family (father, two brothers and a sister were musicians) who emigrated from the Netherlands to South Africa in 1958. Initially, he studied theology at the University of Stel-lenbosch, then pursued a career in music, with mentors such as Gideon Fagan and Gunther Pulvermacher.


Early challenging compositions earned him a reputation as enfant terrible of South African music of that time. Since the mid-eighties more moderate and listener-friendly music evolved, representing the more important compositions. Apart from earlier electronic ventures, Temmingh delivered contributions in all genres, including the lied, choral preludes, instrumen-tal works, spiritual choir music and opera. His last large work is the violin concerto of 2010.


The cantata on the 16th century German melody Wenn wir in höchsten Nöten sein is a composition that brings this liturgical Baroque genre to life in a new guise. It was commissioned by the Evangelisch-Lutherische Kirche of the Pfalz, Germany for choir, orchestra, organ and soloists.

The chorale melody follows the prelude, is sung by the choir and reappears elsewhere in the cantata. There are four movements containing all seven verses of the hymn. (Grové 2014)


T’kama-Adamastor (1999)CYRIL COETZEE (1959 – )Painting 2003 [R50 000]

He has painted two commissioned portraits of Nelson Mandela, the first of which, done during Mandela’s presidential term, was used as the design for the international stamp commemorating Mandela’s 90th birthday. His formal “sitters” include well-known academics, legal professionals, business people and performing artists.

Previous awards1981 Rhodes University Academic Colours1982 Kendall Bursary1982 First Prize for the NBS National

Inter-Art School Competition1983 Purvis Prize for Fine Art, Rhodes University1983 Rhodian ‘Guy Butler’ Creative Writer1993 Vita Art Award

Works in public collectionsPresidential Offices, Union Buildings, Pretoria; Johan-nesburg Art Gallery; Durban Art Gallery; Oliewenhuis Art Museum, Bloemfontein; Sanlam, Cape Town; Telkom, Johannesburg; The Berardo Collection, Johan-nesburg; BKS Engineering, Pretoria; South African Broadcasting Corporation (Boardroom Collection), Johannesburg; William Humphreys Art Gallery,

Curriculum Vitae Coetzee has served as a Fine Art lecturer at Port Elizabeth Technikon and as an Art History lecturer at the University of the Witwatersrand. He has been a full-time artist since 1990. He has obtained an M.A. in Fine Art and B.A. Honours in English (distinction). To further his research into colour theory he has studied at the Tobias School of Art in Sussex, and at the Goetheanum in Dornach, Switzerland.

Coetzee has been invited to give various lectures on Art History and on his own work in South Africa, England, the United States and Canada. He has exhibited widely in South Africa, Switzerland, Canada, India and the USA. He was invited to hold solo retrospective exhibi-tions at the University of South Africa Gallery, Pretoria, and the Getrude Posel Gallery at the University of the Witwatersrand, Johannesburg. He is currently curator for Exact Imagination: 300 Years of Botanically Inspired Art in South Africa, for Standard Bank Gallery (October to December 2014).

Portraits in one form or another are at the centre of Coetzee’s art. He has painted both informal and commissioned portraits throughout his career, in a number of “styles”, both realistic and expressionistic.


Kimberley; Rhodes University, Grahamstown; University of the Witwatersrand, Johannesburg: Council Chamber and Gertrude Posel Gallery; University of South Africa, Pretoria; Sasol Ltd Collection, Johannesburg; University of Natal (Council Chamber), Durban; University of Pretoria (Council Chamber); Free State University, Bloemfontein.

The acclaimed work, which was painted and revealed in February 1999 upon request of the University of the Witwatersrand, is on permanent exhibition in the William Cullen Library. The painting is completely documented and interpreted in a publication under the editor Ivan Vladislavic, T’kama-Adamastor; inventions of Africa in a South African painting. (2000. Johannesburg: University of the Witwatersrand Press)

Prof. Alan Crump states in the publication that “T’kama-Adamastor is questionably one of the most challenging and evocative paintings produced in this country in recent times ...”

For the judges of the Helgaard Steyn Award it was, firstly, that the work is exhibited in a public accessible space, that it is a very deserving and apt winner of the award and one of the most important works of the 1999 to 2003 period. The award gives recognition to and celebrates Coetzee’s work of artistic integrity and vision. As a painter Coetzee obtained a lasting identity and name, as testified by his work in public art and museum collections.

Coetzee’s T’kama-Adamastor ties-in with the renewed international interest in history painting, while the painting’s multi-cultural play with indigenous ethnic identities takes on an imaginative twist on the political

T’kama-Adamastor (1999), oil paint on canvas, 864 x 326cmUniversity of Witwatersrand – William Cullen LibraryCopyright University of Witwatersrand Photo courtesy of the artist

situation of the pre-war cycle as portrayed in the historical panels in the William Cullen library.

In the wall panel the artist metaphorically reconstructs the colonial voyages of exploring Southern Africa through the eyes of an indigenous population. Coetzee reworks the material found in Baroque travel descrip-tions and of Camoes’ mythical version of Da Gama’s journey. He also reacts on the ideological perspective of Amshewitz’s painting Vasco da Gama – departure from the Cape displayed on the opposite wall in the library. (Commendatio 2003)

www.helgaardsteyntrust.co.za www.cyrilcoetzee.co.za


Eilande (2001)DAN SLEIGH (1938 – )Literature 2004 [R60 000]

PublicationsPoetry1971 Duif oor waterProse: novels1972 Die nege-maande-mars1973 ’n Man om te hardloop1977 Sersant Barodien, Kaapse Korps1978 ’n Kanon vir Barbier1979 Vryburger Tas2001 Eilande2010 Afstande2011 Wals met MatildaProse: youth stories1974 Tussen twee vlae1975 Onder die Bittervaan1976 Anselm en die jutNon-fiction1978 Jan Kompanjie: die wêreld van die

Verenigde Oos-Indiese Kompanjie1979 Ruiters teen die Ryk1988 The Huguenots (with A.J. Grant

and Ronald Mayo)1993 Die buiteposte1996 The Forts of the Liesbeeck Frontier,

Castle Military Museum1999 They Rode Against an Empire,

Castle Military Museum

Curriculum VitaeDaniel (Dan) Sleigh was born on the farm Geelbeks-fontein on the West Coast on 3 November, 1938. He matriculated at Vredenburg High School and then joined the South African Navy. From 1960 until 1962 he studied at Paarl Training College to become a Physical Education teacher. This was followed by a teaching career in Namibia and Cape Town.

In 1969 he obtained his B.A. degree (History and English Literature) at UNISA. He then obtained an M.A. degree (cum laude), followed by a doctorate in History from the University of Stellenbosch in 1987. Until retirement, in 1996, Sleigh worked at the Western Cape Department of Education.

He made his literary debut in 1974 with the volume of poetry entitled Duif oor water. This was followed by historical works for young people, e.g. Die buiteposte and Tussen twee vlae.

Other awards1971 C. Louis Leipoldt Prize – Duif oor water2007 Medal from the Academy for Science and Arts2007 RAU Prize for Creativity and Art – for the

promotion of History


Excerpts from reviews“This novel was offered to me for review with an apologetic note advising me to abandon it at the first onset of boredom. Seven hundred and fifty dense pages later I can report that it is riveting throughout. Based on the first 50 years of Dutch settlement in South Africa, it is a monumental, vividly imagined epic that, in spite of its huge cast and range, maintains its balance and direction.” John de Falbe, The Spectator (2004)

“I can only beg you: make time for this brisk, dense and entirely fascinating book. Its scale is exhilarating, not exhausting. Dan Sleigh has made a whole history dance and has defied time to bring back, like some sorcerer, the beat and blood of lives that would otherwise be only traces in the documents of an old colony.” Michael Pye, The Scotsman (2004)

The thorough historical research done for Eilande, the authenticity and integrity of the historical recreation impressed the judging panel. In the novel Sleigh gives evidence of a thorough familiarity with current history theories, including the view that the portrayal of history is a subjective process that is not so far from being a fictional narrative itself and that the “little histories” of marginalised people also deserve some attention. One of the features of this all-embracing novel is the way in which stress is maintained and a shapeless piece of history is firmly projected. (Commendatio 2004)

This novel has been described as “monumental”, “big” and “impressive” by local and international critics. In 2001 Sleigh won the Sanlam/Insig/Tafelberg novel competition for Eilande and, later, the W.A. Hofmeyr, RAU and M-Net Prizes for creative work in Afrikaans.

Eilande was released in English in 2004, entitled Islands (translated by Andre P. Brink) and featured on the Seattle Times list of the ten best books of 2005. It was also described as one of the top ten debut novels in 2005 by Booklist, an American library service publication. The Dutch translation, Stemmen uit zee, obtained the 98th position on the top-seller list of Dutch booksellers.



Showcase/Vertoonkas (2003)JAN VAN DER MERWE (1958 – )Sculpture 2005 [R50 000]

2002 Chief Festival Artist, Hadeda Art Festival, Tzaneen

2003 Chief Festival Artist, Aardklop National Arts Festival, Potchefstroom

2003 IOC Olympic Art Competition, National Winner, sculpture category, attended the Senior Delphic Games 2005

2004 Olympic Sport and Art Contest, International Fourth Prize, sculpture category, Diploma of Recognition

2005 Represented South Africa as installation artist during the 2nd International Delphic Games held in the city of Kuching, Sarawak, Malaysia. Received a special International Delphic Award during this event for “outstanding presentation in the discipline of art installation”

2012 Recipient of the Ampersand Award that is administered by the Ampersand Foundation – two-month residency in New York

2014 Fiësta 2014. Best achievement visual art (Time and Space – exhibition at Oliewenhuis Art Museum, Bloemfontein)

Curriculum VitaeJan van der Merwe was born in Virginia in the Free State in 1958 and grew up in Ladysmith, KwaZulu-Natal, where he matriculated in 1975. He lives and works in Pretoria and is a senior lecturer in Fine Arts at the Tshwane University of Technology (TUT). He obtained an M.A. Degree (Fine Arts) from this institution in 1999.

Since 1976 he has taken part in approximately 131 national and 18 international group exhibitions and also held several solo shows.

“I have been a practising artist since 1977 and, additional and complementary to my role as an art lecturer, my focus has been on the production of a body of art work and a body of written articles generated from the exhi-bitions of my practical work. My art work is also used as source material for secondary and tertiary students.”

His work is represented in a number of museums and corporate collections.

Awards1982 New Signatures, SA Association of Art, Pretoria1999 Sasol Scifest 99, First Prize: a trip to Paris,

sponsored by the French Embassy and the Institute for Research Development, Grahamstown. Competition theme: Art and Technology

At present I work with artifacts of our time and attempt to transform them into archaeological remnants.“The installation becomes an indoor monument to the universal history of ordinary people, their politics and religion and their treasuring of valuables. Rust refers to the transient nature of everything, a return to original matter.” (Hundt ed. 2005)


Van der Merwe frequently refers to his installations as “monuments”, a metaphor for the universal history of ordinary humans: their politics and religion, their protection of valued collections. This is in contrast to monuments that are erected for political governors. It is this personal association that addresses the crowd, as the artist tries to conserve and protect humanity. The material used portrays sincerity, vulnerability and the spiritual quality and integrity of his installations. (Commendatio 2005)

The Showcase/Vertoonkas installation consists of a display cabinet “aged” by covering the surface with rusted tin-ware. The ornaments and trophy in the cabinet are also “aged”, to make the objects appear as archaeolog-ical artifacts. A television screen in the cabinet shows the image of a silver trophy that is burnished repeatedly – portraying the “cleaning” and reinterpretation of the past, repeated generation after generation. Above the cabinet a video on the Voortrekker Monument is projected. The image appears and disappears rhyth-mically, in the same way as the historical events. The rusted clock on top of the cabinet reflects the vanitas symbolism of corruption, the futile struggle against the “rust of time”.

www.helgaardsteyntrust.co.za www.art.co.za/janvandermerwe

Showcase/Vertoonkas (2003), found material, rusted metal and video projections, 151 x 155 x 215cmOliewenhuis Art Museum, BloemfonteinPhoto courtesy of Oliewenhuis Art Museum


Kantorium (2004)ROELOF TEMMINGH (1946 – 2012)Musical composition 2006 [R120 000]

Curriculum Vitae Temmingh was a member of a musically gifted family (father, two brothers and a sister were musicians) who emigrated from the Netherlands to South Africa in 1958. Initially, he studied theology at the University of Stel-lenbosch, then pursued a career in music, with mentors such as Gideon Fagan and Gunther Pulvermacher.


Early challenging compositions earned him a reputation as enfant terrible of South African music of that time. Since the mid-eighties more moderate and listener-friendly music evolved, representing the more important compositions. Apart from earlier electronic ventures, Temmingh delivered contributions in all genres, including the lied, choral preludes, instrumen-tal works, spiritual choir music and opera. His last large work is the violin concerto of 2010.

The Helgaard Steyn Award for 2006 was significant for two reasons. Firstly, the prize money was worth over R100 000, which made this award one of the most valuable for arts in South Africa. Secondly, the previous winner for Composition (in 2002), Prof. Roelof Temmingh, was once again selected as the winner.


Temmingh received the award for his cantorium for choir, soloists and orchestra. The work was commis-sioned by the Evangelisch-Lutherische Kirche in Pfalz, Germany for binary festivities in 2004 – 475 years since the Reformation, as well as the centenary of the massive Gedächtniskirche in Speyer.

The title Kantorium suggests a hybrid form between cantata and oratorium – based on texts selected by the composer himself. The work distinctly shows six structural similarities with Händel’s Messiah oratorium. It is binary: the first refers to the creation narrative and concludes with the promise of consolation, while the longer second part has a New Testament theme and includes the crucifixion and resurrection of Christ. (Grové 2014)


All about everything (2005)BRONWEN FINDLAY (1953 – )Painting 2007 [R150 000]

Curriculum VitaeFindlay studied at the University of Natal, Pietermaritz-burg from 1978 and obtained her Master of Arts degree in Fine Art (cum laude) in 1994. She is also a qualified educationalist.

Her employment history started in 1989 as an art teacher at Durban high schools. In 1993 Findlay was appointed as lecturer at the University of Durban-West-ville, where she lectured until the closure of the Arts, Drama and Music departments in 2000. Then a period of contract employment followed at the University of Witwatersrand and the University of Johannesburg. She taught Education, Visual Literacy, Painting and Drawing and Design. In 2014 she was appointed to the Education Department, University of Witwatersrand, and the Faculty of Arts and Drama, University of Johannesburg.

For the past five years Findlay has been an arts facilita-tor for Tsogang Basadi Women’s Project, Ekupholeni, Natalspruit hospital, Katlehong and previously she was also a visual arts facilitator for the Women and Violence project, CDP, Johannesburg.

ExhibitionsFindlay’s first of more that 15 solo exhibitions to date was in 1983, at the Natal Society of Arts, Durban, and the latest, Moving Flowers (paintings), in 2012 at the Everard Read Gallery, Rosebank, Johannesburg. The exhibition titled All about everything was held at the Standard Bank Gallery, Johannesburg in 2006.

The artist took part in various group exhibitions since the End Conscription Campaign Exhibition, in Durban (1986). She was also represented in the touring exhibition Panoramas of passage: Changing landscapes of South Africa, organised by Meridian International Center, Washington DC in association with the University of the Witwatersrand, Johannesburg (1995) and “UTSAV”, an exhibition of artists from India and South Africa, Durban Art Gallery (1998). This exhibition was held in honour of Mahatma Gandhi and Nelson Mandela.

Findlay enjoys the surprise of combining things that are not normally seen together. Her collection is displayed in her home and serves both decorative and functional purposes, creating a living environment rather like a three-dimensional painting … [her] interest in objects as source material for her art-work does not lie in ‘straight’ ren-derings, however, and illusionism is not a goal. Rather she is concerned with a translation of reality through the process of intense looking and painting. (Charlton 2007)


All about everything (2005) – triptych, oil paint and mixed media on canvas, 200 x 350cm Standard Bank Art Gallery, Johannesburg Photo courtesy of the artist


Other exhibitions2000 The hour glass project. A print

collaboration, The Caversham Press, Natal. The exhibition was held at the Standard Bank Festival in Grahamstown; Atlanta, USA, and Tatham Art Gallery, Pietermaritzburg.

2001 & 2005 Break the silence Artists for Human Rights. HIV/Aids Billboard and Print Portfolio project.

2002 Untold tales of magic: Abelumbi. Curated by Jill Addleson, Durban Art Gallery.

2004 Brett Kebble Art Awards Exhibition, Cape Town.

2007 Spier Contemporary exhibition – exhibition of 92 South African artists

2010 Artists from KwaZulu-Natal, Bamboo, curated by Carol Lee.

Findlay was nominated for the FNB Vita Awards Prize in 2002. Her work was also shown at the Aardklop National Arts Festival, Potchefstroom.

Representend in the following public collectionsDurban Institute of Technology; Durban Art Gallery; Tatham Art Gallery, Pietermaritzburg; UNISA Col-lection, Pretoria; Wits Art Galleries, University of the Witwatersrand; Natal Provincial Administration; Botany Department, University of Cape Town; ABSA Bank Collection; Engen Collection; Empangeni Art and Culture Museum; Carnegie Art Museum, Newcastle, KwaZulu-Natal; Margate Art Museum, KwaZulu-Natal; KwaZulu-Natal Provincial Administration; Sasol Collec-tion, Johannesburg; MTN Collection, Johannesburg; Standard Bank, Johannesburg and First National Bank.

Commissions1995-2000 Designed covers for “Alternation: Journal

of the Centre for the Study of Southern African Literature and Languages”.

2000 Designed book cover for “Jurisprudence: A South African Perspective” by Johnson, Pete, Du Plessis. Painting – “Seeds and Scales”

2001 Melrose Arch mosaic project with Jane du Rand and Andrew Verster. Partly responsible for designing and applying 400 square metres of mosaic to lift shaft, tower block and interior and exterior walls of a building designed by architects from Omm Design Workshop, Durban.

Other professional activities include appointments as external examiner for the Durban Institute of Technology, Vaal University of Technology, University of Johannesburg, Wits University, University of the Free State and Rhodes University.

Findlay was also in the selection panel of the Emma Smith Overseas Art Scholarship, Natal Technikon, and active in judging art competitions and opening art exhibitions.

Findlay’s work All about everything is monumental as well as big and represents the artist’s oeuvre in a striking way. The overwhelming concept is supported by the impressive technical execution, profound content and trendy as well as historical reference framework.

The execution of All about everything reminds one of the epic abstract expressionism painting style, but also represents everyday things, simple indispensable things that surround human life daily.

Notwithstanding the size of the work, it succeeds in making the personal voice of the artist as an individual visible and bears evidence of Findlay’s intention to create work with human appeal that is honest and touching. (Commendatio 2007)

www.bronwenfindlay.com


All about everything (2005) – detail from the triptych, oil paint and mixed media on canvas, 200 x 350cmStandard Bank Art Gallery, Johannesburg Photo courtesy of the artist


Literature 2008 [R150 000 – shared]

Hermann Giliomee originally wrote his awarded book, Die Afrikaners: ’n Biografie, in English under the title The Afrikaners – Biography of a people (2003). It tells the story of the Afrikaner’s survival, from the colonial period through to the twenty-first century. It was an instant top-seller and the Afrikaans translation of the work, by the author himself, was just as popular.

Curriculum VitaeHermann Buhr Giliomee was born in Sterkstroom in the Eastern Cape on 4 April 1938. He attended school at Porterville and studied History at the University of Stel-lenbosch. He subsequently worked for the Department of Foreign Affairs and lectured at the University of Stellenbosch. From 1983 to 1998 he was professor in Political Studies at the University of Cape Town and from 1995 to 1997 he was president of the South African Institute of Race Relations. Giliomee is currently an extraordinary professor and research associate of the Department of History at the University of Stellen-bosch. He is married to Annette van Coller and they have two daughters and five grandchildren.

In 1984, Giliomee was the co-founder of Die Suid- Afrikaan, an Afrikaans magazine of opinions, and, during the 1980s, a regular columnist for the Rand Daily Mail and the Cape Times. He was also an associate at

In 2008 history was made in respect of the Helgaard Steyn Award for Literature, as the prize and prize money (of R150 000) were shared, for the first time, by two authors. Both the works received multiple South African prizes and international acclaim since their release in 2004.

Yale University in the USA (in the 1970s), Cambridge University (1982 – 1983) and the Woodrow Wilson Center for International Scholars in Washington DC (1992 – 1993).

Other awards � Stals Prize for Political Sciences (2001) � Stals Prize for History Sciences (2004) – The Afrikaners � Recht Malan Prize for Non-fiction

(2004) – The Afrikaners

PublicationsNon-fiction1975 Die Kaap tydens die eerste Britse

bewind: 1795 – 18031979 Ethnic power mobilized – Can South

Africa change? (with Heribert Adam)1982 The Parting of the Ways: South

African politics 1976 – 821985 Up against the fences (with

Lawrence Schlemmer)1988 The Shaping of South African

Society, 1652 – 18401989 From apartheid to nation-building

(with Lawrence Schlemmer)

HERMANN GILIOMEE,MARLENE VAN NIEKERK, Agaat (2004)

Die Afrikaners: ’n Biografie (2004)


1989 Negotiating South Africa’s future (with Lawrence Shlemmer)

1990 ’n Samelewing in wording: Suid-Afrika, 1652 – 1840

1994 The Bold experiment (with Lawrence Shlemmer and Sarita Hauptfleisch)

1999 The awkward embrace (with Charles Simkins)2001 Kruispad2003 The Afrikaners – Biography of a people2004 Die Afrikaners: ’n Biografie2006 ’n Vaste plek vir Afrikaans (with

Lawrence Schlemmer)2007 Nog altyd hier gewees2007 Nuwe geskiedenis van Suid-Afrika

(with Bernard Mbenga) 2007 New History of South Africa

(with Bernard Mbenga)2012 Die laaste Afrikanerleiers,

(English: The Last Afrikaner Leaders)



Marlene van Niekerk’s novel tells the life-story of a dying woman and her complex relationship with the domestic worker / foster child / care-taker. But it is, in fact, also the history of the Afrikaner’s loss of power.

“Agaat is ’n belangrike bydrae tot en grensverskuiwing binne die Afrikaanse prosa. Veral om die deeglike ontginning van die plaasroman, boonop deur ‘n vrou.” Joan Hambidge, Volksblad (2004)

Michiel Heyns translated the novel into English, under the title The Way of the Women. In 2008 it was on the short-list of six books nominated for the Independent Foreign Fiction Prize and featured on the short-list of “Pick of the Paperbacks” of the British Newspaper, The Telegraph. It’s been described as a beautifully written novel and has also been translated into Dutch.

Awards for Agaat: C.L. Engelbrecht Prize for Literature (2007); Hertzog Prize for Prose (2007); M-Net Prize, W.A. Hofmeyr Prize and University of Johannesburg Prize (2005).

Curriculum VitaeMarlene van Niekerk was born on the farm Tygerhoek near Caledon on 10 November, 1954. She attended school at Riviersonderend and Stellenbosch, where she matriculated at Bloemhof High School. She studied philosophy, languages and literature at the universities of Stellenbosch, Amsterdam and the Witwatersrand.

Her debut volume of poetry, Sprokkelster, was published in 1977 and was awarded both the Eugène Marais Prize and the Ingrid Jonker Prize. Her first novel, Triomf, was published in 1995 and was awarded, amongst others, the Noma Prize for the best publication from Africa. Ten years later Agaat was published and it won six awards, inter alia the Hertzog Prize for Prose (2004). The English translation of Agaat received the Sunday Times Literary Award.

Van Niekerk is currently a professor in Creative Writing at the University of Stellenbosch.

Other awards1977 Eugène Marais Prize – Sprokkelster1978 Ingrid Jonker Prize – Sprokkelster 1995 Triomf: the Noma Prize for publications in

Africa; the CNA Prize and M-Net Prize2007 Sunday Times Literary Award – for the English

translation (by Michiel Heyns) of Agaat


2007 Afrikaans Onbeperk Award of the KKNK – for her innovative thinking

2010 University of Johannesburg Prize for the Best Creative Writing in Afrikaans – Die sneeuslaper

2014 Hertzog Prize for Poetry

PublicationsPoetry1977 Sprokkelster1983 Groenstaar2013 KaarProse1992 Die vrou wat haar verkyker vergeet het1995 Triomf2004 Agaat2006 Memorandum (with painting by Adriaan van Zyl)2010 Die sneeuslaper

Other translations � Die vrou wat haar verkyker vergeet het (1992) –

Dutch: De vrouw die haar verrekijker had vergeten � Triomf (1995) – English (1999), Dutch and French � Memorandum (2006) – English and Dutch



Aspects of the Dark Other (2006)ANDRIETA WENTZEL (1961 – )Sculpture 2009 [R170 000]

Curriculum VitaeAndrieta Wentzel teaches Three-Dimensional Studies at the School of Music, Art and Design at the Nelson Mandela Metropolitan University (NMMU), Port Elizabeth. In 2006 she obtained an M.A. degree in Fine Arts at this university and has, since then, divided her commitment between teaching and the execution of large public commissions. She continues to paint, sculpt and draw, using a wide range of materials, including bronze, wood, found objects, oil paintings, pastels and mixed media.

Wentzel held her first solo exhibition in 1989 in the EPSAC Gallery, Port Elizabeth. Since then she has taken part in more than 50 group exhibitions in Port Elizabeth, Cape Town, Stellenbosch, Pretoria and Kimberley, as well as at the National Arts Festival in Grahamstown.

Her latest participation in an exhibition was Journeys at the Nelson Mandela Metropolitan Art Museum, Port Elizabeth in 2014, where Aspects of the Dark Other featured. She delivered a lecture and conducted a walkabout at this exhibition. She regularly exhibits locally and nationally.

Wentzel has executed various commissions, such as a bronze bust of Nelson Mandela for the Eastern Cape

Provincial Legislature in Bisho, which was presented as a birthday gift to him on his 86th birthday in 2004. Others are designs for ceramic tiles and relief panels for the Magistrate’s Court in Port Elizabeth and oil paintings for Sun International interests in the city.

Other awards1993 & 94 Sanlam Bursaries1994, 95 & 97 Merit Awards of NMMU1996 Robert Niven Bursary and

EPSAC Bursary2006 NMMU Scholarship and P.A. & Aliza

Malan Trust Bursary (Worcester)2009 & 2012 NMMU Creative Outputs Visual Arts

Art in collections � Sculptures in the Nelson Mandela

Metropolitan Art Museum, Port Elizabeth � Bronze sculpture in private collection, Germany � Drawings in a private collection, England � Private collections, South Africa � Telkom, South Africa � Paintings in Salon Prive and Casino, Sun International � Nelson Mandela Metropolitan Art

Museum, Port Elizabeth


www.helgaardsteyntrust.co.za www.andrietawentzel.co.za

� Ciment Fondu Public Sculpture, Sun and Sea, Happy Valley

� Law Courts, new extension, two elephant sculptural relief panels above entrance, two sculptural relief panels on pediment, North End, Port Elizabeth

� Maintenance Unit, EP Command, Air Force Base, elephant sculptures

� Three figures at the Sister Ethal’s Missionvale Church � Bronze portrait of Nelson Mandela in

the Nelson Mandela art collection

Aspects of the Dark Other (12 totem poles made from driftwood and mixed media) was created in 2006 as part of the artist’s studio and exhibition work for her M.Tech-degree, entitled The Four Cycles of Heracles: Towards the Visual Articulation of Myth as a Psycho-logical Process. In this document she explores Jung’s notion of individuation and attempts to interpret the twelve labours.

The twelve totem poles do not literally portray or explain the twelve tasks of Hercules, but attempt to create a feeling wherein aspects, as reflected in Aspects of the Dark Other, are faced during the journey to psy-chological maturity. The installation presents the journey towards the inner-self through assimilation and archetypes of shadow, the anima and the wise old man.

Aspects of the Dark Other (2006), installation of sneezewood and mixed media, h ± 218cm Nelson Mandela Metropolitan Art Museum, Port ElizabethPhotos courtesy of the artist

Initially, the installation of the twelve sneezewood totem poles was arranged in a centripetal spiral, focusing on and moving to the centre. The first two totems fall into the first cycle of the hero’s labours and the first part of individuation, where the objective is to acknowledge and integrate the shadow part.

Totems third to ninth fall into the second phase – the tension of the two opposites, normally at mid-life. The objective with the second cycle is to come to terms with the negative aspects of the shadow part of the archetypes, in order to reveal their equally positive creative attributes.

The tenth and eleventh totems deal with the third cycle of establishing the meaning behind the pairs of opposites. During the twelfth labour Hercules had to survive his third “baptism” encounter with the earth/underworld.


Huyssen’s musical activities include diverse poles of early and contemporary European and African music, mainly focused on bringing together a variety of essential qualities from these musical fields. His intensive focus on context suggests that his music consists of a profound social power, which can play a specific role in our ‘new’ diversified society in South Africa. (Commendatio 2010)

Proteus Variations is a musical representation of South Africa’s varied Proteaceae family. The work was com-missioned by Radio Deutsche Welle for the South African National Youth Orchestra (2006) and dedicated to the Betty’s Bay Hack Group.

According to Greek mythology, Proteus is a demigod endowed with the faculty of prophecy. However, tired of constantly being beleaguered by mortals concerned about their future, he adopted different shapes and appearances in order to hide and escape from the many wishing to consult him. From this habit the adjective protean derives its meaning of variable, inconsistent, mercurial, volatile, whimsical, capricious.

Curriculum VitaeAfter studying in Stellenbosch, Salzburg and Munich, Huyssen started his professional career in Europe as a cellist and composer. He has performed extensively with various instrumental ensembles specialising in earlier music, and continues to do so as artistic director of the Munich-based early music ensemble così facciamo and the local Cape Consort.

Since 2000 he has been engaged in numerous inter-cultural collaborative projects. Complementing his integration of indigenous musical idioms into some of his compositions, he advocates historically informed performances of Early European music on period instruments. From 2004 to 2013 Huyssen was affiliated with the Music Department of the University of the Free State, and since 2014 with the College of Music in Cape Town. He is currently studying for a practical Ph.D. in composition at the University of Stellenbosch.

His compositional oeuvre comprises more than 50 works to date, including an opera. In 1997 he won a SAMRO Special Merit Award.

Proteus Variations (2006)HANS HUYSSEN (1964 – )Musical composition 2010 [R170 000]


Proteus Variations was, accordingly, inspired by the extraordinary diversity of forms and shapes found within the protea family of plants. The work consists of eight variations, each named after one of the protea genera endemic to South Africa and, accordingly, refers to certain key features. Many examples of circling or spiraling patterns may be perceived, as well as a wide array of different ‘colours’; similarly the forms vary from the minute to the elongated, the textures from the filigreed to the sweepingly expressive. Subtitles such as Chorale, Cavatina and Chaconne are indica-tions of historical musical genres and compositional techniques. But most importantly the Protea inspired a novel approach to the classical form of theme and variation – in this instance there is no (single) theme, but merely variations. As they all share some similarities, the variety gradually contributes to a connecting idea or some form of essential expression. The principle of varying and changing becomes the objective.

With its subtle but frequent references to musical devices from indigenous African traditions, Proteus Variations deliberately refers to the local musical diversity as well. As the composer states: “It is worth mentioning that the protea is the national flower of South Africa. What can be more appropriate to symbolise the advocating of a multi-layered understanding of cultural diversity? It is my hope that Proteus Variations will contribute to the wide scope of cultural response, and that it will start the order to do justice in our immediate cultural and natural environment”. (Grové 2014)

www.helgaardsteyntrust.co.za www.huyssen.de


2011 [R250 000]

Silenced I (2008)PAULINE GUTTER (1980 – )Painting

2011 Works exhibited by Everard Read Gallery at the Joburg Art Fair. Works also included in a travelling group exhibition Land: Diversity and Unity: South Africa and India.

Pauline Gutter’s painting Die Makelaar was chosen, in 2011, for the second round of the British Portrait Award in London. She has been a finalist in various art com-petitions, such as Sasol New Signatures and the ABSA L’Atelier Award in 2013.

Works in collectionsOliewenhuis Art Museum, Bloemfontein; William Humphreys Art Museum, Kimberley; Permanent col-lections of Sanlam, ABSA, Universities of Stellenbosch, the Free State and North-West; Various private and corporate collections in South Africa and abroad.

Gutter’s work is themed around farm animals, figures and portraits, sometimes used in a juxtaposition where the vulnerability of the subject as the victim is portrayed. She has been described as an artist whose chosen medium is oil, which results in “making the unseen visible”. Through the use of photography, video and other media she creates a sense of exploiting the urgency. This is specifically relevant to farm murders, where humans and animals are shown as victims, vulnerable icons of a community in the country.

Curriculum VitaePauline Gutter was born in 1980 and grew up on the farm Nuwe Orde in the Free State – a life that equipped her with a deeply rooted understanding of the landscape, cattle and farmers. She obtained her B.A. degree (Fine Arts) cum laude from the University of the Free State as well as honorary colours for Arts and Culture.

Her chosen media are oils, charcoal drawings and video and these works can be described as a visible version of stripes and colour. (Van den Berg 2011)

She sees her artwork as a way of bringing communities together: “Art is an instrument of diversity that heals people.” (Van Wyk 2012)

Exhibitions2008 Works exhibited at Art Miami.2010 Works exhibited in Johnny Clegg’s

SABC 2 program A Country Imagined.Exhibition Stand at Aardklop National Art Festival, Potchefstroom.

2011 Solo exhibitions at the University of Stellenbosch, North-West University, Potchefstroom campus and Oliewenhuis Art Museum in Bloemfontein. The travelling group exhibition Rendezvous, a focus on painting at Aardklop National Art Festival, Potchefstroom.


The piece Silenced I is an excellent quality example of Gutter’s body of work. It is an expressionist portrait study in relation to themed work she produced on farm attacks. It shows the passed victim, through which the viewer can only relate or identify by using the overall presence and vitality of the painting. (Commendatio 2011)

Pauline Gutter wants to level land, man and animal by intertwining them metaphorically as figures of each other; almost like images that are mutually reflected between three mirrors. In the dangerous worlds of these works there is a ruling battle of survival that is portrayed. We see land, man and animal in extremis because they are presented as soft targets and voiceless victims.

The violence is not openly portrayed, but rather embodied in a painterly medium. The painting process unfolds and unravels in these works to extraordinary varieties of marks and motives – sometimes applied energetically, hard handed and even violent. Some areas are handled roughly, at times also a more deft and refined approach. (Van den Berg 2011)

www.helgaardsteyntrust.co.za www.paulinegutter.co.za www.ufs.ac.za

Silenced I (2008), oil paint on canvas, 150 x 100cmUniversity of the Free State, BloemfonteinPhoto courtesy of Johannes Stegmann Art Gallery


Fees van die ongenooides (2008) PG DU PLESSIS (1934 – )Literature 2012 [R450 000]

Curriculum VitaePieter Georg (PG) du Plessis was born in Boshof in the Free State on 14 July 1934. He matriculated at the Hoër Volkskool in Heidelberg. In 1955 he obtained a B.A. degree (Afrikaans-Nederlands and History) from the University of Pretoria.

In 1966 Du Plessis obtained his doctorate on Die verwysing in die literatuur under NP van Wyk Louw. He became a director at the HSRC, chief sub-editor at the magazine Standpunte, assistant editor of the daily newspaper Die Transvaler and editor of Hoofstad. His first drama, Die nag van Legio, was released in 1969. He received the Hertzog Prize for Drama in 1972 for Die nag van Legio and Siener in die suburbs. He also became known for Koöperasiestories, that was reworked as a TV series. He was the screenwriter for the TV series Feast of the uninvited, which he later reworked into a novel Fees van die ongenooides that appeared in 2008. Du Plessis currently lives on his farm near Rysmierbult in North- West Province.

Points of interest � Siener in die suburbs was performed in the

1970s with Marius Weyers, Sandra Prinsloo, Don Lambrecht and Louis van Niekerk in the leading roles. Later it was also reworked for radio and television. In 2002 Siener was performed at the KKNK, directed by Chris Vorster.

� Du Plessis and Jan Spies were the presenters of the popular TV programme Spies en Plessie … met permissie.

� He founded his own film company in 1987 and wrote the screenplays of films such as Nag van die negentiende, Liewe hemel, Genis and Koöperasiestories: die moewie.

� In the last few years his plays, such as Nagkantoor and Sophia Mentz beredder haar boedel, were performed nationwide.

Other awards1970 W.A. Hofmeyr Prize – Die nag van Legio1971 CNA Prize – Siener in die suburbs1972 Hertzog Prize for Drama – Die nag van

Legio and Siener in die suburbs1973 W.A. Hofmeyr Prize – Siener in die suburbs1988 FAK Prize for Light Fiction – Het olifante elmboë?2002 Insig Afrikaans Onbeperk Pioniers Prize2007 ATKV Television Prize for Best Script

– for the TV series Dryfsand2009 ATKV Prize (Prose) – Fees van die ongenooides

Du Plessis se styl is vlot en onderhoudend – hy vertel immers ’n hoogs emosionele verhaal – en hy doen dit met die nodige dramatiese flair. Marina le Roux, Die Burger (2008)


Translations1969 Die nag van legio – English My name is Legion1971 Siener in die suburbs – English (Seer in the

suburbs – theatre production)

PG du Plessis received the Helgaard Steyn Award for his highly successful Boer War novel Fees van die onge-nooides. It was regarded by the judging panel as the best work that was written in the preceding four years.

The novel is about the ups and downs of an extended Free State family, the Van Wyks, during the Boer War. This war is still regarded and remembered as important in the collective psyche of South Africans. The novel is not the typical story of the Boer War, as its focus is on the unusual and unfamiliar facets of the war history, especially the way it is told, giving a certain view on the given facts of history.


PublicationsLiterary criticism1968 Die verwysing in die literatuurPlays1969 Die nag van Legio1971 Siener in die suburbs1973 Plaston: DNS-kind1977 ’n Seder val in Waterkloof1985 Vereeniging, VereenigingProse: short stories1980 Koöperasiestories op Donderdag1983 Hier sit die manne …1985 Nog koöperasiestories1991 Koöperasiestories: die omnibus1997 Tussen die riewe1998 Tweehonderd stories2006 120+ sommerstories2009 Kortetjies en ‘n langeProse: sketches1987 Het olifante elmboë?1993 NeklisProse: novels1998 The Married Man’s Guide to Adultery:

A Study of Adulterations2008 Fees van die ongenooides


Blastwave (2010)WIM BOTHA (1974 – )Sculpture 2013 [R500 000]

Botha obtained his B.A. Degree (Fine Arts) in 1996 from the University of Pretoria. Since 1995 he has exhibited locally and internationally. He currently lives in Kommetjie near Cape Town.

Exhibitions/works2003 Prints (2003) and Speculum (Cape Town)2004 Mnemonic Reconstruction2005 Cold Fusion: Gods, heroes and

martyrs (Cape Town)2005-6 A Premonition of War (touring exhibition)2006-7 Calamity and Tête d’un homme on

South African Art Now (Cape Town)2007 Rorschach (After Velázquez)

on Afterlife (Cape Town)2007 Apocalagnosia (Cape Town)2007-8 Small God Vitrine on Summer

2007/8 (Cape Town)2008 New Works (Johannesburg)2008 Generic Self-portrait as an Exile and

Generic Self-portrait as a Heretic on Disguise (Cape Town)

2009 Joburg Altarpiece & Amazing Things from Other Places (Cape Town)

2011 New works at Joburg Art Fair 2011 All This (Cape Town)

2011-12 Fuse on What we talk about when we talk about love (Cape Town)

2012 A Thousand Things (Johannesburg)2013 Solipsis V (Sasol Art Museum)2013 Maquettes for Blastwave on The

Loom of the Land (Johannesburg)2013 Prism 8 on A Sculptural Premise (Cape Town)2014 Linear Perspectives (Cape Town)

Botha’s work has featured at international group exhibitions, including Imaginary Fact: South African Art and the Archive, the South African Pavilion at the 55th Venice Biennale (2013); The Rainbow Nation, Museum Beelden aan Zee, The Hague (2012); the Göteborg Biennial, Sweden (2011); Memories of the Future: The Olbricht Collection, La Maison Rouge, Paris (2011); the 11th Triennale für Kleinplastik, Fellbach, Germany (2010); Peekaboo: Current South Africa, Tennis Palace Art Museum, Helsinki (2010); Olvida Quien Soy – Erase me from who I am, Centro Atlantico de Arte Moderno, Las Palmas de Gran Canaria (2006); the seventh edition of Dak’Art, the Dakar Biennale (2006); the touring exhibition Africa Remix (2004 – 2007).

Wim Botha’s work is included in the 2014 touring exhibition, The Divine Comedy, opening at the Museum für Moderne Kunst, Frankfurt, and Lichtspiele at Museum Biedermann, Donaueschingen, Germany. He also held a solo exhibition at the Standard Bank National Arts Festival, Grahamstown 2014.

After having received the Helgaard Steyn Award in Bloemfontein, on 26 November 2013, Wim Botha remarked: “It is difficult to imagine that such an award exists. It is wonderful and I am sincerely grateful. An award like this can have a crucial impact on an artist’s life and work. I hope to apply it the best I can.”


of development and change. Reference is seen to Pierneef’s acacia trees and the former British premier Harold Macmillan’s speech about the “winds of change” in 1960.

There are several conceptual considerations embedded in the work, some of which relate to South Africa as a place, a country; others to the history and heritage. The judges praised Botha for his conceptual approach, especially of concern for post-colonialism in South Africa, and his technical expertise.

Other considerations relate to the building itself, and the design and flow realised by its design, in addition to an oblique reference to one of the commissioned art-works in Phase I [the work of Willem Boshoff, which refers to names of wind in relation to financial and market forces]. In this way the idea of wind is already established in the building as a whole.

Botha is known for his questioning of symbolism linked to religion, power structures and history, as well as for the use of various mediums such as maize, books and charcoal.

www.stevenson.info/artists/botha.htmlwww.artthrob.co.za

Previous awards 2003 The first Tollmann Award 2005 Standard Bank Young Artist CollectionsABSA Bank, South Africa; BHP Billiton, Australia; Gordon Schachat Collection; Johannesburg Art Gallery; Nedbank, Johannesburg; Rand Afrikaans University; Spier Collection, South Africa; Sasol Art Collection,

South Africa; South African Broadcasting Corporation; South African Reserve Bank; Standard Bank, South Africa; University of Pretoria.

Botha completed the sculpture group Blastwave, consisting of four big trees, as a commission piece for the Nedbank Headquarters (Phase 2) in Sandton, Johannesburg. The steel construction, covered with black lacquer meranti wood, shows the cycled nature

Blastwave (2010), black lacquered meranti wood over steel armature, h 650 – 800cm; w 300 – 450cm; d 400 – 550cm NEDBANK Headquarters, Sandton, JohannesburgPhotos courtesy of STEVENSON, Cape Town


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