language

A few weeks ago I went to the Baxter theatre to see a play someone who reads my blog urged me to go and see called Death of a Colonialist. It’s about a white history teacher in Grahamstown who gets a little obsessed with the Xhosas and the frontier wars and whose teaching methods, as a result, get more and more unconventional until he’s removing his shirt and covering his face and torso with red ochre like the warriors used to do before going into battle and – to the bemusement of his pupils – emulating battle scenes in the classroom. And the play is multilayered and has many themes – white voices and their relevance in the present day, the role power plays in our recordings of ‘history’, the deep love for a country which isn’t, by rights, ours and the emigration of young South Africa people. And it’s a very apt piece of theatre as it addresses so many issues we’re dealing with right now, and I related to many of the demons the protagonist was battling.

As we entered the auditorium this music was playing, Xhosa songs sung by men with deep voices, a magical sound resonant of the earth and the red sand and green fields and rivers and the overarching African sky. It was a sound less like people and more like ancient and forever, and again I started to think of this language issue because – like we saw in the case of Afrikaans and how this new, malleable language was modified and used as a weapon of power and oppression – the words we speak and the way we speak them are what ultimately constructs our reality and defines our world. And what I don’t get is why, in 2014, 20 years of democracy later, my daughter in Grade Four is instructed in Afrikaans three times a week and in isiXhosa, one. And I love that she’s learning Afrikaans, but one isiXhosa lesson a week is just not going to cut it. She’s not going to master this language beyond the sad, inadequate molos and usaphilas I was taught at my apartheid regime school back in the year dot.

And I don’t understand this decision by the Education Department because – if you’re going to call South Africa your home – isn’t that language actually the most important one to know? Because can we ever really attain equality with people when they are consistently having to compromise and speak to us in broken, accented English while ours is all proper and hootah hooh when the least we could do is meet them half way and speak crappy isiXhosa back? Implicit in these interactions we conduct in our mother tongue while the people we’re speaking to have to struggle and use bad grammar are assumptions and something very much like arrogance. And if we were all – and I include myself totally – were that committed to change in this country, to integration, to real egalitarianism, wouldn’t learning Xhosa be the very least we could do?

Because language isn’t just about words – it’s about concepts and ideas and ways of interpreting the world. In many ways it holds the key to who people are inside. Language unlocks belief systems and unveils truths about how reality is perceived. As those of us who speak Afrikaans know, it’s impossible translating this language into English, especially in its orginal Kaaps form. It just won’t bend the right way. While you could spit on Denmark from Sweden, the different way Danish and Swedish have developed tells you a lot about the people you’re dealing with. In Denmark, for example, the fact that there is no word for ‘please’ is an important clue that these folk are direct, no-nonsense types who like to call a spade a spade.

When you speak to a Swede, by contrast, not only will they say please (‘snälla’) and thank you very much (tack så mycket) a lot, their sentences are peppered with the word ‘käns’ (pronounced shence) which means ‘feel’. Being generally more sensitive than their cousins across the ocean, for Swedes feelings are paramount, and you’ll hear a lot of ‘I feel…’ or ‘how did that feel?’ in conversation, whereas in Danish the equivalent word doesn’t exist. In that language, instead of a ‘käns’ there are words for ‘I think’ and words for ‘I believe’ – which tells you they’re less interested in the emotional aspect of things.

And – like most of us lazy, swak white South Africans – I don’t know isiXhosa so I can’t use examples from that language, but by the way many Xhosa people speak English and Afrikaans you can hear there are vast differences and from that infer that a lot is getting lost in translation. And while I love the sound of this language and have a read a little bit about how complex and nuanced it is, and sometimes when I drive I practice the different clicks to myself and think it’s big fun to say, ‘hayi suga wena’ and ‘jonga!’, I don’t google Xhosa lessons in Cape Town and go and sign up and learn how to speak it like I should. And I don’t know why I don’t. Laziness and intertia, I suppose. But I think it really would make a difference.

I couldn’t find the exact song on YouTube (it’s called ‘Nontokasi’), but this has a similar sound.

Johannes Jacobus Botha as a young man of 26. — My grandpa, Jan Jacobus Botha, as a young man of 26.

I think the two most surprising things I experienced travelling and living ‘overseas’ was that everything was not, in fact, cooler/better/more fabulous than it was in SA (we Saffers suffer from a terrible inferiority complex in that regard), but also how deeply, madly and uncompromisingly South African I became. Before I left the country I had a tenuous, undefined and vaguely apologetic sense of my own heritage. But – and I guess this is identity politics 101 – put me amongst a clan of white-blonde, herring-marinating, super-stylish Scandinavians, and I was one step away from wearing a lion skin to the Vårdcentral and throwing bones for people as my party trick. Since I didn’t own a lion skin, what I did instead was join a South African book group and learn to bake rusks and source a boerewors maker in Copenhagen and phone my mom just to weep when I heard Alicia say, ‘molo, Sisi! Kunjani?’

And the other thing I did, after not doing this thing for many years, was start to speak Afrikaans. Afrikaans – the language of my country, of my childhood, of my history with its uncompromising ‘r’s and it’s guttural ‘g’s that sound like they come from inside the earth, itself. Its verkleiningsvorm that adds ‘tjie’ to small things so that they shrink before your very ears, and its words which are so unique and descriptive that they refuse to be moulded into the clipped, uptight and inflexible rigours of English. Nothing is as crawly as a ‘gogga’; nothing says you’ve hurt yourself like ‘eina!’, and that’s not even touching on the assortment of swear words and abuses which are so colourful they verge on psychedelic.

And, of course, the more ‘Kaaps’ you get, the more evocative and descriptive Afrikaans becomes. And it’s a shame it got associated with all that bad stuff. That a language so vibrant and defiant and home-grown became branded and white-washed and sterilized so that it served the purposes of a few power-hungry old men who loved this country but not its people, and, in the way language constructs reality, was used as a very effective tool of oppression. Which, given its origins – a ‘secret’ language developed by slaves so that they wouldn’t be understood by their tyrannical masters, and also a rebellion against speaking the language of their oppressors – is deeply ironic. Another thing I only discovered recently is that ‘kombuis’ in Dutch signifies a ship’s galley. Which implies that it might not be ‘kitchen Dutch’ as we have always understood, but ‘ship galley Dutch’, which carries its own insidious connotations. And its hybrid of Dutch, Portuguese, Khoi and Malay (with some Xhosa and Zulu influence along the way) makes it magnificently unique and special as languages go.

And while I wasn’t nearly conscious enough at school to understand that Afrikaans was a tool of apartheid, the overt preference the Afrikaans kids got in my dual-medium Somerset West school was enough to distance me from it and all it represented. We English-speaking kids were largely regarded as wayward and traitorous and, despite being as South African as they come, in this country of divisions and apartness, our affiliations were somehow believed to be British. Because Afrikaans was not our home language, we were not ‘true’ South Africans, and I have vivid memories of teachers comparing us negatively to the Afrikaans kids, a censure which hurt me at the time, being a diligent, conscientious student who loved my school and was very proud of my good grades.

Because I suppose, even though we were children and clueless, the Anglo-Boer war with its concentration camps and brutal treatment of the Boers was still fresh in a lot of minds. So that when my maternal grandfather, Jan Jacobus Botha, who grew up poor on a farm in the Eastern Cape, went to school barefoot on horseback and spoke Afrikaans and Xhosa but not one word of English, met and fell in love with Emily Norah Elizabeth Dilley who spoke no Afrikaans, their families were none too pleased. And when, in a real Romeo and Juliet-style saga they married anyway, his family, who lived literally down the road from their home in East London, would sit on their stoep and refuse to greet my granny when she walked past.

The beautiful Emily Norah Elizabeth Dilly. — My beloved granny, the beautiful Emily Norah Elizabeth Dilley, shortly before she married.

Unfortunately, in those days, Afrikaans was – and still is in some quarters – considered a lesser language, and my granny made it a condition of their marriage that their children would be raised English-speaking. So, while both my parents are bilingual, my accent is bad, and I wish the language hadn’t been allowed to slip away over the generations as it has. But, with growing up, I’ve learnt to love it again and appreciate it and consciously embrace it as an integral part of my heritage. In a strange way I feel like my Afrikaans roots bind me to the soil of this country, and legitimize my living here. Because the Afrikaners were, really, South Africa’s white tribe. I wish I’d been older when my grandpa was alive so that I could have asked him questions about his life back then. And I wish I’d been awake enough to tell him not to speak his accented English to me, but to talk to me in his mother tongue, using the words of his own childhood to paint pictures of the world.

Now I rely on my mother’s memory to keep my ancestors alive, while in my own mind I’ve reclaimed the culture for myself. For me, it has nothing to do with those cross men and their brylcreem who didn’t smile one time in their lives and conjured a political system madder than your wildest imaginings. It’s a connection to this corner of Africa; my soul’s dompas, if you will. The blood of those people who fought and suffered to live freely in this country runs through my veins, too. And to the ones who say I don’t belong here, I answer in my best, accented Afrikaans, ‘fok jou! Gaan vlieg in jou ouma se klein kwassie!’ And I defy anyone to translate that.

I think this is one of the most beautiful songs ever written. It’s by the late Koos du Plessis, and it was used in a TV series when I was growing up, but I don’t remember which one.