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The Afrikaans Music in South Africa in Music Talk Afrikaans music, a diverse and influential genre within South Africa's rich musical landscape, reflects the unique cultural heritage and modern expressions of the Afrikaans-speaking community. This article delves into the evolution, major artists, and contemporary trends in Afrikaans music, illustrating its role in shaping the nation's auditory identity. Historical Roots and Early Influences Afrikaans music has its roots deeply embedded in the folk traditions of the early Afrikaner settlers, blending European influences with local sounds. The early 20th century saw the rise of "Boeremusiek" or farmer's music, characterized by the use of accordions, concertinas, and guitars. These instruments set the foundation for the distinctive sound that would evolve into a broader musical genre, capturing the everyday life and stories of the Afrikaans-speaking people. Rise of Afrikaans Pop and Rock By the mid-20th century, Afrikaans music began to diversify with the introduction of pop and rock elements, giving rise to a new wave of musicians who modernized the traditional sounds. Bands like Fokofpolisiekar and Van Coke Kartel, as well as singers such as Karen Zoid and Laurika Rauch, have played pivotal roles in popularizing the rock and pop sub-genres within the Afrikaans music scene. Their work has bridged generational gaps and brought contemporary issues to the forefront through their lyrics and melodies. The Folk Revival and Its Modern Twist In recent years, there has been a revival of interest in Afrikaans folk music, with artists like Chris Chameleon and Die Antwoord adding a modern twist to traditional styles. This revival has not only enriched the genre but also expanded its appeal to younger audiences both in South Africa and internationally. These artists blend traditional elements with modern music styles, creating a hybrid that is both fresh and deeply nostalgic. Afrikaans Music on the Global Stage Afrikaans music has increasingly made its mark on the international scene, with artists touring globally and participating in international music festivals. Acts like Die Antwoord have gained a following worldwide, showcasing the versatility and global appeal of Afrikaans music. Their unique blend of electronic music with Afrikaans rap has introduced the language and its culture to a global audience, highlighting the genre's ability to transcend cultural and linguistic barriers. The Future of Afrikaans Music The future of Afrikaans music looks promising as it continues to evolve and adapt to new trends and technologies. The genre's ability to innovate while staying true to its roots is a testament to the creativity and resilience of its artists. As more musicians experiment with blending different musical styles and technologies, Afrikaans music is set to continue its growth and influence, both within South Africa and across the world. Afrikaans music, with its rich heritage and dynamic present, plays a crucial role in the cultural expression of South Africa, offering insights into the community's past, present, and future aspirations. To complement the vibrant exploration of Afrikaans music, here are five standout songs that showcase the best of the genre. These tracks not only capture the essence of Afrikaans musical creativity but also offer a great starting point for those new to the scene: "Lisa se Klavier" by Koos Kombuis - Often hailed as one of the most beautiful Afrikaans songs, this track is a poignant ballad that showcases Koos Kombuis' deep lyrical abilities and emotive performance. "Toe Vind Ek Jou" by Francois van Coke ft. Karen Zoid - This powerful duet between two of Afrikaans rock's most iconic voices is both stirring and melodically rich, making it a modern classic in the Afrikaans music scene. "De La Rey" by Bok van Blerk - A contemporary anthem that became hugely popular for its rousing melody and historical references, this song is a staple at many Afrikaans gatherings and continues to resonate with listeners. "Liewe Maatjies" by Die Antwoord - Reflecting the unique style of Die Antwoord, this track mixes rap with electronic music, offering a distinctive sound that has brought international attention to Afrikaans music. "Blou" by Laurika Rauch - A classic by one of Afrikaans music's most enduring artists, this song's melodic flow and nostalgic lyrics offer a tender look at the themes of love and memory. These songs each provide a different flavor of Afrikaans music, reflecting the diversity and depth of the genre while celebrating its South African roots. The Afrikaans Music in South Africa in Music Talk Afrikaans music, a diverse and influential genre within South Africa's rich musical landscape, reflects the unique cultural heritage and modern expressions of the Afrikaans-speaking community. This article delves into the evolution, major artists, and contemporary trends in Afrikaans music, illustrating its role in shaping the nation's auditory identity. Historical Roots and Early Influences Afrikaans music has its roots deeply embedded in the folk traditions of the early Afrikaner settlers, blending European influences with local sounds. The early 20th century saw the rise of "Boeremusiek" or farmer's music, characterized by the use of accordions, concertinas, and guitars. These instruments set the foundation for the distinctive sound that would evolve into a broader musical genre, capturing the everyday life and stories of the Afrikaans-speaking people. Rise of Afrikaans Pop and Rock By the mid-20th century, Afrikaans music began to diversify with the introduction of pop and rock elements, giving rise to a new wave of musicians who modernized the traditional sounds. Bands like Fokofpolisiekar and Van Coke Kartel, as well as singers such as Karen Zoid and Laurika Rauch, have played pivotal roles in popularizing the rock and pop sub-genres within the Afrikaans music scene. Their work has bridged generational gaps and brought contemporary issues to the forefront through their lyrics and melodies. The Folk Revival and Its Modern Twist In recent years, there has been a revival of interest in Afrikaans folk music, with artists like Chris Chameleon and Die Antwoord adding a modern twist to traditional styles. This revival has not only enriched the genre but also expanded its appeal to younger audiences both in South Africa and internationally. These artists blend traditional elements with modern music styles, creating a hybrid that is both fresh and deeply nostalgic. Afrikaans Music on the Global Stage Afrikaans music has increasingly made its mark on the international scene, with artists touring globally and participating in international music festivals. Acts like Die Antwoord have gained a following worldwide, showcasing the versatility and global appeal of Afrikaans music. Their unique blend of electronic music with Afrikaans rap has introduced the language and its culture to a global audience, highlighting the genre's ability to transcend cultural and linguistic barriers. The Future of Afrikaans Music The future of Afrikaans music looks promising as it continues to evolve and adapt to new trends and technologies. The genre's ability to innovate while staying true to its roots is a testament to the creativity and resilience of its artists. As more musicians experiment with blending different musical styles and technologies, Afrikaans music is set to continue its growth and influence, both within South Africa and across the world. Afrikaans music, with its rich heritage and dynamic present, plays a crucial role in the cultural expression of South Africa, offering insights into the community's past, present, and future aspirations. To complement the vibrant exploration of Afrikaans music, here are five standout songs that showcase the best of the genre. These tracks not only capture the essence of Afrikaans musical creativity but also offer a great starting point for those new to the scene: "Lisa se Klavier" by Koos Kombuis - Often hailed as one of the most beautiful Afrikaans songs, this track is a poignant ballad that showcases Koos Kombuis' deep lyrical abilities and emotive performance. "Toe Vind Ek Jou" by Francois van Coke ft. Karen Zoid - This powerful duet between two of Afrikaans rock's most iconic voices is both stirring and melodically rich, making it a modern classic in the Afrikaans music scene. "De La Rey" by Bok van Blerk - A contemporary anthem that became hugely popular for its rousing melody and historical references, this song is a staple at many Afrikaans gatherings and continues to resonate with listeners. "Liewe Maatjies" by Die Antwoord - Reflecting the unique style of Die Antwoord, this track mixes rap with electronic music, offering a distinctive sound that has brought international attention to Afrikaans music. "Blou" by Laurika Rauch - A classic by one of Afrikaans music's most enduring artists, this song's melodic flow and nostalgic lyrics offer a tender look at the themes of love and memory. These songs each provide a different flavor of Afrikaans music, reflecting the diversity and depth of the genre while celebrating its South African roots. AFRIKAANS SINGERS THE HISTORY AND HERITAGE OF POPULAR AFRIKAANS MUSIC A short history of popular Afrikaans music If one wants to understand the heritage of popular Afrikaans music, it has to be viewed against the complex sociopolitical backdrop of the development of the language itself. Briefly explained, Afrikaans emerged as a result of the interaction at the Cape between European (mostly Dutch) settlers, the indigenous Khoikhoi and imported Malay slaves, and their descendants over the last three and a half centuries (Roberge 1993). By the mid-nineteenth century, it had become quite distinct from Dutch and was spoken by people diverse in terms of race, class, geography, reli- gion, culture and identity. Developing in a colonial context, racial hierarchies were established and divisions upheld. From a popular music perspective, this diverse cultural heritage saw music sung in Afrikaans and played by musicians from across the racial spectrum (Martin 2012). Dutch and German (and to a lesser extent English) liturgical music and secular songs formed a founda- tion for songs sung in the new language, while imported minstrel songs from America brought to the colony in the latter part of the nineteenth century added stylistic flavour (Van der Merwe 2015). Also influential were the local indigenous music traditions of the Khoikhoi, as well as those imported from the East by slaves. As a result, the popular music that developed from these sources represented clearly heterogeneous elements. This diversity also forms the basis of fault lines and tensions regarding its heritage. Popular Afrikaans music is, perhaps, with due consideration given to the dangers of what has become known as ‘South African exceptionalism’, unique in global popular music as the actual language itself (and therefore by extension, its music) developed parallel to global record-ing technologies. The first Afrikaans newspaper was founded in 1875, just 2 years prior to the invention of the phonograph in 1877. At the turn of the twentieth century, when gramophone records were becoming mass-produced, the Anglo-Boer War (1899–1902) was raging between Britain and the two independent Boer republics, the Zuid-Afrikaanse Republiek (commonly known as the Transvaal Republic) and the Republic of the Free State. These two republics were the manifestations of white Afrikaner nationhood, based on a specific linguistic and racial identity. Because of the interest the conflict attracted in Europe at the time, a few sympathetic European singers recorded the national anthems of the two republics in Brussels and The Hague during the war. These were the earliest Africana (sung in Dutch, but relating to Afrikaans) records. The first recordings in actual Afrikaans date to 1906 and were made in London Afrikaans Singer A Andriëtte Anke Fatheya Ahmed B Bok van Blerk Cristina Boshoff Piet Botha Bles Bridges Liza Brönner C Mimi Coertse posing in front of a sculpture of herself (Johannesburg, ca. 1965) Arno Carstens Chris Chameleon Mimi Coertse D Kurt Darren Izak Davel Al Debbo Coenie de Villiers Casper de Vries Ray Dylan E Erica Eloff Jurie Els Elvis Blue F Joanna Field Ada Forrest Afrikaans Singer G Anton Goosen H Sonja Herholdt Steve Hofmeyr J Theuns Jordaan Hennie Jacobs Fanie de Jager Lance James Watkin Tudor Jones Arno Jordaan Theuns Jordaan K Ada Cherry Kearton (married name of Ada Forrest) Johannes Kerkorrel Koos Kombuis Gé Korsten Karin Kortje David Kramer L Riku Lätti Patricia Lewis Nicholis Louw Stefan Ludik Laura Lynn Helmut Lotti N Nádine Nádine in the Netherlands in 2009 Nataniël Riana Nel Nianell Afrikaans Singer O Overtone are an a cappella group from Johannesburg . Overtone P Jack Parow Brendan Peyper Juanita du Plessis Koos du Plessis Gert Potgieter R Laurika Rauch S Leon Schuster Snotkop Etienne Steyn Amanda Strydom Valiant Swart T Shaun Tait Adam Tas V Bobby van Jaarsveld Bobby van Jaarsveld in 2009 Piet van Wyk de Vries Yolandi Visser Amor Vittone Francois Van Coke ; also the lead singer of punk rock bands Van Coke Kartel and Fokofpolisiekar W Willim Welsyn Robbie Wessels Heinz Winckler Dana Winner Z Karen Zoid performing on stage in 2009 Karen Zoid Nuutste Afrikaanse Musiek Jan 2023 VIEW THE VIDEO Lekker Afrikaanse Musiek Dec 2022 VIEW THE VIDEO Bernice West - Hy Jy Jy (Official Music Video) VIEW THE VIDEO Nicola Dreyer - Jy Weet Dit Is Jy VIEW THE VIDEO Riaan Benadé - Die Lot (Lirieke Video) VIEW THE VIDEO Ricus Nel - Trek Uit Jou Baadjie (Amptelike Musiekvideo) VIEW THE VIDEO Elandre - Asseblief (DJ Johnny Remix) VIEW THE VIDEO Jan Rhaap - Plaaskind VIEW THE VIDEO Logan Pietersen - Afrikaner Boervrou VIEW THE VIDEO ARMAND HOFMEYR - Case Trekker VIEW THE VIDEO Armand Steenkamp - Johanna Van Saldanha VIEW THE VIDEO Willem Botha - 2010 (Amptelike Musiekvideo) VIEW THE VIDEO Popular Afrikaans music (Van der Merwe 2015). More recordings followed, almost all of them made by white Afrikaans singers who were studying in London on scholarships, something which was not available to Afrikaans speakers of other races at the time. The first advertisements for Afrikaans popular music records started to appear in 1910, a few months after the Union of South Africa, which was a merger of the Cape and Natal Colonies with the defeated Boer republics. These early records were advertised in such a way that it played on the tension between Afrikaans and English speakers and appealed to a sense of Afrikaner nationhood. What this meant, ultimately, is that the very first recordings of popular Afrikaans music had close links to a group of white Afrikaans speakers and their aspirations of nationhood. Coloured and black Afrikaans speakers were excluded from these recordings, despite the fact that they had developed vibrant and unique music styles. The first local recordings were made in 1912 by George Walter Dilnutt on his mobile recording unit. More mobile studios arrived in the 1920s, but it was really with the start of the 1930s that the local recording industry took off, partly thanks to hugely successful working-class boeremusiek (literally translated ‘farmer’s music’) albums, of which those by singer David de Lange were the most popular. Such records caused tension among class-aware nationalists who, from the 1930s onwards, were intent on co-opting Afrikaner culture as a vehicle for white Afrikaner nationalism. Although these albums were recorded by white musicians, traditional boeremusiek represented a complex mixture of the urban and the rural, and of race and class. Developing during the nineteenth century and the early parts of the twentieth, it was regularly performed by coloured labourers for white farm- ers at their dance parties, just like other types of labour on the farms were designated to them. Ideologues from nationalist cultural organisations laboured to codify the language and cul- ture to embody a white Afrikaans-speaking volk (nation). Part of this project was the publication of a Volksangbundel (Folk songbook) by the Federasie van Afrikaanse Kultuurvereniginge (Federation of Afrikaans Cultural Organisations, or FAK for short) in 1937 with 314 sanctioned Afrikaans songs, ranging from national anthems to picnic songs. Popular Afrikaans music that did not meet the cultural requirements, like that of David de Lange, were deliberately excluded. The South African Broadcasting Corporation (SABC) was established in 1936, and from 1937 had a dedicated Afrikaans channel that transformed popular Afrikaans music. The ushering in of the apartheid era in 1948 heralded fleeting changes for South Africa. Its segregationist laws impacted on music performance in various ways. The destruction of mix- race urban centres like Sophiatown in Johannesburg in the mid-1950s also affected the perfor- mance of vibrant music styles like marabi jazz and swing by local black musicians. However, during the 1950s, kwela music (pennywhistle jive music that emerged among black musicians in and around Johannesburg) became a very popular genre for white recording artists (Allen 2008). Many Afrikaans musicians recorded kwela; the most prominent was the accordion virtuoso, Nico Carstens, who managed to sell in excess of a million LPs between 1954 and 1959. This coincided with the introduction of rock music to South Africa in 1956. Rock had a delayed influence on Afrikaans music. Although (possibly) the earliest Afrikaans song, ‘Gogga’ (an overt reference to The Beatles) dates to 1964, it was only from the late 1970s and early 1980s that Afrikaans music artists started playing rock music in Afrikaans. While abroad rock music had links with the social movements of the 1960s, it had limited impact among South African, including Afrikaans, youth. The 1960s represented the height of apartheid and white Afrikaners mostly accommodated its policies (Van der Merwe 2014). Furthermore, cen- sorship was strict: television was banned until 1976, and generally Afrikaans music remained superficial and heavily influenced by European Schlager music. It was only towards the end of the 1970s and into the 1980s that Afrikaans music artists started to question the political status quo. This happened at a time of growing wider discontent with the system of apartheid among Schalk van der Merwe white Afrikaans speakers. The 1980s were tumultuous years as South Africa erupted in wide- spread violence in the townships, forcing State President P.W. Botha to call a national state of emergency in 1985. White men also started campaigning against conscription, while mostly English bands performed under the banner of the End Conscription Campaign (ECC). Also around this time, early hip hop groups started to form in and around the coloured neighbour- hoods of Cape Town, although they remained largely underground. By the end of the decade, alternative Afrikaans rock musicians became staunchly critical of not just the political system but also the conservative white middle class in which they grew up. In the post-apartheid context, the Afrikaans culture industry has done well. After the state support it received under apartheid was suspended in 1994, it mostly withdrew into corporate hands (Steyn 2016). Dedicated Afrikaans television channels, radio stations, print media, online communities, brand identities and so forth have grown significantly, while Afrikaans arts festi- vals were established to ensure a vitality in the Afrikaans arts. The Afrikaans music industry has also boomed. Since 2000, a number of artists have passed the 1 million mark in sales in what is a small market. Since 2004, five Afrikaans artists have won the South African Music Award (SAMA) for best-selling local album, while in the 2012/2013 season the five top-selling local albums (of all genres, regardless of language) were Afrikaans (Van der Merwe 2017). However, the top rung of popular Afrikaans artists represent only a specific segment of the Afrikaans- speaking community. A long history of separation has made a lasting impact on commercial Afrikaans music. The mainstream remains overwhelmingly white and caters specifically for its own audience (some, like singer Steve Hofmeyr, have even come to embody right-wing Afrikaner political aspirations), despite the fact that they constitute a minority of first-language Afrikaans speakers. Although one can certainly argue that the Afrikaans recording business is – and always has been – driven by a profit model (aimed mostly at white Afrikaans speakers who have more spending power), it has at times caused friction and drawn accusations of exclusion. As a result, popular Afrikaans music has been included in political debates around linguistic identity, authenticity and the very future of Afrikaans itself. A brief tour of popular Afrikaans music studies The field of popular Afrikaans music studies is relatively young when compared to more estab- lished counterparts in Europe and the USA, or even wider popular music studies in South Africa itself. When the International Association for the Study of Popular Music (IASPM) was founded at the first popular music studies conference in Amsterdam in 1981, no academic study had yet been done on popular Afrikaans music. In fact, it was only towards the end of the 1990s, but especially from the early 2000s onwards, that academic work – emanating from a variety of disciplines – on popular Afrikaans music started to appear. One of the first was by Ingrid Byerly (1998), who identified early forms of resistance in popular Afrikaans music and brought it into the wider discussion on late-apartheid South African music. However, to date, very few articles on popular Afrikaans music have appeared in leading journals such as Popular Music (oneexception is Froneman 2014) or the Journal of Popular Music, or in major international collec-tions of work. There is also no local branch of IASPM in South Africa, although SASRIM (the South African Society for Research in Music), which is primarily a society for musicologists, has hosted conferences where papers on popular Afrikaans music have been presented. The newly formed Africa Open Institute for Music Research and Innovation at Stellenbosch University is partly dedicated to the advancement of popular music studies, but popular Afrikaans music stud- ies as a ‘field’ is yet to be formally institutionalised at a South African university. There are, of course, historical factors that have delayed and frustrated its development. Popular Afrikaans music The political context of the apartheid era was instrumental in dividing the local attentions of musicologists between Western classical music (as many Afrikaans conservatoires tended to do, thereby also subtly accommodating the dominant narrative of white cultural supremacy) and ethnomusicology involved with local black music that represented various forms of resistance, mostly undertaken by liberal scholars in opposition to apartheid (Lucia 2005, p. xxxv). Thus, while popular music studies were gaining legitimacy abroad and among liberal local scholars (for example Anderson 1981, Coplan 1985), popular Afrikaans music was doubly excluded: from within the conservative Afrikaans scholarly community which did not regard it as a legitimate field (reflecting the global stance before the 1980s) to other scholars who regarded it as part of the culture of the oppressor. There was some merit in this assumption, since white Afrikaners as a group had the most invested in apartheid, and popular Afrikaans music often complied with, and reflected, its cultural requirements. There were, however, instances towards the end of apartheid when Afrikaans music artists resisted these requirements, and these were the first to draw academic attention, mostly from outside the field of musicology. The most prominent example of this was the anti-establishment Afrikaans rock music of the 1989 Voëlvry (literally translated as ‘free as a bird’, or even ‘free penis’) tour. The tour consisted of three acts, head- lined by Johannes Kerkorrel (Johnny Church Organ) and the Gereformeerde (‘Reformed’) Blues Band, with Bernoldus Niemand (Bernard Nobody, the working-class alter ego of native English-speaking artist James Phillips) and poet/songwriter André Letoit, who later changed his name to Koos Kombuis (Jacob Kitchen). Voëlvry is commonly regarded as the height of political Afrikaans music against a con- servative white middle-class Afrikaner society and apartheid politics. Journalist and writer Pat Hopkins (2006) published an authoritative book on Voëlvry, accompanied by a DVD produced by Shifty Records (a small, progressive record company that recorded, among other things, political music during the 1980s) boss Lloyd Ross. Although perhaps not strictly speaking an academic investigation, the book is more than just a documentation of the tour, and Hopkins successfully interrogated the way in which Voëlvry subverted the deep historical relationship between Afrikaner nationalism and Afrikaans music. Koos Kombuis’s Sex, drugs en boeremusiek (2000) and Short drive to freedom (2009), on the other hand, offer autobiographical accounts of his experiences as part of Voëlvry. Apart from these books, there is a substantial body of academic articles on Voëlvry. Jury (1996), Bosman (2004), Grundlingh (2004), Laubscher (2005), Viljoen (2005), Baines (2008) and Suriano and Lewis (2015) have all focused on either the movement directly, or the artists associated with it. Not unlike popular music studies elsewhere, protest singers, poets (through literature studies of their lyrics) and music movements are often explored themes and Voëlvry embodied all of these. Apart from Voëlvry (and distinctly different in what it represented), the hit song ‘De la Rey’ has featured prominently in the literature on popular Afrikaans music. It was released in 2006 by singer Bok (‘Buck’) van Blerk and the album (with the same name) became the fastest sell- ing Afrikaans debut album in history. The song was a reference to Koos De la Rey, a revered Boer general in the Anglo-Boer War (1899–1902), and the stunning effect of this invocation in post-apartheid South Africa drew much scholarly attention (Du Pisani 2001, Bezuidenhout 2007, Lotter 2007, Baines 2009, Lambrechts and Visagie 2009, van der Waal and Robins 2011, Pretorius 2013). Furthermore, apart from a flood of local newspaper articles, it also featured in UK’s The Guardian (McGreal 2007) and The New York Times (Wines 2007). Although not groundbreaking in terms of musical style (a slow paced, folky ballad with a 6/8 time signature that is easy to sing along to) ‘De la Rey’ struck a nerve which is of significant importance for the study of post-apartheid Afrikaner identities. It is a controversial song. Some interpret it as a call to arms (McGreal 2007), while others have questioned its play on Afrikaner nostalgia: Schalk van der Merwe (Bezuidenhout 2007, Baines 2009, van der Waal and Robins 2011). The song’s popularity hinted at a surprisingly high degree of social cohesion among white Afrikaans speakers in the absence of political party platforms. ‘De la Rey’ provided an opportunity for many to express solidarity with an Afrikaner identity that was rooted in victimhood (the loss of independence in the Anglo-Boer War and the horrors of British concentration camps), instead of relating to the days of being in power (during apartheid). Such nostalgia encodes all sorts of meanings, from rightwing Afrikaners trying to hijack the song as an anthem of white power, to representing a retreat from the wider South African society in which it is felt that Afrikaans as a language and a culture is under threat. Expanding somewhat on this topic is Senekal and Van den Berg’s (2010) lyrical analyses of 62 post-apartheid Afrikaans songs released between 1998 and 2009. The most common themes they identified had to do with crime, service delivery, appeals to stand together and more com- plex issues surrounding (assumedly white) Afrikaner identity. Under the latter, they included issues surrounding the problematic place of the Afrikaner in South Africa, the new generation positioned between the past and the future, the changing landscape (including Afrikaans place names), the maltreatment of the past and emigration as an alternative. These themes suggest that a number of Afrikaans artists experience a sense of friction within the wider, culturally plural- istic South African society. Stylistically, many of the younger generation of Afrikaans protest singers seem to have continued on a trajectory established by Voëlvry, but since the context has changed so dramatically, so has its meaning. The broader South African public is sensitive to Afrikaner calls ‘to stand together’ or complaints about crime and the government’s ineffi- ciency, and often, whether legitimately or not, see them as the cultural tropes of right-leaning Afrikaners. Deidre Pretorius (2013) has made an important study of stylised representations of masculinity in Huisgenoot Tempo magazine (the premier Afrikaans pop magazine). Here, she identified seven stereotypes: boer, metroman, sportsman, retroman, student, worker and rebel, all vari- ations of white male identities. Another more recent phenomenon that has attracted much academic interest is Afrikaans music’s biggest export, the zef (‘common’ or working class) rap group, Die Antwoord (‘The Answer’). Haupt (2012a) has looked at both Bok van Blerk and Die Antwoord (specifically their use of blackface) while exploring important issues of race and agency in post-apartheid music, media and film. Heavily influenced by coloured and black gangster culture even though they are white, Die Antwoord’s appropriation of the cultural practices of the ‘other’ was discussed in a special roundtable edition in the Journal of South African and American Studies, or Safundi (Haupt 2012b, Kreuger 2012, O’Toole 2012, Van der Watt 2012). Other articles on Die Antwoord have also appeared elsewhere that focus on issues of authenticity, whiteness, cultural appropriation and the like (Marx and Milton 2011, Scott 2012, Haupt 2013, Smit 2015). Haupt is a leading author on South African hip hop and has focused especially on its development around col- oured neighbourhoods on the outskirts of Cape Town from the 1980s onwards, and how it has encoded issues of power, authenticity, race, identity and language. Often rapping in vernacular Afrikaans, these artists portray an alternative type of popular Afrikaans music that stands outside the standard space where mainstream white popular Afrikaans music, with its exclusive and insu- lar nature, dominates. They also represent deep-rooted fault lines among the various first language Afrikaans-speaking communities. Haupt (2006) has also addressed the motives behind Afrikaans arts festivals that invite coloured Afrikaans groups to perform there. He questions whether or not these are acts of buying legitimacy, and furthermore, if coloured artists are only acceptable (and thereby given access) if they perform music that caters for the tastes of white Afrikaans speakers. Whereas the literature on Voëlvry, ‘De la Rey’ and Die Antwoord is very specifically focused, there has been a number of works that have employed a broader scope. The widest Popular Afrikaans music is On Record: Popular Afrikaans Music and Society, 1900–2017 (Van der Merwe 2017), which provides a historical take on salient themes in the entire history of recorded Afrikaans music to the present, starting with the first Africana and Afrikaans records. Rob Allingham, archivist of the Gallo Record Company (an important South African label that has released a trove of local music since 1930, including very popular early boeremusiek records), was the first to provide a summary of the history of popular Afrikaans music, in the African, European and Middle Eastern section in World Music: The Rough Guide (Allingham 1999). Although a potted version, he did manage to highlight many important historical themes such as the influence of imported American music on the ‘concertina-led brand of dance-music’ of the 1930s (a reference to boeremusiek), the ubiquitous background of Afrikaner nationalism, the post-war imitation of middle-of-the-road European light music styles, the emergence of alternative Afrikaans music during the 1980s and 1990s, and the link between music revivalists and right-wing politics after 1994 (Allingham 1999, p. 651). Denis-Constant Martin’s Sounding the Cape (2012) is a notable work that provides a long his- torical account of the social complexities that played on the development of music traditions in and around Cape Town and beyond. It pays proper attention to the enormous cultural contri- butions of coloured and black musicians across a variety of genres and also highlights the role of racial segregation in breaking musical relations that have historically transcended such bounda- ries. Although it is not specifically focused on Afrikaans music, a large part of the study includes Afrikaans music elements that have emerged in this setting. Importantly, the book bridges the lasting insularity that persists in the music industry to give a comprehensive and balanced view of the music of the Cape. Another important study is Froneman’s ethnomusicological work on boeremusiek (2012), which is of special significance for the period from the 1930s to the 1950s, when it was one of the most popular genres of recorded Afrikaans music. The literature on boer- emusiek actually has a longer history. Between the 1940s and the 1960s, nationalist intellectuals wrote numerous papers and articles and made regular speeches on whether or not boeremusiek resembled an authentic Afrikaans folk tradition. They were especially interested in the cultural value of the genre and how to preserve it against foreign influences like jazz. These were, how- ever, written from a nationalist angle and subscribed to the dominant narrative of racial segrega- tion and hierarchies of apartheid. Froneman succeeds in portraying the position of boeremusiek as a juncture between race, class, religion, morality, politics, power and identity, and is authorita- tive. Klopper’s (2009) dissertation on the Afrikaans punk rock band, Fokofpolisiekar (‘Fuck off police car’), is authoritative and provides a lyrical analysis of this hugely influential group’s work. Klopper (2011) also published a biography on the band for a wider, less academic, readership. There are also other popular works, like Danie Pretorius’ Musieksterre van gister en vandag: Lewensketse En Foto’s Van Meer as 100 Musieksterre (‘Music stars of yesterday and today: life sketches and photos of more than 100 music stars’; Pretorius 1998) and Ilza Roggeband’s 50 Stemme: Die grootste name in Afrikaanse musiek (‘50 voices: the biggest names in Afrikaans music’; Roggeband 2009) that provide biographic and discographic information about prominent Afrikaans singers. Another example is the 2003 documentary, Kom laat ons sing (‘Come let us sing’), presented and co-produced by singer Laurika Rauch (Rauch et al. 2003). Here, the main focus was on Musiek-en-Liriek (‘Music and Lyric’), a television programme aired in 1979 that heralded a new phase in Afrikaans music. Although more folk than overtly political, some sub- tle resistance started to emerge in the music. The documentary also provided a wider historical perspective on popular Afrikaans music, including the manner in which apartheid censorship prohibited a lot of music innovation and how the post-apartheid era represents a time of libera- tion. The South African music industry during apartheid was indeed subject to strict censorship, mostly written about by Merrett (1994) and Drewett and Cloonan (2006). This had a direct Schalk van der Merwe impact on the production of popular music, including popular Afrikaans music. The SABC used extremely subjective measures to determine which songs could be broadcast or not. As political tension increased during the 1980s, so did the power and intensity of censorship. It is clear that, although a relatively new field, the literature on popular Afrikaans music stems from numerous disciplines and is growing at a rapid pace. There is, however, still much room and scope for studies on, for example, Afrikaans music videos, postmodernity in popular Afrikaans music, issues of gender, its role in mass Afrikaner culture and the relationship between music and technology. In terms of archives, most South African university libraries have music collections that range from ethnic to Western art music, and in some cases also popular music. However, archival material of specifically popular Afrikaans music is more limited. An impor- tant archive is the Documentation Centre for Music (DOMUS) at Stellenbosch University, which houses the personal archives of influential Afrikaans artists like Anton Goosen and Nico Carstens. DOMUS also houses the Hidden Years Music Archive Project (HYMAP), which is a vast collection of material (live recordings, albums, ephemera) documenting the popular music scene in South Africa between 1960 and 2005, and is currently being sorted. It is one of the best sources of information on popular music performance in South Africa during apartheid. The radio archives of the SABC in Johannesburg hold numerous transcription records (many in Afrikaans), censored albums (of which offending tracks were scratched out) and the like, and although it is not all sorted, it remains an important source. The Gallo Record company has an archive in Johannesburg, but it is currently (as far as can be ascertained) not curated and difficult to access. One of the more useful online sources is the South African Audio Archive (2017), which features audio clips and visuals donated by private collectors. The oldest Afrikaans recording on the site dates to 1912. Another useful online resource is the South African Rock Encyclopaedia (2017), which focuses on local rock in both English and Afrikaans. A welcome new venture is the Music van de Caab Museum on the Solms-Delta wine farm in Franschhoek which aims at showcasing the music heritage of the Cape, which is in line with the farm’s broader policy of empowering farm workers and celebrating their cultural roots. This is important in a wider context of not just preserving, but re-discovering, aspects of coloured Afrikaans music heritage that fall outside the popular mainstream. If one looks at more modern manifestations of such linguistic and racial identities in Afrikaans music (mostly hip hop), artists like Jitsvinger (who performs in an Afrikaans dialect called Afrikaaps), Churchill Naudé and Hemelbesem are notable names. The history of popular Afrikaans music is a rich one and part of a tumultuous and complex past. It is an especially relevant topic when it comes to determining the contours, or looking for indications of, social cohesion (and tension) among its various speak BACK TO TOP

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South African Spiced Shakshuka is a captivating dish that brings together the vibrant flavors of North Africa and the unique spices of South Africa. It has gained recognition for its harmonious blend of tastes and textures, making it a favorite among food enthusiasts. Easy South African Recipes For Your Kitchen The history of South African recipes reflects the country’s complicated past, which has seen colonialism, slavery, apartheid, and liberation movements. South African cuisine is a unique blend of flavors and influences from the country’s diverse cultural heritage, including indigenous African, Dutch, Malay, Indian, and British.Before European colonization, South African food was based on a hunter-gatherer culture, with traditional dishes consisting of game meat, fruits, and vegetables. The arrival of Dutch settlers in the 17th century brought about significant changes in the local cuisine. The Dutch introduced farming and livestock, which led to the introduction of South African recipes such as biltong (dried, cured meat), boerewors (sausage), and potjiekos (stew). The Dutch also brought slaves from Indonesia, Malaysia, and Madagascar, who introduced their own cuisine to South Africa. One of the most significant contributions was the Cape Malay cuisine, which originated from the Cape Muslim community. This South African food is known for its use of spices such as cinnamon, cardamom, and turmeric, as well as the use of fruit in savory dishes. Indian laborers were also brought to South Africa in the 19th century to work on sugarcane plantations. They brought with them their own foods, which included curries, biryanis, and samoosas. Today, Indian cuisine is an integral part of South African food, and South African recipes such as bunny chow (a hollowed-out bread loaf filled with curry) and breyani (spicy rice dish) are popular across the country. The arrival of British colonizers in the 19th century also had an impact on South African recipes. British cuisine was introduced, which included dishes such as roast beef, fish and chips, and pudding. However, the British also brought their love of tea, which became a popular beverage in South Africa and is still enjoyed today. South African Lamb Sosaties Recipe The South African Lamb Sosaties Recipe is a traditional dish with a rich history and a delicious taste. These skewered lamb kebabs are marinated in a flavorful mixture of spices, dried fruits, and vinegar, creating a unique and savory flavor profile. Historically, sosaties have deep roots in South African cuisine, particularly among the Cape Malay community. They are believed to have originated from Indonesian and Malay influences during the spice trade era. The name “sosatie” is derived from the Indonesian word “sate,” which means skewered meat, reflecting the dish’s Indonesian origins. Method Peel the garlic and deseed the chillies, then roughly chop and place into a pestle and mortar. Bash with a pinch of salt to a rough paste. Peel, finely chop and add the ginger, then bash until broken down and combined. Finely slice the mushrooms and bamboo shoots. Heat a lug of oil in a large wok or heavy-based saucepan over a medium-high heat, add the mushrooms and fry for 4 minutes, or until lightly golden. Stir in the chilli paste and bamboo shoots and fry for a further minute. Meanwhile, mix together 3 tablespoons of soy, 4 tablespoons of rice wine vinegar, the honey and a good pinch of white pepper. Stir the mixture into the pan and cook for a minute, then pour in the hot stock and bring gently to the boil. Reduce the heat to low and simmer for 10 minutes, or until slightly reduced. Meanwhile, chop the tofu into 1cm cubes, finely slice the spring onions and chives and whisk the egg well. Once reduced, remove the soup from the heat. Using a chopstick, stir the soup in a clockwise direction until you get a little whirlpool, then slowly add the beaten egg, stirring continuously to form thin ribbons. Stir in the tofu and return to the heat for 1 minute to warm through. Season to taste with soy and vinegar, then serve immediately with the spring onions and chives scattered on top. Equipment Skewers Mixing bowls Chef's knife Cutting board Basting brush Grill or grill pan Mixing spoon Ingredients Lamb 4½ lb lamb shoulder 3 1/3 cups apricots large dried 3 onions cut into 1 inch wedges Marinade 4 oz apricot jam 2¾ oz white wine vinegar 1/4 cups brown sugar 3 bay leaves 4 garlic cloves finely chopped 2 tsp turmeric ground ¼ tsp cinnamon 1 tbsp curry powder mild Instructions Get the lamb marinating a day ahead of time. You will need 12 metal skewers. Put all the marinade ingredients in a big basin and mix them together. Take a quarter of the marinade and put it in a separate bowl. Toss the lamb chunks in the remaining marinade. Place in the fridge overnight. For 30 minutes, or until plump, soak dried apricots in boiling water. Drain and put away. Put three apricot slices and three onion wedges on each skewer, and four pieces of lamb. Prepare a grill or chargrill for medium heat. Skewers should be grilled for 15 minutes, basting occasionally with the leftover marinade and turning to brown all sides. Notes Soak skewers in water before use to prevent burning.Marinate lamb for at least 2 hours for flavor.Baste sosaties with marinade while grilling.Grill over medium heat for even cooking.Use a meat thermometer to check doneness.Serve with a dipping sauce for added flavor. South African Bunny Chow Recipe The South African Bunny Chow recipe is a South African culinary delight deeply rooted in the country’s diverse culture and history. This beloved dish, which originated in the Indian community of Durban, showcases the rich tapestry of South African cuisine. It is a testament to the fusion of flavors and traditions that make South African culture so unique. At its core, a South African Bunny Chow recipe consists of a hollowed-out loaf of bread filled with a flavorful curry. The bread serves as both a vessel and an accompaniment to the aromatic and spicy curry, creating a satisfying and hearty meal. This dish perfectly embodies the idea of using simple ingredients to create something extraordinary. Equipment Large Skillet Cutting board Chef's knife Wooden spoon or spatula Measuring cups and spoons Hollowed-out bread loaves for serving Ingredients For the curry powder ¼ tsp Cayenne pepper powder 1 tsp ground coriander ¼ tsp ground cumin 1 pinch fennel seeds 1 pinch ground fenugreek ¼ tsp black pepper ½ tsp ground turmeric ½ tsp ground ginger 1 tsp garlic powder ¼ tsp chilli powder For the bunny chow 3 tablespoons vegetable oil 1 tsp cumin seeds ½ tsp fennel seeds 1 stick cinnamon 2 pods green cardamom 1 star anise 1 bay leaf 1 onion chopped 2 tbsp curry powder 2 tomatoes peeled, seeded and chopped 20 oz. lamb cut into ½ inch (1,5 cm) cubes 1 tbsp ginger finely chopped fresh 1 tsp garam masala 3 cloves garlic finely chopped 12 curry leaves 3 potatoes cut into ½ inch (1,5 cm) cubes Salt 3 tbsp cilantro leaves finely chopped 2 tbsp lime juice freshly squeezed 2 cups water 2 loaves bread not sliced, each cut in half in the middle and emptied of the crumb 2 tbsp cilantro for serving Instructions Bunny Chow Brown the whole spices and bay leaf in a pan with oil over medium heat until the spices crackle and the bay leaf turns a deep brown, releasing their scents. Sauté the onion for 5–7 minutes, or until it has lost its raw color. Cook for 1 minute over medium heat with the curry powder and garam masala you set aside, then add the tomatoes and stir to incorporate. Ten minutes covered, stirring often over medium heat. Throw in the meat along with a quarter cup of water (300 ml), raw ginger, garlic, and curry leaves. Simmer for 50 minutes, or until the meat is cooked, stirring regularly over low to medium heat after it has come to a boil. Toss in the potatoes and a pinch of salt, then top off the saucepan with the remaining 3/4 cup (200 ml). Maintain a healthy blend. The meat and potatoes need to simmer for another 15 to 20 minutes to reach an internal temperature of 165 degrees. Mix in the lime juice and chopped cilantro. Curry Powder Put everything in a spice grinder and pulse until it resembles a fine powder. In other words, put aside. Notes Use pre-cut vegetables to save time on preparation.Brown the meat before adding it to the curry for added flavor.Adjust the level of spiciness by varying the amount of chili used.Stir the curry occasionally to prevent sticking and ensure even cooking.Taste and adjust seasonings before serving for the perfect flavor.Allow the curry to simmer to meld flavors for a more delicious result.Customize the recipe with your choice of protein for variety. South African Koeksisters Recipe The South African Koeksisters recipe for these sweet treats is deeply rooted in South African culture and have a history that dates back to the Dutch colonial era. Koeksisters are made from a simple dough consisting of flour, sugar, butter or margarine, and milk. The dough is mixed and then braided into distinctive shapes, usually twisted or plaited, before being deep-fried to a golden brown perfection. Once fried, they are immediately immersed in a syrup made from sugar, water, and sometimes a hint of lemon juice or cinnamon, creating a sticky, sweet coating. Equipment Large mixing bowl Frying pan or deep fryer Slotted spoon or tongs Saucepan for syrup Cooling rack Ingredients Soaking Syrup: 3 cups sugar 2 cups water ½ medium lemon zested in large strips 3 ginger 1/4 inch thick slices peeled fresh 1 teaspoon lemon juice Koeksisters: 2 cups flour 1 tablespoon baking powder ¼ teaspoon salt 2 tablespoons butter cold unsalted cut into chunks ½ cup milk 2 cups oil or as needed oil for frying sunflower or canola Instructions To prepare the syrup, Over medium heat, bring a mixture of sugar, water, lemon zest, ginger, and lemon juice to a boil. Ten minutes at medium heat should suffice. Take the syrup off the fire and let it cool for 30 to 45 minutes until it reaches room temperature. Place in a bowl, cover, and chill for 8 hours or overnight to let the flavors meld. To prepare the koeksisters, combine the flour, baking powder, and salt in a basin and sift. Incorporate the butter by rubbing it in with your fingers until the mixture resembles coarse cornmeal. To get a smooth dough, add the milk and whisk. Don't touch the dough for at least 2 hours after wrapping it in plastic. Spread a little flour on a clean work surface, dump out the dough, and roll it out into small round bals for frying. Bring 2 inches of oil to 350 degrees Fahrenheit (175 degrees C) in a deep fryer or large saucepan. Prepare a baking sheet with a wire rack. Spoon some of the chilled syrup into a serving bowl and put the rest back in the fridge. Two to five minutes, or until fragrant and golden brown, fry three koeksisters in heated oil. Take out with a slotted spoon and cool for 10 seconds in cold syrup. Place on the cooling rack. Fry and dip the remaining koeksisters until done, and then repeat with fresh cool syrup. Notes Use a thermometer to maintain the correct frying temperature.Ensure the syrup is warm when dipping the Koeksisters for better absorption.Fry in batches to prevent overcrowding in the pan.Allow Koeksisters to cool slightly before transferring to the syrup.Gently press them to absorb the syrup evenly.Use a slotted spoon to remove excess syrup and transfer to a cooling rack.Serve freshly made Koeksisters for the best taste and texture. South African Biltong Recipe South African Biltong recipe are used to create a traditional South African snack. This dried meat delicacy is not only a popular snack but also a reflection of South African culture, history, and even offers some health benefits. Originating in South Africa, Biltong has a history dating back centuries. It was initially created as a way to preserve meat in a harsh climate where refrigeration was not readily available. The process involves marinating thin slices of meat, often beef or game meats, in a mixture of vinegar, salt, and various spices, such as coriander and pepper. This marinated meat is then air-dried, allowing it to gradually dehydrate and develop a distinctive flavor and texture. Equipment Dehydrator Sharp knife for slicing meat Mixing bowl (for marinating) Measuring Spoons Ziplock bags for marinating Paper towels for patting meat dry Butcher's twine (optional) Ingredients Meat 4 1/2 lb Beef Curing spice mix 5 tbsp vinegar Brown or cider 2½ tbsp salt Coarse 2 tsp black pepper Ground 2 tbsp Coriander seed 1½ tbsp sugar Brown Instructions The coriander seeds should be toasted in a dry pan before being ground in a mortar and pestle or spice grinder. You want primarily powder with some whole or broken seed shells. Cut the meat into 1-inch (2.5-cm) thick lengths, making sure to cut against the grain, and store in a non-metallic container. Mix all the seasonings together and rub them into the meat. While flipping the meat with your hands, sprinkle it with vinegar and fully rub it in. Refrigerate the biltong, covered, for 24 hours, during which time you will turn and rub the meat with your hands occasionally. Using paper towels, pat the meat dry, being careful not to remove too much of the seasoning. Each length needs a hook attached to its thickest end. Paper clips with plastic coatings are an inexpensive alternative. Keep it hanging in your biltong box or in a well-ventilated area with a gentle breeze. To prevent the meat's casing from hardening, don't aim a fan at it. Check that nothing is touching. Use a sheet of newspaper to catch any juices that may drip from the meat. Time required to dry will change depending on ventilation, temperature, and humidity. Every few days, using clean fingers, squeeze the sides to see if the biltong is ready. 'Wet' flesh has a slight give when gently squeezed. Notes Use lean cuts of beef for a healthier option.Adjust spice levels to suit your taste preferences.Regularly check the dehydrator for even drying.Experiment with different spices for unique flavors.Slice the meat thinly for faster drying.Marinate the meat for at least 4 hours for flavor.Use a fan to improve air circulation during drying. South African Cheese Scones Recipe “We are a couple who has visited and sampled food in every country in the world. We strive to get a local recipe for every dish we place on our blog. Some we have cooked in our kitchen but most we enjoyed in the restaurants and streets of the world. Our thoughts and opinions are based on the food we loved the most, and you may find them and others you will fall in love with as well. Please enjoy the recipe and comment below.” These South African Cheese Scones are characterized by their fluffy texture and rich, cheesy flavor. They embody a fusion of influences, including Dutch, British, and indigenous African culinary traditions. Key ingredients include cheddar cheese, buttermilk, and butter. These are combined to create a dough that is gently mixed to maintain its lightness. Once baked, the scones have a golden-brown exterior and a soft, cheesy interior. The South African Cheese Scones recipes are a great snack, often served warm with butter or chutney. They hold a special place in South African culture, enjoyed at tea time or as a side dish with stews and soups. Whether made at home or savored in local eateries, these scones are a testament to the nation’s diverse heritage. Equipment Mixing bowl Baking sheet Pastry cutter or fork Grater (for cheese) Measuring cups and spoons Whisk or wooden spoon Pastry brush (optional) Ingredients 1 cup flour 1 tsp baking powder 1 tsp salt 1/2 cup milk 2 tbsp mayonaise 1 cup cheese 1/2 cup chives Instructions Preheat oven to 400F. Spray a 12 cup muffin pan with cooking spray. Mix ingredients until blended. The batter should have a drop scone consistency. Spoon batter into muffin cups until 3/4 full. Bake for 20-25 minutes, until golden brown. Remove from oven. Allow to cool for 5 minutes and turn out onto a cooling rack, or into a lined basket. Serve warm, with finely shaved smoked ham or apricto preserves (South Africans like the combination of savory and sweet). Notes Ensure your ingredients are at room temperature for better mixing.Use cold butter to achieve a flaky texture.Grate the cheese finely for even distribution.Handle the dough gently to avoid overmixing, which can make scones tough.Consider adding herbs or spices to customize the flavor.Preheat your oven to the recommended temperature for consistent baking.Brush the scones with an egg wash for a golden brown finish. South African Chakalaka Recipe The South African Chakalaka Recipe is a traditional and flavorful dish that holds a special place in South African cuisine. It is known for its rich combination of ingredients and bold flavors. Chakalaka is typically made from a base of sautéed onions, garlic, and green peppers, which are cooked until they become tender and aromatic. One of the key elements of this dish is the addition of various vegetables such as carrots, cabbage, and tomatoes. These vegetables are finely chopped and added to the sautéed mixture, enhancing both the texture and taste of the dish. Spices play a crucial role in Chakalaka, with the inclusion of ingredients like curry powder, chili flakes, and paprika, which give it a distinct and spicy flavor profile. Equipment Large Skillet wooden spoon Cutting board knife Measuring cups and spoons Serving plates Ingredients 1 tbsp olive oil extra virgin 1 cup carrots chopped 1 cup celery chopped 2 cans tomatoes diced 1 tsp salt kosher ½ tsp black pepper freshly ground 2 tsp South African smokey spices 4 eggs fresh 4 slices wheat bread 4 slices cheese low moisture mozzarella 2 cups arugula Instructions Prepare a big pan over medium heat. After warming a pan, add some olive oil and chopped vegetables. For about 5 minutes, sauté the vegetables until they are transparent. Add diced tomatoes, seasonings, and salt to the vegetables. Ten minutes should be enough time for it to thicken while simmering. Don't let it burn on the bottom by not stirring it occasionally. When the sauce has thickened, use a wooden spoon to form four wells in the tomato mixture for the eggs. Crack eggs carefully into divots and heat for 6 to 8 minutes, or until done. The whites will be bright and fluffy, while the yolk should be liquid. Cover the dish, if you have a lid big enough, to make sure the eggs cook evenly. Toasted whole wheat bread should be served alongside the eggs. Layer cheese and greens on top of toasted bread. When the eggs are done to your liking, combine the tomato sauce with the eggs and serve over bread. If more salt and pepper are desired, add them. Notes Use canned diced tomatoes for convenience.Adjust chili pepper quantity for desired spiciness.Crack eggs gently to keep yolks intact.Cover the skillet for even poaching of eggs.Garnish with fresh herbs before serving.Serve with crusty bread for a complete meal.Experiment with different spice blends. South African Pepper Steak Pie Recipe The South African Pepper Steak Pie Recipe is a traditional dish from the vibrant and diverse culinary landscape of South Africa. This flavorful recipe is known for its rich history and is a favorite among locals and visitors alike. South Africa, with its blend of cultures and traditions, has given rise to a unique fusion of flavors in its cuisine. One of the standout dishes in this culinary tapestry is the South African Pepper Steak Pie Recipe. This dish holds a special place in the hearts and kitchens of many South Africans, reflecting the country’s diverse heritage. Additionally, the South African Pepper Steak Pie Recipe often features a variety of vegetables and protein sources such as beef, lamb, or chicken. These ingredients contribute to a well-balanced meal that provides essential nutrients like protein, vitamins, and minerals. The use of aromatic spices like cloves, cinnamon, and cardamom not only enhances the flavor but may also offer health benefits, such as anti-inflammatory properties. South African Cheese Scones Recipe South African Cheese Scones recipes are a baked pastry often enjoyed as a snack or appetizer. They are characterized by their fluffy texture and cheesy, slightly tangy taste. Historically, South Africa’s traditions have been influenced by various cultures, including Dutch, British, Indian, and indigenous African cuisines. The cheese scone recipe is a testament to this fusion. The use of cheese, a staple in many Western diets, combines with indigenous ingredients and techniques, creating a unique South African twist on a classic British pastry. Equipment Mixing bowl Baking sheet Pastry cutter or fork Grater (for cheese) Measuring cups and spoons Whisk or wooden spoon Pastry brush (optional) Ingredients 1 cup flour 1 tsp baking powder 1 tsp salt 1/2 cup milk 2 tbsp mayonaise 1 cup cheese 1/2 cup chives Instructions Preheat oven to 400F. Spray a 12 cup muffin pan with cooking spray. Mix ingredients until blended. The batter should have a drop scone consistency. Spoon batter into muffin cups until 3/4 full. Bake for 20-25 minutes, until golden brown. Remove from oven. Allow to cool for 5 minutes and turn out onto a cooling rack, or into a lined basket. Serve warm, with finely shaved smoked ham or apricto preserves (South Africans like the combination of savory and sweet). Notes South African Pumpkin Fritters Recipe South African Pumpkin Fritters recipes are a delightful dish that holds a special place in South African culture. These fritters, commonly known as “Pampoenkoekies” in Afrikaans, are a part of the country’s heritage. Their history dates back to the early Dutch settlers who brought their cooking traditions to the region in the 17th century. The South African Pumpkin Fritters recipe is made from a simple yet wholesome combination of grated pumpkin, flour, sugar, and a hint of spices such as cinnamon and nutmeg. These ingredients are mixed together to form a thick batter, which is then spooned into hot oil and fried until golden brown. The result is a crispy, golden exterior that encases a soft and tender interior. The South African Pumpkin Fritters recipes are more than just a tasty treat; they are also a reflection of the country’s cultural influences. South Africa’s culinary traditions have been shaped by the indigenous people, Dutch, Malay, Indian, and other communities who have made this land their home. The South African Pumpkin Fritters recipe, with their blend of sweet and spicy flavors, showcases this fusion. Historically, South African Pumpkin Fritter recipes were prepared during special occasions and celebrations, such as weddings and festivals. They symbolize unity and togetherness, as they are often shared among family and friends. Equipment Pots, Pans and Cooking Equipment Needed for The South African Pumpkin Fritters Recipe Top Ways to Make A Better South African Pumpkin Fritters Recipe Best Way to Store Leftovers From The South African Pumpkin Fritters Recipe Tips and Tricks For Easier Creation Ingredients 2 cups pumpkin cooked 1/2 cup all-purpose flour 1/2 teaspoon salt 1 teaspoon ground cinnamon 2 teaspoons baking powder not soda 2 tablespoons sugar granulated 2 large eggs oil for frying sugar cinnamon flavor Instructions 1.The dry ingredients should be combined in a food processor. If you don't have a food processor, just use a bowl to combine everything. 3.Whether using a food processor or a mixing bowl, add the eggs and process until a thick batter develops. When tested with a spoon, the batter should nearly retain its form. If the batter is overly thick, a drop or two of milk should do the trick. If the mixture is too thin, which shouldn't happen, add a little more flour. Put oil in a pan and turn the heat up to medium-high. Drop heaping spoonful of batter into the pan. Make sure they're not touching. Since some of the batter will inevitably be left on the spoon, don't expect very large fritters. Fry one side until it is firm and brown, then flip it over and do the same. Although a non-stick pan eliminates the need for oil or butter, even a small amount of oil yields better results. The fritters will rise and retain their form while cooking, but they will deflate a little as soon as you remove them from the pan. Lightly pressing on the fritters should reveal whether or not they are done. When finished, they have a tendency to bounce back. No batter should be escaping from the sides, so if you're worried, press down even more. Sprinkle with heaps of crunchy cinnamon-flavored sugar and serve warm as a side dish or dessert. Notes Maintain consistent oil temperature while frying for even cooking.Use a spoon or ice cream scoop for uniform fritter sizes.Flip fritters gently to avoid splattering hot oil.Ensure the batter is well-mixed to incorporate all ingredients.Adjust sugar and spice levels to suit personal preferences.Test oil readiness by dropping a small piece of batter; it should sizzle and float.Serve fritters immediately for the best taste and texture. South African Oxtail Potjiekos Recipe The South African Oxtail Potjiekos recipe is a renowned and flavorful dish rooted in the country’s culinary heritage. This hearty and aromatic dish has a history dating back to the early days of Dutch settlers in South Africa, and it continues to be a beloved choice for gatherings and special occasions across the nation. Oxtail Potjiekos, often simply referred to as “Potjiekos,” embodies the essence of South African cuisine, showcasing a richblend of flavors and a cooking method that brings people together around a communal pot.The South African Oxtail Potjiekos recipe is a South African dish with Dutch origins. Oxtail, a flavorful and gelatinous meat, is slow-cooked in a traditional cast-iron potjie over an open flame. This dish’s charm lies in its rich flavors, blending spices like cloves and bay leaves with tomatoes and red wine, creating a mouthwatering sauce that clings to the tender oxtail. Equipment Cast-iron potjie pot (traditional) Large cooking pot (alternative) Cooking utensils (e.g., wooden spoon) Cutting board knife Plate or tray for meat preparation Stove or open flame for cooking Ingredients 2 whoe onions Cut into rings 4 tbsp cooking oil 1/8 Cup wheat Flour 1 tsp salt 1 tsp pepper 4 1/2 lbs beef Oxtail Cut into about 5 cm long pieces 1/2 cup vinegar White Wine 3/4 cup Sugar brown 5 carrots Cleaned and cut into large chunks 4 potatoes Cleaned and cut into quarters 1 pkt Oxtail soup powder Instructions Put some flour in a bag and season it with salt and pepper powder. To ensure that the oxtail is evenly coated with the seasoned flour, place the pieces in the bag and shake vigorously. 3.Cook the floured oxtail in oil that has been warmed in a skillet. To ensure even browning, turn the oxtail pieces while they cook. Throw all of this into a big saucepan and set it aside. Fry the sliced onions in the same pan until they are golden. Bring water to a boil in a saucepan, then add the oxtail. When the oxtail has softened, about 2 hours, add the fried onions and continue simmering. Put the sugar and vinegar into the pot. Add the soup powder and the sliced carrots and potatoes to the pan. Keep the vegetables in the oven for another 15 minutes. Notes Brown the oxtail meat for added flavor.Use a lid on your potjie pot for even cooking.Stir occasionally to prevent sticking.Add vegetables and herbs for depth of flavor.Adjust seasoning gradually to taste.Simmer over low heat for tender meat.Skim off excess fat during cooking. South African Melktert Recipe The South African Melktert recipe is a South African dessert that holds a special place in the country’s heritage. It’s a creamy and delightful treat that has been enjoyed for generations. In South African households, Melktert is often prepared for special occasions and family gatherings. It’s a sweet and comforting dessert that brings people together.This dessert has an interesting historical background. It is believed to have been influenced by Dutch and Indonesian culinary traditions, as these cultures have had a significant impact on South African cuisine. The name “Melktert” translates to “milk tart,” and this dish lives up to its name with its rich and creamy filling. Equipment Mixing bowls Whisk or mixing spoon 9-inch pie or tart pan Measuring cups and spoons Rolling pin (for pastry) Cooling rack Ingredients Sucre Patee (Pastry Crust) 1 1/2 cups all-purpose flour 1/3 cup sugar confectioner’s powdered ¼ teaspoon salt 9 Tablespoons butter unsalted 1 large egg yolk Milk filling 2 1/4 cups milk 2 tablespoon butter 2 tablespoons flour 3-4 tablespoons cornstarch 1/2 cup sugar 2 Large eggs 2 teaspoons vanilla extract ½ teaspoon almond extract optional ½ teaspoon cinnamon ½ teaspoon nutmeg or replace with cinnamon Instructions Crust Pastry Prepare a 9-inch pie pan with a detachable bottom by buttering or spraying it thoroughly. Put away for now. Put the flour, salt, and sugar into a food processor and pulse a few times to combine. Add the butter and pulse until a dough-like consistency is reached. The dough will barely come together after adding the egg yolk and pulsing. Take the dough out and lay it on the counter; knead it briefly to bring together all the pieces. Minimal dough handling is optimal. If the dough is overworked, it will become tough. The dough is done when it can be shaped into a ball with very little further moisture. Be extremely gently as you press the dough into the prepared pie pan, beginning in the middle and working your way outward and up the edges until the pan is completely lined with pastry. Put the pie pan in the freezer for at least 30 minutes; if time is short, use a brick and bake it with beans to keep the dough from rising. Put a rack in the middle of the oven and preheat it to 400 degrees Fahrenheit (205 degrees C). If you want a dry and golden crust, bake it for 20–25 minutes. Put apart Filling Milk Stir together the butter, nutmeg, and milk in a saucepan set over medium heat; bring to a boil, then turn off the heat. Whisk together the eggs, flour, cornstarch, sugar, vanilla extract, and almond extract in a separate basin. In a pot, stir gently to avoid lumps. Bring the pan back to the heat source, and whisk continually until bubbles form in the mixture. Preparation time is roughly 5-6 minutes. Take off the stove and ladle the filling into the prebaked pastry casing. Cinnamon powder, please. Put in the fridge and wait to serve. Notes When making the custard, constantly stir to prevent lumps.Allow the custard to cool slightly before pouring it into the pastry crust.Sprinkle cinnamon or nutmeg on top for added flavor.Serve the Melktert at room temperature for the best taste and texture.For a decorative touch, use a fine sieve to dust powdered sugar on the top. South African Chicken Curry Recipe The South African Chicken Curry is a popular dish known for its rich and aromatic flavors. It comes originally from the southern region of India, where it is a staple in many households. This curry is well known there for its diverse range of spices and seasonings, each contributing to its distinct taste profile. Equipment Large saucepan or Dutch oven Wooden spoon or spatula Cutting board knife Measuring cups and spoons Mixing bowl Serving platter or bowls Ingredients 6 chicken thighs 2 tbsp curry powder 2 tbsp flour 2 tbsp brown sugar 1 tbsp black pepper powder 1/2 cup jam apricot 2 tbsp vinegar 1 tbsp mustard 1 1/2 cup water 2 tbsp garlic chopped 1 onion sliced into rings 1 green pepper diced 8 oz mushrooms halved 3 tbsp vegetable oil Instructions To make the curry flour, combine curry powder, flour, brown sugar, and black pepper. Stir together the apricot jam, vinegar, mustard, and water in a separate basin. In a pan with a shallow rim, heat the oil. Season the chicken on both sides with salt and pepper and then Brown the chicken in the cooking oil. Put on a plate and put away temporarily. Sauté onion in the same pan until translucent, then add the garlic and stir for an additional 30 seconds.The good brown bits left behind from the chicken add great flavor to the curry if you scrape them off. After a few minutes of stirring, add the mushrooms and peppers. Put the chicken thighs back into the pan, and sprinkle spice mixture over them. Stir in the apricot preserves mixture and cook for a few more minutes. Cover and cook over low heat, checking and tossing periodically, until chicken is cooked through. Serve it over a bed of rice Notes Sauté onions and spices until fragrant for enhanced flavor.Use boneless, skinless chicken pieces for quicker cooking.Simmer the curry on low heat to allow flavors to meld.Adjust the spiciness by adding or reducing chili powder.Stir occasionally to prevent sticking or burning.Garnish with fresh cilantro before serving for a burst of freshness.Consider marinating the chicken beforehand for more flavor. South African Cheeza Recipe The South African Cheeza Recipe, also known as South African Cheese and Corn Bread, is a delightful culinary creation with a rich history and some health benefits worth noting. This dish is a fusion of flavors and cultures, combining elements from both African and European culinary traditions.The combination of corn and cheese in this dish creates a satisfying and flavorful meal that’s not only delicious but also provides essential nutrients. However, it’s important to enjoy it in moderation, especially if you’re watching your calorie intake. Equipment a. Oven b. Baking dish c. Mixing bowls d. Whisk e. Measuring cups and spoons f. Grater or shredder g. Knife and cutting board h. Serving platter or dish Ingredients 12 slices Bacon 6 Spring Onions 6 slices Wheat Bread ⅜ cups Mayonnaise tngy 3 cups Cheddar Cheese Grated and roughly grated Instructions Crumble the bacon once it has been fried. Separate the green and white sections of the spring onion and chop them into small pieces. Warm up the bread in a toaster. Combine the mayonnaise, cheese, spring onions, and bacon in a bowl and stir to combine. Put the buttered toast on a baking sheet and top it with Cheeza. To get a bubbling, golden sauce, grill it for a while. Notes Use high-quality cheese for enhanced flavor.Grate the cheese fresh for better melting.Mix corn and cheese thoroughly for even distribution.Preheat the oven for consistent baking.Adjust seasoning to taste.Experiment with different cheese varieties.Customize with herbs or spices for a unique twist. South African Bobotie Recipe The South African Bobotie recipe is a dish that captures the essence of South African culinary traditions. This savory creation boasts a rich history and flavors that make it a part of South African culture.Imagine a dish where minced meat mingles with an assortment of spices to create a flavorful base. What sets it apart is the golden-brown topping, a creamy mixture of eggs and milk that adds a touch of sweetness to balance the savory goodness below. Bobotie’s origins can be traced back to the Dutch East India Company’s influence on South Africa, infusing Indonesian and Dutch elements into the local cuisine. Over time, it has evolved into a South African classic, celebrated for its unique blend of influences Equipment Ovenproof dish (for baking the bobotie) Frying pan (for sautéing ingredients) Mixing bowls (for combining ingredients) Whisk (for mixing the egg topping) Cutting board and knife (for chopping ingredients) Grater (for grating spices) Measuring cups and spoons (for precise measurements) Ingredients Main 1½ pound beef 1 large onion finely diced 2 cloves garlic minced ⅔ cup raisins 3 tablespoons apricot jam 2 slices bread white remove crusts ½ cup milk full cream 2 tablespoons almonds flaked 2 tablespoons cooking oil Spices 1 tablespoon turmeric 1 teaspoon cumin ground ½ teaspoon cinnamon ground ¼ teaspoon cayenne pepper 2 teaspoons curry powder mild 1 teaspoon dried herbs oregano and basil mix pepper to taste salt to taste Instructions Have a 365F/185C oven ready to go. Put this in two bowls. Milk should be used to soak crustless bread. Soak the raisins for a while. Don't touch those dishes for now. To make translucent onions, heat oil in a big pan or skillet over medium heat and sauté the onions for 5 minutes. While tossing often to break down into small grains, add all the spices, minced garlic, and ground beef. To get a nice brown color, cook for around 10 minutes. Add the apricot preserves and stir to combine. Meanwhile, using your hands, squeeze the milk out of the bread, setting the milk aside to use as a topping for the eggs. Take the raisins out of their water. Toss the bread cubes, almond flakes, and raisins into the bowl and mix thoroughly. Add another 5 minutes of cooking time at a medium heat. Put the ingredients in an oven-safe dish. Press the beef mixture down with the back of a spoon and smooth the top. The egg topping must remain on top of the meat and not sink into it. Combine the soaked bread's milk with the eggs, turmeric, cumin, salt, and a mixing bowl. The meat should be covered with the egg mixture, and the bay leaves should be placed on top. Bake for 20 minutes, or until the center is set, if using an egg custard. Notes Use lean ground beef for a healthier option.Toast the bread for breadcrumbs to enhance flavor.Soak the raisins in warm water for easier blending.Adjust spice levels to taste, as bobotie can be mild or spicy.Add a pinch of turmeric for a vibrant color.Garnish with chopped fresh herbs for freshness. South African Lemon Meringue Tart The South African Lemon Meringue Tart recipe is a dessert that holds a special place in South African cuisine. This exquisite treat combines the zesty tang of lemons with the sweetness of meringue in a balance of flavors and textures. Its creation and popularity are deeply ingrained in South African culture. The South African Lemon Meringue Tart recipe a delightful experience with a touch of history and potential health benefits. Equipment Mixing bowls 8 or 9-inch tart pan with a removable bottom whisk Saucepan for lemon curd Electric mixer for meringue Zester or grater for lemon zest Oven for baking Ingredients 1 Crust any crumbled cookie type mixed with a tiny bit of butter African Tennis Biscuits but Digestives works well too) 1/2 cup emon juice 1 can condensed milk 2 eggs separated Pinch salt 3 tablespoons sugar castor castor type Instructions Turn the oven temperature up to 160 degrees Celsius (325 degrees Fahrenheit). Combine condensed milk and lemon juice until smooth and thick. Mix the egg yolks with the salt. Combine with the sweetened condensed milk. Add to a deep tart dish, on top of the crust you've already pushed into the dish. Put it in the oven for 20 minutes with no cover. Egg whites should be beaten until stiff peaks form for the top layer. Beat for another minute after gradually adding the castor sugar. Dollop this on top of the baked filling to create peaks. Add another 20 minutes to the baking time, or until the meringue is a light golden color. Notes Use fresh lemons for the most vibrant lemon flavor.When making the lemon curd, stir continuously to avoid curdling.Ensure the tart crust is baked to a light golden color for a crisp base.Let the tart cool completely before adding the meringue to prevent melting.Use room temperature egg whites for better meringue stability.When piping the meringue, create decorative swirls for an appealing presentation. BACK TO TOP

RADIO SERVERS Information über das Radio We built ‘Radio SAM Broadcaster Germany’ for YOU…….. For you to NEVER miss that amazing event. We strive to, at all times, try to take the hassle out of finding out where that favourite artist is performing, have a look at some other artists also performing, and at what venue it is going to be held, at what time, and maybe it will be the end of life as you know it. We love radio! Radio SAM Broadcaster Germany makes life a little easier for everyone who feels the same way. We offer you the opportunity to listen to internet radio from all over the world in a particularly uncomplicated manner and free of charge. With the push of a button, you can also record it very easily thanks to Radio SAM Broadcaster Germany. Don't you ever want to miss your favorite internet radio radio again? Our tools make it possible! You can put together your own program in the Radio SAM Broadcaster Germany player, in the app and directly on our website. 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We had to seek for a way to please all our clients and ensure they can get to listen to our music from wherever they are 24/7. So rather than our visitors and listerners are waiting until we get a chance to play at their local music, or follow us wherever we go for gigs, they can listen to our music whenever they feel like any time of the day. Who Can Listen to the Radio Station? Anyone anywhere in the world can access Radio SAM Broadcaster Germany. We do not have demographic inhibitions and ensure that anyone can access the music any time of the day or night whenever they are in the mood to dance. When you are having a party or entertaining some guests, this is the music that will take the party to the next level. Just make sure you have enough dancing room. Your guests will rock to the music the whole night as tune after tune belts out of the online music radio station. 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