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Cape Town's public cultures can only be fully appreciated through recognition of its deep and diverse soundscape. We have to listen to what has made and makes a city. The ear is an integral part of the 'research tools' one needs to get a sense of any city. We have to listen to the sounds that made and make the expansive 'mother city'. Various of its constituent parts sound different from each other … [T]here is the sound of the singing men and their choirs ("teams" they are called) in preparation for the longstanding annual Malay choral competitions. The lyrics from the various repertoires they perform are hardly ever written down. […] There are texts of the hallowed 'Dutch songs' but these do not circulate easily and widely. Researchers dream of finding lyrics from decades ago, not to mention a few generations ago – back to the early 19th century. This work by Denis Constant Martin and Armelle Gaulier provides us with a very useful selection of these songs. More than that, it is a critical sociological reflection of the place of these songs and their performers in the context that have given rise to them and sustains their relevance. It is a necessary work and is a very important scholarly intervention about a rather neglected aspect of the history and present production of music in the city.

International audience For more than twenty years (from 1992 till 2015) I did research on the New Year Festivals which are organised at the beginning of every year in Cape Town (South Africa). These festivals include three series of competitions: between carnival troupes named Klopse (from the English clubs), between male choirs called Malay Choirs and between Christian brass bands known as Christmas Choirs or Christmas Bands. In the course of this research I conducted a great number of interviews, videoed and photographed the festivals and their preparations, collected many printed documents on which I based several articles, book chapters and books (in English and in French); I also recorded a CD with a local choir singing for the Klopse as well as for the Malay Choirs and produced a video documentary on the 1994 edition of the festival. In this paper I explain the conditions in which I conducted this research, underlining the importance of the partnership I entered into with major actors of the festivals, and signal the implications of such partnerships. I also discuss the conditions in which my documentation was constituted and why most of it was deposited with a South African musical archive. ; De 1992 à 2015, j'ai poursuivi une recherche au Cap, en Afrique du Sud, portant sur les fêtes du Nouvel An, consistant en compétitions de troupes de carnaval (Klopse), de chœurs masculins (Malay Choirs) et de fanfares chrétiennes (Christmas Choirs). Au cours de cette recherche, j'ai enregistré de nombreux entretiens, filmé et photographié les manifestations festives et leurs préparatifs, collecté de la documentation imprimée, tous matériaux qui ont servi à la rédaction de nombreux textes en français et en anglais, qu'un film documentaire et un CD ont complétés. Cet article retrace les conditions dans lesquelles j'ai effectué cette recherche au long cours. Il souligne le partenariat indispensable avec des acteurs importants de ces fêtes ainsi que ses implications. Il indique enfin comment la documentation a été ...

International audience ; For more than twenty years (from 1992 till 2015) I did research on the New Year Festivals which are organised at the beginning of every year in Cape Town (South Africa). These festivals include three series of competitions: between carnival troupes named Klopse (from the English clubs), between male choirs called Malay Choirs and between Christian brass bands known as Christmas Choirs or Christmas Bands. In the course of this research I conducted a great number of interviews, videoed and photographed the festivals and their preparations, collected many printed documents on which I based several articles, book chapters and books (in English and in French); I also recorded a CD with a local choir singing for the Klopse as well as for the Malay Choirs and produced a video documentary on the 1994 edition of the festival. In this paper I explain the conditions in which I conducted this research, underlining the importance of the partnership I entered into with major actors of the festivals, and signal the implications of such partnerships. I also discuss the conditions in which my documentation was constituted and why most of it was deposited with a South African musical archive. ; De 1992 à 2015, j'ai poursuivi une recherche au Cap, en Afrique du Sud, portant sur les fêtes du Nouvel An, consistant en compétitions de troupes de carnaval (Klopse), de chœurs masculins (Malay Choirs) et de fanfares chrétiennes (Christmas Choirs). Au cours de cette recherche, j'ai enregistré de nombreux entretiens, filmé et photographié les manifestations festives et leurs préparatifs, collecté de la documentation imprimée, tous matériaux qui ont servi à la rédaction de nombreux textes en français et en anglais, qu'un film documentaire et un CD ont complétés. Cet article retrace les conditions dans lesquelles j'ai effectué cette recherche au long cours. Il souligne le partenariat indispensable avec des acteurs importants de ces fêtes ainsi que ses implications. Il indique enfin comment la documentation a été ...

International audience ; For more than twenty years (from 1992 till 2015) I did research on the New Year Festivals which are organized at the beginning of every year in Cape Town (South Africa). These festivals include three series of competitions: between carnival troupes named Klopse (from the English clubs), between male choirs called Singkoore or Malay Choirs and between Christian brass bands known as Christmas Choirs or Christmas Bands. In the course of this research, I conducted a great number of interviews, videoed and photographed the festivals and their preparations, collected many printed documents on which I based several articles, book chapters and books (in English and in French); I also recorded a CD with a local choir singing for the Klopse as well as for the Singkoore and produced a video documentary on the 1994 edition of the festival. In this paper I explain the conditions in which I conducted this research, underlining the importance of the partnership I entered into with major actors of the festivals, and signal the implications of such partnerships. I also discuss the conditions in which my documentation was assembled and why most of it was deposited with a South African musical archive.

International audience ; For more than twenty years (from 1992 till 2015) I did research on the New Year Festivals which are organized at the beginning of every year in Cape Town (South Africa). These festivals include three series of competitions: between carnival troupes named Klopse (from the English clubs), between male choirs called Singkoore or Malay Choirs and between Christian brass bands known as Christmas Choirs or Christmas Bands. In the course of this research, I conducted a great number of interviews, videoed and photographed the festivals and their preparations, collected many printed documents on which I based several articles, book chapters and books (in English and in French); I also recorded a CD with a local choir singing for the Klopse as well as for the Singkoore and produced a video documentary on the 1994 edition of the festival. In this paper I explain the conditions in which I conducted this research, underlining the importance of the partnership I entered into with major actors of the festivals, and signal the implications of such partnerships. I also discuss the conditions in which my documentation was assembled and why most of it was deposited with a South African musical archive.

International audience ; For more than twenty years (from 1992 till 2015) I did research on the New Year Festivals which are organized at the beginning of every year in Cape Town (South Africa). These festivals include three series of competitions: between carnival troupes named Klopse (from the English clubs), between male choirs called Singkoore or Malay Choirs and between Christian brass bands known as Christmas Choirs or Christmas Bands. In the course of this research, I conducted a great number of interviews, videoed and photographed the festivals and their preparations, collected many printed documents on which I based several articles, book chapters and books (in English and in French); I also recorded a CD with a local choir singing for the Klopse as well as for the Singkoore and produced a video documentary on the 1994 edition of the festival. In this paper I explain the conditions in which I conducted this research, underlining the importance of the partnership I entered into with major actors of the festivals, and signal the implications of such partnerships. I also discuss the conditions in which my documentation was assembled and why most of it was deposited with a South African musical archive.

The Christmas Band competitions are one of three coloured community music competitions that take place in the Western Cape between January and March every year, the other two being the klopse (carnival troupes) and the Malay choirs. Christmas bands, which first began holding formal competitions in the 1940s, developed out of city clubs established under British colonial rule in the Cape Colony and the Temperance movement, both of which imbued the bands with the idea of presenting a respectable working class ethos through the use of stylish uniforms, strict discipline and implied militarism in the marching files. The bands characterise and preserve notions of masculinity, bond local communities of supporters, help to train musicians, and through the annual enactment of an ideal coloured community help working class people to present themselves as upright and honourable members of society. The practices engaged in by the bands constitute a performance of identity: the articulation of a social identity, which, though marginalised and contested, is nonetheless proudly independent and united.

Anualmente, a Cidade do Cabo torna-se palco para um conjunto de festividades que celebram a chegada do ano novo. Bandas de Natal (Christmas bands), corais malaios (Malay choirs) e trupes de menestréis (Kaapse Klopse) ocupam as ruas, espalhando sons e cores. Usualmente esses grupos também participam de atividades competitivas, que mobilizam boa parte da população local. Tais formas expressivas são associadas, mais especificamente, às classes trabalhadoras dos chamados Coloureds – sul-africanos mestiços, cujos antepassados participaram do processo de crioulização que se deu na Colônia do Cabo. A chegada do novo coronavírus e as medidas governamentais adotadas para o enfrentamento da pandemia exigiram a suspensão das festas tradicionais. Contudo uma alternativa foi experimentada. Um grupo de produtores locais criou o Culture Shock, um programa transmitido via streaming cujo conteúdo é uma versão reestruturada da competição entre corais e trupes de menestréis. Neste artigo, apresento uma comparação entre os eventos originais e sua nova versão na era da pandemia. Quais são as semelhanças e as diferenças entre os dois fenômenos em termos das práticas, dos valores e das emoções que acionam? Aponto elementos dessas festividades que foram eliminados ou modificados com a implementação do novo formato. Também destaco os pontos de continuidade, argumentando que eles revelam aspectos importantes dessas celebrações populares.