For other uses, see Boer (disambiguation)

Boers are a distinct group of the larger Afrikaner nation.^{[citation needed]}

Boer people

Paul Kruger, Andries Pretorius, Sarel Cilliers, and Petrus Jacobus Joubert
Total population
approx. 1.5 million.[1]
Languages
Afrikaans, South African English
Religion
Protestant (Afrikaner Calvinism, Reformed churches)
Related ethnic groups
Dutch, Flemish, Frisians; Germans, French, Scots, English; Cape Coloureds, Basters

Boer ( /ˈbʊər/, /ˈboʊ.ər/, or /ˈbɔər/; Afrikaans: [ˈbuːr]) is the Dutch and Afrikaans word for farmer, which came to denote the descendants of the Dutch-speaking settlers of the eastern Cape frontier^[2] in Southern Africa during the 18th century, as well as those who left the Cape Colony during the 19th century to settle in the Orange Free State, Transvaal (which are together known as the Boer Republics), and to a lesser extent Natal. Their primary motivations for leaving the Cape were to escape British rule and extract themselves from the constant border wars between the British imperial government and the native tribes on the eastern frontier.

History[link]

Origin[link]

Boer guerrillas during the Second Boer War

The Trekboers, as they were originally known, were mainly of Dutch origin and included Calvinists, Flemish and Frisian Calvinists, as well as French Huguenot^[3] and German and British protestants who first arrived in the Cape of Good Hope during the period of its administration (1652 – 1795) by the Dutch East India Company (Verenigde Oostindische Compagnie or VOC). Lesser migrations of Scandinavians, Portuguese, Greeks, Italians, Spanish, Polish, Scots, English, Jews, Russians and Irish immigrants also contributed to this ethnic mix.

For more information on history before the Great Trek, see Afrikaner.

Great trek[link]

Those Trekboers who trekked into and occupied the eastern Cape were semi-nomadic. A significant number in the eastern Cape frontier later became Grensboere ("border farmers") who were the direct ancestors of the Voortrekkers. The Voortrekkers were those Boers (mainly from the eastern Cape) who left the Cape en masse in a series of large scale migrations later called the Great Trek beginning in 1835 as a result of British colonialism and constant border wars. When used in a historical context, the term Boer may refer to an inhabitant of the Boer Republics as well as those who were cultural Boers.

Anglo-Boer wars[link]

Though the Boers accepted British rule without resistance in 1877, they fought two wars in the late 19th century to defend their internationally recognized independent countries, the republics of the Transvaal (the Zuid-Afrikaansche Republiek, or ZAR) and the Orange Free State (OFS), against the threat of annexation by the British Crown. This led the key figure in organizing the resistance, Paul Kruger, into conflict with the British.^[4]

Boer War diaspora[link]

After the second Anglo-Boer War, a Boer diaspora occurred. Starting in 1903, the largest group emigrated to the Patagonia region of Argentina. Another group emigrated to British-ruled Kenya, from where most returned to South Africa during the 1930s, while a third group under the leadership of General Ben Viljoen emigrated to Mexico and to New Mexico and Texas in south-western USA.

Boer Revolt[link]

Jopie Fourie executed by firing squad for treason

The Maritz Rebellion or the Boer Revolt or the Five Shilling Rebellion or the Third Boer War, occurred in South Africa in 1914 at the start of World War I, in which men who supported the re-creation of the old Boer republics rose up against the government of the Union of South Africa because they did not want to side with the British against Germany so soon after they had had a long bloody war with the British. Many Boers had German ancestry and many members of the government were themselves former Boer military leaders who had fought with the Maritz rebels against the British in the Second Boer War, which had ended only twelve years earlier. The rebellion was put down by Louis Botha and Jan Smuts, and the ringleaders received heavy fines and terms of imprisonment. A renowned Boer, Jopie Fourie, was executed for treason in 1914. He was convicted as a rebel when, as an officer in the Union Defence Force, he refused to take up arms with the British.

Characteristics[link]

Culture[link]

Trekboers crossing the Karoo.

The desire to wander, known as trekgees, was a notable characteristic of the Boers. It figured prominently in the late 17th century when the Trekboers began to inhabit the northern and eastern Cape frontiers, again during the Great Trek when the Voortrekkers left the eastern Cape en masse, as well as after the major republics were established during the Thirstland Trek.^[5] When one such trekker was asked why he has emigrated he explained, "a drifting spirit was in our hearts, and we ourselves could not understand it. We just sold our farms and set out north-westwards to find a new home."^[5] A rustic characteristic and tradition was developed quite early on as Boer society was born on the frontiers of white settlement and on the outskirts of civilization.^[2]

The Boers had cut their ties to Europe as they emerged from the Trekboer group.^[6]

The separation and declaration of the republics was made out of necessity, rather than a personal choice. The Dutch was unwilling to protect the people they abandoned at the Cape of good hope.

The Boer quest for independence manifested in a tradition of declaring republics, which predates the arrival of the British; when the British arrived, Boer republics had already been declared and were in rebellion from the VOC (Dutch East India Company).^[7]

The Boers of the frontier were known for their independent spirit, resourcefulness, hardiness, and self-sufficiency, whose political notions verged on anarchy but had begun to be influenced by republicanism.^[7] Most of the men were also skilled with the use of guns as they would hunt and also were able to protect their families with them.

Nationalism[link]

Boer family, 1886

The Boer nation is well known for their strong nationalistic characteristics. Their nationalism was born of hundreds of years of fighting against imperialism, a continuing struggle for independence battling mainly British expansion into central South Africa, as well as the harsh African climate, a strong sense of nationhood. As with any other ethnic group that has come from troubled land to troubled land, many of them see it as their duty to educate future generations on their people's past.^{[citation needed]}

Calvinism[link]

The Boer nation is mainly descended from Dutch, German and French Huguenots, who migrated to South Africa during the 17th, 18th and early 19th centuries. The Boer nation has revealed a distinct Calvinist culture and the majority of Boers today are still members of a Reformed Church. The Nederduits Hervormde Kerk was the national Church of the South African Republic (1852–1902). Also note the "Orange" in Orange Free State (1854–1902) was named after the Protestant House of Orange in the Netherlands.

The Calvinist influence remains in that some fundamental Calvinist doctrines such as unconditional predestination and divine providence remains present in much of Boer culture, who see their role in society as abiding by the national laws and accepting calamity and hardship as part of their Christian duty.^[8]

A small number of Boers may also be members of Baptist, Pentecostal or Lutheran Churches.

Modern usage[link]

During recent times, mainly during the apartheid reform and post-1994 eras, many more white Afrikaans-speaking people, mainly with "conservative" political views and of Trekboer and Voortrekker descent, have preferred to be called "Boers" or Boere-Afrikaners, rather than "Afrikaners".^[9] They feel that there were many people of Voortrekker descent who were not co-opted or assimilated into what they see as the Cape-based Afrikaner identity which began emerging after the Second Anglo-Boer War and the subsequent establishment of the Union of South Africa in 1910. Certain Boer nationalists have asserted that they do not consider themselves a right-wing element of the political spectrum.^[10]

They contend that the Boers of the South African Republic (ZAR) and Orange Free State republics were recognized as a separate people or cultural group under international law by the Sand River Convention (which created the South African Republic in 1852),^[11] the Bloemfontein Convention (which created the Orange Free State Republic in 1854), the Pretoria Convention (which re-established the independence of the South African Republic 1881), the London Convention (which granted the full independence to the South African Republic in 1884) and the Vereeniging Peace Treaty, which formally ended the Second Anglo-Boer War on 31 May 1902. Others contend, however, that these treaties dealt only with agreements between governmental entities and do not imply the recognition of a Boer cultural identity per se.

The supporters of these views feel that the Afrikaner designation (or label) was used from the 1930s onwards as a means of unifying (politically at least) the white Afrikaans speakers of the Western Cape with those of Trekboer and Voortrekker descent (whose ancestors began migrating eastward during the late 17th century and throughout the 18th century and later northward during the Great Trek of the 1830s) in the north of South Africa, where the Boer Republics were established.^[9]

Since the Anglo-Boer war the term "Boervolk" was rarely used in the 20th century by the various regimes because of this attempt to assimilate the Boervolk with the Afrikaners. A portion of those who are the descendants of the Boerevolk have reasserted this designation.^[9]

The supporters of the "Boer" designation view the term "Afrikaner" as an artificial political label which usurped their history and culture, turning "Boer" achievements into "Afrikaner" achievements. They feel that the Western-Cape based Afrikaners — whose ancestors did not trek eastwards or northwards — took advantage of the republican Boers' destitution following the Anglo-Boer War and later attempted to assimilate the Boers into a new politically based cultural label as "Afrikaners".^[12][13][14]

In contemporary South Africa and due to Broederbond propaganda, Boer and Afrikaner have been used interchangeably despite the fact that the Boers are the smaller segment within the Afrikaner designation as the Afrikaners of Cape Dutch origin are larger. Afrikaner directly translated means "African" and subsequently refers to all Afrikaans speaking people in Africa who have their origins in the Cape Colony founded by Jan Van Riebeeck. Boer is the specific ethnic group within the larger Afrikaans speaking population.^{[citation needed]}

Politics[link]

• Democratic Alliance (South Africa)
• Freedom Front Plus
• Herstigte Nasionale Party

Education[link]

The BCVO (Movement for Christian-National Education) is a federation of 47 Calvinist private schools, primarily in the Free State and the Transvaal, committed to educating Boer children from grade 0 through to 12.^[15]

Media[link]

Some local Radio stations promote the ideals of the people identifying with Boer/Afrikaner people, like Radio Rosestad (in Bloemfontein), Overvaal Stereo and Radio Pretoria.

Territories[link]

Two territorial areas are being developed as settlement exclusively for Boer/Afrikaners, Orania in the Northern Cape and Kleinfontein near Pretoria.

Notable Boers[link]

Voortrekker leaders

• Sarel Cilliers
• Andries Hendrik Potgieter
• Andries Pretorius
• Piet Retief

Great trek

• Racheltjie de Beer
• Dirkie Uys

Participants in the Second Anglo-Boer War

• Koos de la Rey, general and regarded as being one of the great military leaders of the Second Anglo-Boer War.
• Danie Theron, soldier
• Christiaan Rudolf de Wet, general
• Siener van Rensburg, considered a prophet by some.

Politicians

• Louis Botha, first prime minister of South Africa (1910–19) and former Boer general
• Petrus Jacobus Joubert, general and cabinet member of the Transvaal Republic
• Paul Kruger, president of the Transvaal Republic
• Eugene Terre'Blanche, founder of the Afrikaner Weerstandsbeweging

Spies

• Fritz Joubert Duquesne, a Boer Captain known as the Black Panther, served in the Second Boer War. Captured in Mozambique, he escaped prison in Portugal and returned to South Africa as a British officer. In 1901, he was caught planning to sabotage strategic British installations in Cape Town and sentenced to life in prison; however, he escaped and was re-captured several times again throughout his life. In World War I, Duquesne spied for Germany, earning the Iron Cross for allegedly sinking the HMS Hampshire thereby killing Lord Kitchener in 1916. He also served as a Nazi spy in the United States and, in 1941, he was caught by the Federal Bureau of Investigation (FBI) in the largest espionage case in U.S. history: The Duquesne Spy Ring.

See also[link]

References[link]

External links[link]

•  "Boer". New International Encyclopedia. 1905. 

Media related to Boers at Wikimedia Commons

Peter Brötzmann
Peter Brötzmann at Avant Jazz, Jazz Club 'Die Röhre', Moers/Germany, 12 February 2006
Background information
Born	(1941-03-06) 6 March 1941 (age 71) Remscheid, Germany
Genres	jazz, free jazz, free improvisation
Occupations	jazz saxophonist
Instruments	saxophone tárogató clarinet
Years active	Late 60s to present

Peter Brötzmann, mœrs festival 2010

Peter Brötzmann (born 6 March 1941) is a German artist and free jazz saxophonist and clarinetist.

Brötzmann is among the most important European free jazz musicians. His rough timbre is easily recognized on his many recordings.

Biography[link]

Early life[link]

He studied painting in Wuppertal and was involved with the Fluxus movement^{[citation needed]}, but grew dissatisfied with art galleries and exhibitions. He experienced his first real jazz concert when he saw American jazz musician Sidney Bechet while still in school at Wuppertal, and it made a lasting impression.^[1]

He has not abandoned his art training, however: Brötzmann has designed most of his own album covers. He first taught himself to play various clarinets, then saxophones; he is also known for playing the tárogató. Among his first musical partnerships was that with double bassist Peter Kowald.

For Adolphe Sax, Brötzmann's first recording, was released in 1967 and featured Kowald and drummer Sven-Åke Johansson.

1968, the year of political turmoil in Europe, saw the release of Machine Gun, an octet recording often listed among the most notable free jazz albums. Originally the LP was self-produced (under his own "BRO" record label imprint) and sold at gigs, but it was later marketed by Free Music Production (FMP), In 2007, Chicago-based Atavistic Records reissued the Machine Gun recording.^[1]

Career[link]

Peter Brötzmann on tenor saxophone, Minnesota Sur Seine, 2006.

The album Nipples was recorded in 1969 with many of the Machine Gun musicians including drummer Han Bennink, pianist Fred Van Hove and tenor saxophonist Evan Parker, plus British free-improv guitarist Derek Bailey. The second set of takes from these sessions, appropriately called More Nipples, is more raucous. Fuck De Boere (Dedicated to Johnny Dyani) is a live album of free sessions from these early years, containing two long improvisations, a 1968 recording of "Machine Gun" live (earlier than the studio version) and a longer jam from 1970.

The logistical difficulties of touring with an octet resulted in Brötzmann eventually slimming the group to a trio with Han Bennink and Fred Van Hove. Bennink was also partner in Schwarzwaldfahrt an album of duets recorded outside in the Black Forest in 1977 with Brötzmann's sax and Bennink drumming on trees and other objects found in the woods.

Larger groups were put together again later, for example in 1981 Brötzmann made a radio broadcast with Frank Wright and Willem Breuker (saxes), Toshinori Kondo (trumpet), Hannes Bauer and Alan Tomlinson (trombones), Alexander von Schlippenbach (piano), Louis Moholo (drums), Harry Miller (bass). This was released as the album Alarm.

In the 1980s, Brötzmann flirted with heavy metal and noise rock, including a stint in Last Exit and subsequent recordings with Last Exit's bass guitarist and producer Bill Laswell.

Brötzmann has remained active, touring and recording regularly. He has released over fifty albums as a bandleader, and has appeared on dozens more. His "Die Like A Dog Quartet" (with Toshinori Kondo, William Parker and drummer Hamid Drake) is loosely inspired by saxophonist Albert Ayler, a prime influence on Brötzmann's music. Since 1997 he has toured and recorded regularly with the Peter Brötzmann Chicago Tentet (initially an Octet).

Brötzmann has also recorded or performed with musicians including Cecil Taylor, Keiji Haino, Willem van Manen, Mats Gustafsson, Ken Vandermark, Conny Bauer, Joe McPhee and Brötzmann's son, Caspar Brötzmann, a notable guitarist in his own right.

Discography[link]

Brötzmann has an extensive portfolio, and has appeared on well over 100 albums.^[2][3] Listed below is his discography, arranged by albums which he has released under his name as a leader or as a solo effort, specifically named bands he has been in, collaborations with other artists with whom he has released albums under distinct monikers, and finally, albums on which he has performed as a sideman. Several of the collaborations were one-off live shows, yielding only a single album release, as seen below.

Brötzmann as a leader, and solo releases[link]

• For Adolphe Sax (1967)
• Machine Gun (1968)
• Nipples (1969)
• More Nipples (1969)
• Fuck de Boere: Dedicated to Johnny Dyani (1970)
• Solo (1976)
• Alarm (1981)
• 14 Love Poems (1984)
• No Nothing (1991)
• Dare Devil (1992)
• The März Combo Live in Wuppertal (1993)
• Nothing to Say - Dedicated to Oscar Wilde: A Suite of Breathless Motion (1996)
• Sprawl (1997)
• Right as Rain - Dedicated to Werner Ludi (2001)
• Usable Past (EP) (2002)
• Lost & Found (2009)

Bands with Brötzmann as a member[link]

Brötzmann Clarinet Project - with John Zorn, and others

• Berlin Djungle (1987)

The Chicago Octet/Tentet/Tentet Plus Two

• The Chicago Octet/Tentet (1997)
• Stone/Water (2000)
• Two Lightboxes (2000)
• Broken English (2001)
• Short Visit to Nowhere (2001)
• Images (2004)
• Signs (2004)
• Be Music, Night - A Homage to Kenneth Patchen (2005)
• American Landscapes 1 (2007)
• American Landscapes 2 (2007)
• At Molde 2007 (2007)

Die Like a Dog Quartet - with Toshinori Kondo, William Parker, Hamid Drake

• Die Like a Dog: Fragments of Music, Life and Death of Albert Ayler (1994)
• Little Birds Have Fast Hearts, No. 1 (1998)
• From Valley to Valley (feat. Roy Campbell, Jr.) (1999)
• Little Birds Have Fast Hearts, No. 2 (1999)
• Aoyama Crows (2002)

Full Blast - with Marino Pliakas and Michael Wertmüller

• Full Blast (2006)
• Black Hole (2009)
• Sketches & Ballads (2011)

Globe Unity Orchestra

• Live in Wuppertal (1973)
• For Example (1973)
• Hamburg '74 (1974)
• Evidence (1975)
• Into the Valley (1975)
• Rumbling (EP) (1975)
• Jahrmarkt/Local Fair (1977)
• Improvisations (1977)
• Pearls (1977)
• Compositions (1979)
• Intergalactic Blow (1982)
• 20th Anniversary (1986)
• Globe Unity 67 & 70 (2001)
• Globe Unity 2002 (2002)

Last Exit - with Bill Laswell, Sonny Sharrock, Ronald Shannon Jackson

• Last Exit (1986)
• The Noise Of Trouble: Live In Tokyo (1987)
• Iron Path (1988)
• Cassette Recordings '87 (1988) (reissued in 1995 as From The Board)
• Köln (1990)

North Quartet

• Malamute (2005)

Sonore - with Ken Vandermark and Mats Gustafsson

• No One Ever Works Alone (2004)
• Only the Devil Has No Dreams (2007)
• Call Before You Dig (2009)
• Cafe Oto (2011)

The Wild Mans Band - with Peter Ole Jørgensen and Peter Friis Nielsen

• The Wild Mans Band (1997)
• Three Rocks and a Pine (1999)
• The Darkest River (2003)
• Flower Head (2007)

The Wuppertal Workshop Ensemble

• The Family (1981)

Other collaborations[link]

Bailey / Sabu / Brötzmann

• Live in Okayama 1987 (2001)

Bergman / Borgmann / Brötzmann aka "Berg/Borg/Brötz: Mann/n"

• Ride Into the Blue (1996)
• Blue Zoo (1997)

Bergman / Braxton / Brötzmann

• Eight by Three (1997)

Bergman / Brötzmann / Cyrille

• Exhilaration (1997)

Borgmann / Brötzmann / Parker / Bakr

• The Cooler Suite (2003)

Peter Brötzmann / Juhani Aaltonen / Peter Kowald / Edward Vesala

• Hot Lotta (1973)

Peter Brötzmann / Gregg Bendian / William Parker

• Sacred Scrape, Secret Response (1994)

Brötzmann / Bennink

• Ein halber Hund kann nicht pinkeln (1977)
• Schwarzwaldfahrt (1977)
• Atsugi Concert (1980)
• Still Quite Popular After All Those Years (2005)
• Total Music Meeting 1977 Berlin (2006, archival)
• In Amherst 2006 (2008)

Peter Brötzmann / Casper Brötzmann

• Last Home (1990)

Peter Brötzmann & Andrew Cyrille

• Andrew Cyrille Meets Brötzmann in Berlin (1982)

Peter Brötzmann & Hamid Drake

• The Dried Rat-Dog (1995)

Brötzmann / Drake / Kessler

• Live at the Empty Bottle (1999)

B.E.E.K. (Brötzmann, Ellis, Eneidi, Krall)

• Live at Spruce Street Forum (2004)

Brötzmann / Friis-Nielsen / Uuskyla

• Noise of Wings (1999)
• Flying Feathers (2002)
• Live at Nefertiti (2002)
• Medicina (2004)

Peter Brötzmann / Mahmoud Guinia / Hamid Drake

• The WELS Concert (1997)

Peter Brötzmann & Shoji Hano

• Funny Rat [K7] (1982)
• Funny Rats/2 (2008)
• Funny Rats/3 (2008)

Peter Brötzmann, Fred Hopkins & Rashied Ali

• Songlines: Music Is a Memory Bank for Finding One's Way About the World (1994)

Peter Brötzmann, Fred Hopkins & Hamid Drake

• The Atlanta Concert (2001)

Brötzmann / Kondo / Pupillo / Nilssen-Love

• Hairy Bones (2009)

Brötzmann / Laswell

• Low Life (1987)

Peter Brötzmann / Fred Lonberg-Holm

• The Brain of the Dog in Section (2008)

Peter Brötzmann / Werner Lüdi

• Wie Das Leben So Spielt (1990)

Brötzmann / Mangelsdorff / Sommer

• Pica Pica (1984)

Peter Brötzmann, Joe McPhee, Kent Kessler & Michael Zerang

• Tales Out of Time (2004)
• Guts (2007)
• The Damage Is Done (2009)

Brötzmann / Michiyo Yagi / Nilssen-Love

• Head On (2008)

Brötzmann & Miller

• Brötzmann & Miller (2007)

Brötzmann / Miller / Moholo

• The Nearer the Bone, the Sweeter the Meat (1979)
• Opened, but Hardly Touched (1981)

Peter Brötzmann / Misha Mengelberg / Han Bennink

• 3 Points and a Mountain (1979)

Peter Brötzmann & Paal Nilssen-Love

• Sweet Sweat (2008)
• Woodcuts (2009)

Peter Brötzmann, Paal Nilssen-Love & Mats Gustafsson

• The Fat Is Gone (2007)

Brötzmann / Oliver / Kellers

• In a State of Undress (feat. Manfred Schoof) (1989)

Brötzmann / Parker / Drake

• Never Too Late but Always Too Early (2003)

Peter Brötzmann / William Parker / Michael Wertmüller

• Nothung (2002)

Peter Brötzmann & Walter Perkins

• The Ink Is Gone (2002)

Peter Brötzmann & Tom Raworth

• No Hard Feelings - For Steve Lacy (2007)

Peter Brötzmann / Ed Sivkov / Nick Rubanov

• Petroglyphs (2004)

Peter Brötzmann, Nicky Scopelitis & Shoji Hano

• Organized Chaos (2002)

Brötzmann / Sommer / Phillips

• Réservé (1989)

Peter Brötzmann - Keith Tippett Quartet

• appears on Bratislava Jazz Days compilation (1984)

Peter Brötzmann & Peeter Uuskyla

• Born Broke (2008)

Brötzmann / Van Hove / Bennink

• Balls (1970)
• Free Jazz und Kinder (1972)
• Brötzmann / Van Hove / Bennink (1973)
• Outspan No. 2 (1974)
• Tschüs (1975)

Brötzmann, Van Hove, Bennink & Albert Mangelsdorff

• Couscouss de la Mauresque (1971)
• Elements (1971)
• The End (1971)
• Outspan No. 1 (1974)
• Live in Berlin '71 (1991, archival)

Peter Brötzmann & Nasheet Waits

• Live at the 'Bottle' Fest 2005 (2005)

Brötzmann Wilkinson Quartet - with Simon Fell and Willi Kellers

• One Night in Burmantoft's (2007)

Peter Brötzmann / Yukihiro Issoh / Tamio Kawabata / Ryojiro Furusawa

• Vier Tiere (1993)

Brötzmann / Zerang

• Live in Beirut (2005)

Crispell / Brötzmann / Drake

• Hyperion (1995)

Frode Gjerstad / Peter Brötzmann

• Invisible Touch (1998)
• Sharp Knives Cut Deeper (2002)
• Soria Moria (2003)

Keiji Haino & Peter Brötzmann

• Evolving Blush or Driving Original Sin (1997)

Keiji Haino, Peter Brötzmann and Shoji Hano

• Shadows (2000)

Alfred Harth / Peter Brötzmann

• Go-No-Go (1987)

Achim Jaroschek / Peter Brötzmann

• Neurotransmitter (1998)
• Subtle Twister (2003)

Kellers / Brötzmann

• Kellers / Brötzmann (1981)

Evan Parker Trio & Peter Brötzmann Trio

• The Bishop's Move (2004)

Sabu Brötzmann Duo

• Sabu Brötzmann Duo (1997)

Frank Samba, Dieter Manderscheid, Peter Brötzmann

• Danquah Circle (2004)

Sharrock / Brötzmann

• Fragments (2007, archival)

Nicolai Yudanov, Peter Brötzmann & Sakari Luoma

• Fryed Fruit (2001)

As a sideman; guest appearances[link]

• B-Shops for the Poor - Visions & Blueprints (1992)
• Thomas Borgmann Trio - Stalker Songs (1997)
• Don Cherry, Krzysztof Penderecki & the New Eternal Rhythm Orchestra - Actions (1972)
• Heiner Goebbels - Hörstücke (1994)
• Barry Guy & London Jazz Composers' Orchestra - Study II, Stringer (2006)
• Haazz & Company - Unlawful Noise (1976)
• Charles Hayward - Double Agent(s) (Live in Japan Volume Two) (1996)
• Ruf de Heimat - Machine Kaput (1996)
• ICP Orchestra - Groupcomposing (1971)
• ICP Orchestra - "Tetterettet" (1978)
• ICP Orchestra - In Berlin (1979)
• Michael Nyman - Michael Nyman (1981)
• Misha Mengelberg - Japan Japon (1982)
• Neils & the New York Street Percussionists - Neils & the New York Street Percussionists (1990)
• Orchester 33 1/3 - Orchester 33 1/3 (1997)
• Alexander von Schlippenbach - The Living Music (1969)
• Manfred Schoof - European Echoes (1969)
• Cecil Taylor - Olu Iwa (1986)
• Cecil Taylor - Alms/Tiergarten (Spree) (1989)

Films[link]

• RAGE!, made by Bernard Josse (F 2011)
• BRÖTZMANN, Filmproduktion Siegersbusch, documentary film by René Jeuckens, Thomas Mau and Grischa Windus (Cinema, DVD, D/UK 2011)

References[link]

External links[link]

Wikimedia Commons has media related to: Peter Brötzmann

• Official website
• Interviews, discographies and photographs
• Projects, releases and photographs

Paul van Ostaijen
Paul van Ostaijen
Born	(1896-02-22)22 February 1896 Antwerp, Belgium
Died	18 March 1928(1928-03-18) (aged 32) Miavoye-Anthée, Belgium
Nationality	Belgian
Occupation	poet, writer

Paul van Ostaijen (22 February 1896 – 18 March 1928) was a Flemish poet and writer.

Nickname[link]

Van Ostaijen was born in Antwerp. His nickname was Mister 1830, derived from his habit of walking along the streets of Antwerp clothed as a dandy from that year.

His poetry shows influences from Modernism, Expressionism, Dadaism and early Surrealism, but Van Ostaijen's style is very much his own.

Flamingant[link]

Van Ostaijen was an active flamingant, a supporter of Flemish independence. Because of his involvement with Flemish activism during World War I, he had to flee to Berlin after the war. In Berlin—one of the centers of Dadaism and Expressionism—he met many other artists. He also struggled through a severe mental crisis.

Upon returning to Belgium, Van Ostaijen opened an art gallery in Brussels. He died of tuberculosis in 1928 in a sanatorium in Miavoye-Anthée, in the Wallonian Ardennes.

The Czech poet Ivan Wernisch was so impressed by "the genius of van Ostaijen"^[1] that he learned Flemish to be able to translate him. His translation was published as Tanec gnómů, Dance of the gnomes, in 1990.^[2]

Boem paukeslag, one of Van Ostaijen's most famous poems

Poetry[link]

• Music hall (1916)
• Het sienjaal (The signal, 1918)
• Bezette stad (Occupied city, 1921)
• Feesten van Angst en Pijn (Feasts of Fear and Pain, written 1921, published posthumously)
• Nagelaten gedichten (Posthumous poems, published posthumously in 1928)

From the Posthumous Poems:

Zelfmoord des Zeemans

De zeeman
hij hoort de stem der Loreley
hij ziet op zijn horloge
en springt het water in

[The Sailor's Suicide

The sailor
he hears the call of the Loreley
he looks at his watch
and jumps into the water]

Other publications[link]

• De trust der vaderlandsliefde (The trust of patriotism, 1925, grotesques)
• Gebruiksaanwijzing der lyriek (Manual of lyrics, 1926, lecture)
• Het bordeel van Ika Loch (Ika Loch's brothel, 1926, grotesques)
• De bende van de stronk (The stump gang, 1932, grotesques)

See also[link]

Poetry portal

• Flemish literature

References[link]

External links[link]

• Nagelaten gedichten
• Short biography
• Dandy en dichter
• Sonja A.J. Neef: Kalligramme. Zur Medialität einer Schrift. Anhand von Paul van Ostaijens "De feesten van angst en pijn". Amsterdam: ASCA Press 2000