Culture
The founders of this community were the first to bring Islam to South Africa. The community's culture and traditions have also left an impact that is felt to this day. Adaptations of traditional foods such as bredie, bobotie, sosaties and koeksisters are staples in many South African homes. The Muslim community in Cape Town remains large and vibrant. It has expanded greatly beyond those exiles who started the first mosques in South Africa.
People in the Cape Malay community generally speak mostly Afrikaans but also English, or local dialects of the two. They no longer speak the Malay languages and other languages which their ancestors used, although various Malay words and phrases are still employed in daily usage.
This cultural group developed a characteristic 'Cape Malay' music. An interesting secular folk song type, of Dutch origin, is termed the nederlandslied. The language and musical style of this genre reflects the history of South African slavery; it is often described and perceived as 'sad' and 'emotional' in content and context. The nederlandslied shows the influence of the Arabesque (ornamented) style of singing. This style is unique in South Africa, Africa and probably in the world.
Cape Malay music has been of great interest to academics, historians, musicologists, writers and even politicians. The well-known annual Cape Town Minstrel or Carnival street festival is a deep-rooted Cape Malay cultural event; it incorporates the Cape Malay comic song or moppie (often also referred to as ghoema songs). The barrel-shaped drum, called the 'ghoema', is also closely associated with Cape Malay music.
Read more about this topic: Cape Malay
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“As the end of the century approaches, all our culture is like the culture of flies at the beginning of winter. Having lost their agility, dreamy and demented, they turn slowly about the window in the first icy mists of morning. They give themselves a last wash and brush-up, their ocellated eyes roll, and they fall down the curtains.”
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“A culture may be conceived as a network of beliefs and purposes in which any string in the net pulls and is pulled by the others, thus perpetually changing the configuration of the whole. If the cultural element called morals takes on a new shape, we must ask what other strings have pulled it out of line. It cannot be one solitary string, nor even the strings nearby, for the network is three-dimensional at least.”
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