Introduction

Being a political office bearer, I receive many petitions in my inbox daily. One petition sparked a bigger than normal interest in me, a petition regarding the removal of an obelisk in the courtyard of the NG church. Being someone that had knowledge of the origins of this monolithic structure, I responded to the petition and shared this knowledge. What soon became apparent was that the removal of this structure was causing tension between the members of the church. I found this interesting, since the obelisk was a contradiction to the strict Calvinistic beliefs the NG Church as well as Afrikanerdom prided itself in upholding. This set me on a journey to reveal this contradiction in the ever-changing landscape that has become Afrikaner culture, specifically looking at the role of the Afrikaner male and masculinity. Needless to say, my response to the petition soon found its way to the local newspaper and put me at the center of this controversy, which inspired a somewhat more controversial take on this matter in my work, Sondag Oggend se Kerk Kak.

Shifting Identity

The Afrikaner identity has been historically rooted in Calvinist Christianity based on the “chosen people” myth. This myth has been the dominant force in shaping the social and cultural behaviour of the Afrikaner community for a long time. The basis of this identity is the belief of being divinely chosen according to their biblical interpretation, which also supports their perceived ideals of societal dominance (Toit 1983) . Due to socio-political changes and cultural influences this idea has slowly begun to erode, revealing a more intricate Afrikaner male identity. Early commentators on the Afrikaner culture, Anton Kannemeyer and Conrad Botes explored, critiqued and questioned many of these tropes and cultural norms of their post-apartheid time, when they had more freedom of speech. The medium they used was sequential art, released under the name, Bitterkomix (“As I Please” 2019). My work is a continuation of this medium, again focused on the multifaceted identity of the Afrikaner, more specifically, the Male.

Using black and white sequential art, I explore themes of otherness, abjection and transformation by giving it visual form. The choice of art style allows the viewer to focus on the finer details in my work and brings a sense of seriousness to it. Through a comic book format, I can tell a more personal story that will resonate easier with my target audience, this format also allows for a deeper exploration of Afrikaner masculinity as it allows for a story to unfold which explores the complexities of this shifting identity. The Afrikaner male, who found his identity in the stoic Calvinist archetype has been evolving into something more conflicted and ambiguous. I explore this shift through horror motifs inspired by the Lovecraftian mythos who is known for his exploration of the monstrous unknown (“Lovecraftian Horror | The H.P. Lovecraft Wiki | Fandom” n.d.). These motifs assist in highlighting the internal and external conflicts of the shifting identity that stays in a position of flux, where the familiar is suddenly alien and the body itself becomes a site of horror and transformation (Vosloo 2017).

My sequential art flows from what I term the “anchor image” or “anchor page” in which the theory of otherness can be seen clearly. The anchor page, page 11, shows the protagonist, Pieter, undergoing a fast and grotesque metamorphosis portraying both the literal and symbolic demonisation of the Afrikaner who decides stray from the preordained, divine identity. This change can be compared to the body horror portrayed in Niel Blomkamp’s movie, District 9. In District 9, the protagonist, Wikus, undergoes a transformation from being human to becoming an alien. Blomkamp’s work comments further on themes of otherness and posthuman transformation, using the monster body as a metaphor to highlight societal fears and prejudices towards the other (De Jager 2019:90). This reference assists in reflecting on how Afrikaner men view breaking from the norm as a serious and even disgusting danger to their sense of self.

To understand the impact of this transformation better it is very important to understand theorist and philosopher Julia Kristeva’s concept of abjection. In Kristeva’s idea of abjection, aspects of the self are rejected or expelled in disgust, this idea explains the anxieties surrounding identity shifts within Afrikaner masculinity (Kristeva 1982) The Afrikaner male is still perceived as a threat to the divine election myth as soon as they step out of the Calvinist morality sphere by the rest of their community, who still vehemently clings to these traditional values and cultural tropes (Claasen:2024). This sense of othering can lead to an internalised self-loathing due to the Afrikaner male becoming alienated from his community and himself. I entitled the page that deals with this metamorphosis, “Transfiguration”. The ambiguity reflects the fact that something divine and enlightening is taking place by way of letting go of those traditions, all while the Afrikaner male onlookers believe there is a loss of the divine in these actions. The monstrous transformation challenges not only the onlookers but also the protagonist himself. This narrative also acts as commentary on the persistence of damaging stereotypes with Afrikaner masculinity. According to du Toit (1983) the idea of the divinely chosen figurehead is still deeply entrenched in the Afrikaner male and continues to influence his societal behavior and expectations. These stereotypes add to the resistance against change while fostering a fear of the other that can manifest as hostility towards the Afrikaner male who does not conform. These dynamics might not be so visible in larger urban areas, but are more prevalent in smaller, more insular communities, where they are usually amplified, thus the reason my work on this highlight the small town of Robertson. In small towns like Robertson, deviations from this norm are usually dealt with swiftly and rather severe, with long lasting social repercussions.

The obelisk, which is also a recurring motif, present on page one and fifteen in the churchyard, represents the contradiction between what the Afrikaner selectively decides is divine and what isn’t. It stands as a symbol to the changing identity of the Afrikaner male, due to its ambiguous meaning challenging the traditional Calvinist beliefs. Currently it’s a grave marker, but it also serves as the weight of inherited beliefs and the contradictions in the Afrikaner identity. The obelisk, which was traditionally an idol, subverts the notion of divine selection that is central to the concept of the traditional Afrikaner. This is suggestive of the possibility that the Afrikaner masculinity is not only built on traditional Calvinist beliefs but also on cultural and traditional constructs. This idol shows how traditional Calvinist beliefs were steadily eroded by Masonic influences and adopted by the Afrikaner as a norm which could have damaged the integrity of the divine election myth.

Conclusion

Despite this strong belief in divine election that is central to Afrikaner masculinity, the erosion of Calvinist beliefs is quite evident. The conservative Afrikaner is steadily shifting to an identity lead by cultural Christianity, where religious beliefs are merely practiced as a cultural tradition rather than a strict doctrine (https://www.vryeweekblad.com/authors/max-du-preez-eng n.d.). It can be argued that this change has diluted the traditional Afrikaner archetype, as younger generations are more inclined to question and reinterpret their cultural heritage.