Career and contributions
In 1960, Bouws moved to South Africa to establish and direct the Institute for Folk Music at Stellenbosch University. Here he also lectured music history and palaeography at the University's music department. [4] He received his D.Phil. from Stellenbosch University in 1965 with a dissertation on the musical life of Cape Town from 1800–1850. [5] Bouws retired from the university in 1972, but continued to do research and publish. [6]
Bouws was a prolific scholar, producing more than 1,000 research items in numerous formats including books, contributions to encyclopedias, articles in academic journals, newspaper and magazine articles, radio talks, and lectures. [7] Many of his articles and encyclopedia contributions were published in international publications, including Die Musik in Geschichte und Gegenwart . These works cover a variety of topics, such as Afrikaans folk music (1958, 1962), contemporary South African composers (1957, 1971), and the history of music in South Africa (1966, 1972, 1982). As a composer, Bouws is best known for setting Afrikaans poetry to music, including the well-known piece "Op my ou ramkietjie" ("On My Old Ramkietjie"), with lyrics by C. Louis Leipoldt. [8]
Bouws also advanced South African music in practical ways by organizing radio broadcasts for South African compositions abroad, finding European publishers for South African musical works, and convincing several eminent Dutch composers to set Afrikaans poetry to music [9]
Critiques
Whilst Bouws's work has not yet been subject to in-depth scholarly analysis, scholars have criticized his methodologies and scholarship for a variety of reasons [10] Carina Venter argues that Bouws frequently published the same material with minimal changes, resulting in a repetitive and stagnant body of work. Venter also critiques Bouws's lack of critical engagement with his subjects, pointing to his short book chapters and preference for factual statements over deeper analysis as evidence of this. For Venter, this approach, along with his avoidance of a distinct authorial voice, is a significant shortcoming in his research [11]
Recent critiques by Becky Steltzner, [12] Rebecca Sandmeier, [13] and Erik Dippenaar [14] have raised significant concerns about the accuracy of Bouws's historical research. Steltzner argues that Bouws's use of sources is problematic, as he often relied on secondary or tertiary sources rather than primary documents, undermining the reliability of his conclusions. [15] Sandmeier contends that Bouws's research was influenced by political and ideological biases, citing his claim that Charles Etienne Boniface was the first South African composer despite insufficient evidence. [16] Dippenaar extends this critique to suggest that Bouws's analysis was compromised by his preconceived intentions and ideological perspectives, leading to a distortion of historical facts. Dippenaar highlights that Bouws's aim to identify “Western ideals” in South Africa may have resulted in an exaggerated assessment of certain historical artifacts and events. [17]
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