In the Western Cape province of South Africa, nestled among picturesque vineyards, lies a haunting history that most would prefer to forget. For centuries, winery laborers were compensated not only with money but with wine. This remnant of the colonial era, known as “the Dop System“, has left a lingering scar on the province, causing high rates of alcoholism among the predominantly mixed-race workforce.
Lynn Rudolph, an evocative South African violist, decided to delve into this painful history using the language she knows best: music. Rudolph, who adopts the stage name ‘Daphne’, set out to explore and expose the harmful legacy of the Dop System, shedding light on its impact on the mixed-race community, historically a primary labor force in the wineries. The practice was initiated by Dutch colonizers in the 17th century and unfortunately, survived through various regimes, even persisting into more recent times.
“We live in an era dominated by social media, where stereotypes about the ‘coloured’ community are constantly reinforced,” Rudolph remarked. She noted the unsettling reality where being “coloured”, a term used in South Africa to describe individuals of mixed race, is often equated with being violent or perpetually intoxicated. Such misconceptions, albeit steeped in historical injustices, further exacerbate societal divides.
To challenge these stereotypes and chronicle the mixed-race community’s experience, Rudolph conceptualized and performed “Dop is my Taal” (Alcohol is my Language) in Johannesburg. The performance showcased her original compositions, punctuated by segments of South Africa’s national anthem. Furthermore, the musical narrative incorporated beer bottles, domino pieces, and thimbles, objects emblematic of the everyday lives of farm laborers.
Adding visual depth, videos of traditional dances by the KhoiKhoi and San indigenous groups played in the background. These communities, indigenous to the Western Cape, were among the first laborers in wineries when Dutch settlers introduced viticulture. Rudolph emphasized the importance of recognizing these groups as their identity and culture were repeatedly suppressed, first by the colonial system and then under apartheid.
The performance wasn’t just a recollection of historical pain, but a reflection on identity. “Growing up, there was a distinct absence of acknowledgment about our Black heritage,” Rudolph shared, emphasizing the diluted narratives that many mixed-race individuals received about their lineage.
Kelly-Eve Koopman, an author and social justice advocate, highlighted the cascading consequences of the Dop System. This ranged from deep-rooted dependency and subjugation to disturbingly high rates of fetal alcohol syndrome. “The repercussions are profound and devastating,” Koopman lamented.
Many who witnessed “Dop is my Taal” lauded Rudolph’s efforts. Julia Zenzie Burnham expressed her appreciation, acknowledging the performance’s resonance with many who feel sidelined in South African society.
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