Humanities and Arts
Keeping Britain ‘in the Fore’: The Establishment of the British Council in South Africa and Its Contribution to the 1960 Union Festival
Daniel Feather
Abstract
This article discusses the establishment of a British Council presence in South Africa through the appointment of a cultural advisor at the British High Commission in 1958. It analyses the role of cultural advisor, what policymakers hoped to achieve by creating it, and why they were initially hesitant about establishing a British Council presence in South Africa. The article will highlight how the decision to appoint a cultural advisor was predicated on fears that the rise of Afrikaner cultural nationalism jeopardised British interests in South Africa. It, therefore, contributes to the emerging scholarship which positions Britain’s relationship with the independent Commonwealth members in the 1950s and 1960s within the established literature on the political decolonisation which was taking place at that time. The article also analyses the cultural advisor’s initial work focussing, in particular, on Britain’s contribution to the 1960 Union Festival. The debates over how best to represent British culture at the festival will be highlighted, and the reasons why a tour by the Royal Ballet Company was ultimately chosen as the main contribution will be discussed. Finally, the article will analyse the controversies surrounding this tour, and how the British government responded to them. This included the omission of Johaar Mossaval, a South African-born ‘coloured’ dancer from the touring party, and the decision to complete the tour as planned in the aftermath of the Sharpeville Massacre. The document is an academic article titled "Keeping Britain ‘in the Fore’: The Establishment of the British Council in South Africa and Its Contribution to the 1960 Union Festival" by Daniel J. Feather, published in The Journal of Imperial and Commonwealth History. The article explores the establishment of the British Council in South Africa in the late 1950s and its role in the 1960 Union Festival, which celebrated the 50th anniversary of the Act of Union in South Africa.
Key Points
British Council in South Africa: The British Council was established in South Africa in 1958 with the appointment of a cultural advisor, Raymond Butlin, at the British High Commission. This move was driven by concerns over the rise of Afrikaner cultural nationalism, which threatened British cultural and political influence in the region. Afrikaner Nationalism: The article highlights the growing cultural and political independence of Afrikaners, who sought to assert their identity and reduce British influence. This included efforts to promote Afrikaans language and culture, as well as moves toward making South Africa a republic, which eventually happened in 1961. 1960 Union Festival: The festival was a significant event celebrating South Africa's history, but it also became a platform for British cultural diplomacy. The British Council contributed by organizing a tour of the Royal Ballet Company (RBC), which was seen as a way to maintain British cultural influence in South Africa. Controversies: The RBC tour faced criticism, particularly due to the exclusion of Johaar Mosaval, a South African-born "coloured" dancer, from the touring party. This decision was influenced by South Africa's apartheid policies, which enforced racial segregation. Additionally, the tour took place amidst the Sharpeville Massacre in March 1960, where South African police killed 69 protesters, leading to international condemnation. Despite calls to cancel the tour, the British government chose to proceed, prioritizing cultural diplomacy over political protest. Cultural Diplomacy: The article emphasizes the importance of cultural diplomacy in maintaining British influence in South Africa, particularly among white South Africans. The British Council's efforts were aimed at countering Afrikaner nationalism and reinforcing ties between the UK and South Africa, even as the latter moved toward greater independence and republicanism. Criticism and Boycotts: The article also touches on the early stages of the cultural boycott movement against apartheid South Africa, which gained momentum after the Sharpeville Massacre. Despite some opposition in the UK, the British government continued to support cultural exchanges with South Africa, reflecting its broader strategic and economic interests in the region.
Conclusion:
The article concludes that British cultural diplomacy in South Africa during this period was largely aimed at maintaining influence among white South Africans, particularly Afrikaners, while largely ignoring the human rights abuses of the apartheid regime. The RBC tour, while successful in some respects, highlighted the tensions between cultural diplomacy and political morality, as the British government prioritized maintaining relations with South Africa over taking a stand against apartheid. This article contributes to the broader literature on decolonization, cultural diplomacy, and the complex relationship between Britain and its former colonies during the mid-20th century.
Key Questions
What is the main focus of the article on the British Council in South Africa?
The article focuses on the establishment of the British Council in South Africa in 1958 and its role in the 1960 Union Festival, which celebrated the 50th anniversary of the Act of Union. It examines how British cultural diplomacy was used to counter the rise of Afrikaner nationalism and maintain British influence in South Africa during a period of political and cultural change.
Why was the British Council established in South Africa?
The British Council was established in South Africa to counteract the growing influence of Afrikaner cultural nationalism, which threatened British interests. British policymakers feared that the rise of Afrikaans language and culture would diminish the role of English and weaken cultural ties between the UK and South Africa.
What was the significance of the 1960 Union Festival?
The 1960 Union Festival marked the 50th anniversary of the Act of Union, which unified South Africa. It was a key moment for South Africa to assert its cultural independence, but it also provided an opportunity for the British Council to showcase British culture through events like the Royal Ballet Company (RBC) tour.
What controversies surrounded the Royal Ballet Company's tour?
The RBC tour faced criticism for excluding Johaar Mosaval, a South African-born "coloured" dancer, due to apartheid policies. Additionally, the tour took place during the Sharpeville Massacre, leading to calls for its cancellation. However, the British government chose to proceed, prioritizing cultural diplomacy over political protest.
How did the British government respond to the Sharpeville Massacre?
Despite international condemnation of the Sharpeville Massacre, the British government continued to support the RBC tour, arguing that cultural diplomacy should remain separate from political issues. This decision reflected the UK's broader strategy of maintaining relations with South Africa, despite its apartheid policies.
What role did Afrikaner nationalism play in British cultural diplomacy?
Afrikaner nationalism, which sought to promote Afrikaans language and culture, posed a significant challenge to British influence in South Africa. The British Council's efforts were aimed at countering this nationalism by reinforcing English language and culture, particularly among white South Africans.
What were the key outcomes of the British Council's efforts in South Africa?
The British Council's efforts, including the RBC tour, were seen as successful in maintaining cultural ties with white South Africans. However, the impact on broader South African society was limited, as the focus was primarily on urban elites and anglophiles rather than the wider population.
How did the cultural boycott movement affect British cultural diplomacy?
The cultural boycott movement, which gained momentum after the Sharpeville Massacre, posed challenges for British cultural diplomacy. While the British government continued to support cultural exchanges, pressure from anti-apartheid activists and trade unions made it increasingly difficult to justify such initiatives.
What were the limitations of British cultural diplomacy in South Africa?
The limitations of British cultural diplomacy included its focus on white South Africans, particularly Afrikaners, and its failure to address the broader issues of apartheid and racial inequality. The RBC tour, for example, was seen as a token gesture rather than a meaningful effort to engage with all South Africans.
What are the broader implications of this study?
The study highlights the complexities of cultural diplomacy in a politically charged environment. It shows how the British government prioritized maintaining influence in South Africa over taking a moral stand against apartheid, reflecting the broader challenges of decolonization and the Cold War era.
