“Colonial Botany”: Conservationists and Orchid Hunters in Popular Afrikaans Fiction Set in the Congo (D.R.C.) and Central Africa from 1949-1962 - Beer, Linde (Journal of Literary Studies, 2019)
In this article I focus on the use of botanical tropes in Die jagters van Bloedeiland (1958), a popular fiction text from the colonial era set in the Congo (D.R.C.). It forms part of the adventure series Die Swart Luiperd (1949-1962), whose titular hero is a white Afrikaner dressed in a black leopard costume. His mission is to guard the tropical jungle against “outsiders” who attempt to access the treasures of Africa. Amongst these are European botanists, whose feverish exploration of “undiscovered” plant species – reminiscent of the “orchid hunting” of the Victorian era – renders them vulnerable to abduction by hostile indigenous tribes. The Black Leopard is portrayed as a particular brand of conservationist figure: the white Afrikaner “insider” hero who has an intimate knowledge and love of Africa, and adheres to a strict moral code. While this series represents Africa as both rich (evoking the “Eldorado” trope), and “dark” in the Conradian sense, its hero is unambiguously noble. In his aversion for Western civilisation and love of the wild the Black Leopard may seem to embody the perfect balance between “whiteness and wildness” (see Leon de Kock 2006), but his idealised characterisation firmly roots him in the prevailing Afrikaner nationalism of the era. Opsomming In hierdie artikel word gefokus op die gebruik van botaniese trope in Die jagters van Bloedeiland, ’n populêre fiksieteks uit die koloniale era wat in die Kongo (DRK) afspeel. Dit vorm deel van die avontuurreeks Die Swart Luiperd (1949-1962), met as hoofkarakter ’n wit Afrikanerman geklee in ’n swartluiperdkostuum. Sy lewenstaak is om die tropiese woude teen “buitestanders” wat die skatte van Afrika probeer bykom, te beskerm. Onder diegene is Europese botanici, wie se koorsagtige soektogte na “onontdekte” plantspesies – wat herinner aan die “orgideewaansin” van die Victoriaanse era – hulle blootstel aan ontvoering deur vyandige inheemse stamme. Die Swart Luiperd word uitgebeeld as ’n besondere tipe bewaringsfiguur: die wit Afrikaner “binnestander”, die held wat ’n diepgaande kennis van die oerwoud en liefde daarvoor het, en leef volgens ’n streng morele kode. Hierdie reeks stel Afrika voor as ryk (wat die “Eldorado”-troop aktiveer), sowel as “donker” in die Conradiaanse sin, maar die Swart Luiperd word as ondubbelsinnig edel uitgebeeld. Alhoewel hy in sy afkeer van die Westerse (“oor-“)beskawing, en liefde vir die ongetemde dus mag lyk na ‘n vroeë Afrikaanse prototipe van De Kock (2006) se voorgestelde vervlegting van “whiteness and wildness”, bly hierdie geïdealiseerde karakter gegrond in die heersende Afrikanernasionalisme van sy tyd.