The extent to which women have been left out of history is a topic of great discussion, and not one I engage with. As far as I can tell, if women desired something they set out to achieve it, including publicising what they did. When it comes to African women and women from Africa, I’m regularly in awe of what pops up.
Most recently, having written on Natal in the First World War, I was looking up something on Cherry Kearton, who served in the East Africa campaign, only to have his wife’s place of birth stand out – Ada Forrest was born in Congella, Durban, on 17 July 1877. As she’s known most popularly as Ada Kearton, I was surprised to discover she had only married Cherry after the war so technically doesn’t fit into my WW1 focus except that it’s due to her diligence that we have additional information on what Cherry got up to. During the war, Ada was in London. She had made her debut as a classical soprano singer back in 1907 and performed at the Henry Wood Promenade Concerts – that is The Proms – between 1909 and 1915. She retired from performing in 1922 when she married Cherry as she used to join him in the field and on safaris. More significant about Ada is that in 1908 she recorded her first album in London on which she sang in Afrikaans – one of the first South Africans to do so.
In 1908, another South African woman was to record an album in London, also in Afrikaans. She was Annie Visser born 8 August 1876 in Jagersfontein, Orange Free State (the place where the first SA diamond was identified). While Ada remained in London visiting South Africa on occasion, Annie returned to South Africa where the outbreak of war resulted in her career stalling. It is said this was due to her art form not being very popular, but it could also have been her politics. Annie is reported as having opened the first National Party Congress in 1915 in Bloemfontein.
And this article by Schalk van der Merwe has mention of another woman or two around the same time.
In related WW1 research, Luise White has a fascinating study on prostitution in Nairobi in a book called The comforts of home. Luise’s findings, based on interviews with women and men involved in the profession, align with the perceptions I have gleaned of empowered women through my own unrelated research. And for a fictional underpinning of how it all came to be… I can only turn to Doris Lessing‘s The Cleft (and more).