Die Burger. The History of the World’s Largest Afrikaans Newspaper

illustration: netwerk24.com/dieburger

In December 1914, as World War I raged in Europe for five months, a group of prominent Afrikaners decided to establish a newspaper that would represent their views, current events, and inform their compatriots. The Union of South Africa had existed as a state for four years, and Afrikaners formed one of the dominant white populations. Primarily of Dutch, German, and French descent, they had their own culture and religion, using Dutch as the official language and the more common Afrikaans for everyday communication.

On December 18, 1914, sixteen enlightened citizens of the country met at Van Riebeeck Street in Stellenbosch to establish the publishing house De Nationale Pers Beperkt and decided to print a newspaper. Funding came from brothers Jannie and Christiaan Marais. The company was officially registered on May 12, 1915, at addresses 22 Wale Street and 30 Keeromstraat in Cape Town. The publishing house’s name was commonly shortened to Naspers, a term accepted within the organization.

The future newspaper was named De Burger. Although "De" derived from Dutch, the word "Burger" was Afrikaans and meant Citizen. The editor-in-chief of the new paper was Reverend Daniël François Malan from the NG congregation in Graaff-Reinet.

A Printing Press Bought from the Competition

Malan was offered the role on April 15, 1915, and by May 27, he officially became the editor-in-chief. Work on the first issue began immediately, with the editorial team settling into the Keeromstraat building. Initially, they worked quietly, wary of strong competition. At the time, the English-language morning paper Cape Times, published since 1876, dominated the market. However, its owners didn’t see the new venture as a threat, even selling their colleagues a printing press. Time would prove them wrong.

The first issue of De Burger was published on July 26, 1915, as a response to a deeply felt need among many for a paper of their own. The editorial team’s goals were straightforward:

• freely express public opinions
• protect the nation’s and country’s interests
• avoid inciting hatred, jealousy, and cultural misunderstandings
• facilitate open and spirited discussions on tough topics
• preserve the language and history
• advocate for forgotten causes and people ignored by the government
• foster national character
• act as a representative of the National Party

The first issue had ten pages, featuring graphic ads on the front page, seven columns, national and international sections, a cultural and economic section, and an opinion column. Religion played a significant role, unsurprising given the editor-in-chief’s background.

Introducing Afrikaans to Its Pages

In 1905, Malan earned a doctorate in theology and joined the Dutch Reformed Church congregation in Heidelberg. From his first days in service, he focused on Afrikaner issues, which were abundant after the Anglo-Boer War. He was also a fervent advocate for Afrikaans, leading the Tweede Afrikaanse Taalbeweging (Second Afrikaans Language Movement).


In 1909-1910, when the South African Academy for Language, Literature, and Arts was founded, Malan was among its creators. Upon taking charge of De Burger, he worked to include Afrikaans in the newspaper, achieving this goal within a year.

Initially, De Burger’s editorial team had sixteen members, but by the second year, only nine remained, including:

• J. Steinmeyer, writer with extensive journalism experience
• Dawie Petrus du Toit, a veteran journalist since 1892 who wrote the Oom Dawie (Uncle Dawie) column and pioneered Afrikaans-language content
• Henry Alan Fagan, lawyer and activist
• Carel Jacob Lodewijk Ruijsch van Dugteren, pastor writing on art and culture
• Ernst Berthold Grosskopf, teacher and journalist who covered parliamentary and sports topics and wrote the Rissies (Chili) column under the pseudonym Duineboer
• D. de Flamingh, writer and columnist
• H. Weerts, journalist
• J. du Toit, writer and journalist

The first editorial began: ‘Citizen’ is the child of sorrow and hope. Born from the labor pains of our people. Had severe catastrophes not struck the life of our nation, it would not exist. Patriotism and national spirit resonated throughout the paper.

De Burger Transforms into an Afrikaans Newspaper

The newspaper was well-received across the country, quickly competing with the English-language Cape Times. All editors were Afrikaans advocates and fluent in the language, so by 1916, the first articles in Afrikaans appeared. Readers soon stopped calling it a Dutch paper and referred to it as an Afrikaans newspaper. That year, the first supplement, De Huisgenoot (Housemate), debuted.

This monthly magazine provided entertainment, information, and inspiration while financially supporting De Burger. In September 1916, it featured its first photo of a woman (HSJ Joubert), and in March 1919, it published the new Afrikaans anthem, Uit die Blou van Onse Hemel, by Cornelis Jacobus Langenhoven. The magazine continues to this day as an independent publication.

De Burger strongly supported the National Party, with many editors becoming ministers later. DF Malan himself became Prime Minister. While politics dominated the newspaper, it also featured editorial cartoons, many with biting commentary on local and global political and economic events during wartime.

The Graphic Voice of Dissent

Cartoons became so popular that, in 1916, fifty were compiled into a book by Daniël Cornelis Boonzaier.

Boonzaier joined De Burger in 1915 as a seasoned graphic artist, despite lacking formal training. He began drawing caricatures for the weekly The Knobkerrie in 1884, and by 1889, his work appeared in South Africa’s major newspapers. Collections of his work, such as Owlographs (1901), focused on members of the Owl Club, which he founded. His caricatures included nearly every key political figure of his time. By 1903, he worked for The South Africa News and was hailed as the first full-time cartoonist in South Africa.

Boonzaier spent 25 years at De Burger, significantly influencing the resurgence of Afrikaner nationalism. One notable satirical character, Hoggenheimer, represented a capitalist who, despite the artist’s claims, was perceived as Jewish, fueling the anti-Semitic movement of the 1930s.

In the 1920s, a primary focus of cartoons and articles was the political alliance of Jan Smuts and James Hertzog (future and current prime ministers), which the editorial team and National Party members openly opposed.

The Dot over the “i” in the Newspaper’s Title

DF Malan led the newspaper’s editorial team until 1924 when he fully committed to politics. As an advocate for the Afrikaans language, he ensured most articles were printed in it, and in 1921 he changed the title to Die Burger. For foreigners, this change was minor and perhaps puzzling, but for Afrikaners, it was significant, tied to their language. The prefix "De" was Dutch, while "Die" was Afrikaans.

In 1918, two sections dedicated to Afrikaans culture and language debuted in the newspaper:

• De Burgerleeskring, a book club discussing literary works and their themes
• De Burgerboekhandel, a bookstore recommending Afrikaans books

Both sections greatly influenced cultural and linguistic development. They became the foundation for various academic studies and works, which remain in use today.

Nazism and Racism Take Root in the Editorial Office

After Malan’s resignation, Albertus Geyer became editor-in-chief. His tenure coincided with the rise of Nazism and World War II. Geyer himself sympathized to some extent with this ideology. The party supported by the newspaper split into two factions: one led by former editor Malan, representing the purified National Party, and the other by military duo Smuts and Hertzog. Die Burger fully supported Malan, branding the opposing pair as British government puppets. However, both factions harbored racist and anti-Semitic views. Die Burger began promoting anti-Jewish and anti-black sentiment.

As the newspaper became an oracle and opinion leader, it reached a growing audience. While politics dominated its pages, social, local, and economic issues were also covered. Culture and its development were carefully nurtured.

For 17 years, the paper remained largely unchanged: ten pages, with advertisements and political humor on the front. The 1930s brought significant changes. In 1932, Geyer eliminated front-page ads, replacing them with a current events section. On Monday, February 1, Die Burger debuted a new look. Editorial and subscription details were placed on either side of the title, and the main headline across all eight columns covered rugby matches and motor sports, delighting fans. Pages two and three featured cultural content, including history, travel, and education. Only subsequent pages reported national and international news.

The First Moving Pictures and a Symbol of Anti-Semitism

These changes also introduced photographs. Initially few and static, Die Burger proudly claimed to be the first to present readers with moving pictures (the ballet Jack and the Beanstalk).

While the February 1, 1932, front page focused on sports, likely to ease readers into the changes, the next day brought weightier news. The main story covered the launch of telephone service between South Africa and Britain, with a photograph of Prime Minister Hertzog speaking with UK Prime Minister Ramsay MacDonald. Alongside such government decisions, the front page also reported on events in Japan and China, party conflicts, and a train accident (with a photo). Die Burger embraced global trends in journalism, much like the nation, which declared independence in 1931.

As fascism and Nazism rose in Europe, South Africa faced similar challenges. Though the government officially condemned these ideologies, it heavily engaged in anti-Semitism, as did Die Burger.

While the editors opposed the South African National Party (SANP), known as GRYSHEMDE or Grey Shirts, they supported the party’s attacks on Jewish communities, particularly after October 1936, when the SS Stuttgart brought nearly 600 Jewish refugees from Germany.

This sparked societal unease: a “botsing van belange” (conflict of interests) arose between Jews and Afrikaners, as Jews gained wealth in key economic sectors while deliberately excluding Afrikaners from rightful access to the nation’s riches… argued Dr. Hendrik Verwoerd, apartheid’s future architect. Former editor Malan described Jews as: an indigestible, unassimilated, and unassimilable minority causing all kinds of difficulties. This gave prominence to DC Boonzaier’s cartoon character Hoggenheimer, who became a symbol of anti-Semitism for years.

South Africa’s Comic Pioneers

When South Africa declared war on Germany on September 6, 1939, siding with the Allies, its press erupted, including Die Burger. The editorial team adopted a pro-German stance despite the Prime Minister advocating neutrality and Parliament voting for war. Hertzog eventually resigned, replaced by General Jan Smuts, while cartoonist Daniël Cornelis Boonzaier retired, succeeded by Thomas Ochse Honiball.

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The new Prime Minister did not endear himself to Honiball, making him a frequent wartime subject. Honiball officially joined Die Burger in 1940, creating popular comics. These illustrated stories first appeared in South African newspapers in the late 1930s, thriving during the war years.

Honiball created several iconic characters. In 1939, he introduced the beloved Oom Kaspaas (Uncle Kaspaas), who debuted on March 4 and entertained readers for 17 years. In 1942, he presented the anthropomorphic jackal and wolf Jakkales en Wolf, in 1946 the cowboy Faan Band, and in 1948 the baboon family Adoons-Hulle. Between 1951-52, readers enjoyed Kalite Skietebok. Honiball’s caricatures, according to Professor CFJ Muller, greatly influenced voters in the 1948 election.

The Founder of Die Burger Becomes Prime Minister

The war years were marked by political struggles between the pro-British government and the Parnassian movement. Many of the latter’s leaders were imprisoned. This was covered in the national section Van land af, supported by an extensive correspondent network, while the foreign section Buitelandse Oorsig (Foreign Review) was overseen by Frederik Rompel.

The war did not alter the party’s or newspaper’s stance on non-white citizens. Both continued to incite prejudice against this segment of the population. With the war’s end, Albertus Geyer’s nearly two-decade tenure ended, and in 1945 Phil Weber became editor-in-chief.

Weber joined Die Burger in 1926. A bold journalist, he brought a fresh perspective to running the paper and addressing national issues. While a proponent of the National Party and Afrikaners, he envisioned a more professional and independent newspaper.

When D.F. Malan became Prime Minister in 1948, the newspaper’s prestige soared. The May 28, 1948, issue focused on the elections and the victor, its former editor and founder, with a bold headline declaring: Nasionaliste aan bewind (Nationalists in Power). Yet, contrary to the 1915 declaration in De Burger to avoid inciting hatred, jealousy, and cultural misunderstandings, Malan did not keep his word. He introduced apartheid, a racial segregation system that lasted nearly five decades.

This Is How Apartheid Was Born

The term apartheid first appeared in Die Burger on March 26, 1942, in an article by political correspondent Petrus Cillie, who wrote under the pseudonym Dawie. He defined apartheid as ethnic separateness. Over time, the term gained broader use, emphasizing deeper class differences and discrimination. Die Burger promoted apartheid ideology, both theoretically and practically, in various ways to appeal to white readers.

Despite the editorial board’s political stance, Phil Weber, during his nine-year tenure as editor-in-chief, created a professional newspaper filled with current information and deeply engaged in national issues. He attended parliamentary club meetings of the National Party and reported on them honestly—until government changes occurred.

In 1954, when Johannes Gerhardus Strijdom became Prime Minister, the newspaper was accused of printing confidential information, and attempts were made to shut it down. Weber defended both himself and the paper, but not all parliamentary proceedings reached readers thereafter. Even so, Die Burger was still considered to provide phenomenal insight into parliamentary politics, largely because it was the only newspaper allowed at the meetings, a privilege others lacked.

Weber demanded his staff be available 24 hours a day, a standard maintained during the war years when late-night shifts were common to update stories with the freshest information.

The editor did not shy away from covering the actions of his favored party and government. In 1949, the paper reported on South Africa’s attack on Namibia, and in 1950, it introduced readers to the new African National Congress leader, Nelson Mandela, who was immediately labeled a black enemy.

Mandela’s Photographer and Anonymous Articles

In 1951, Weber hired an 18-year-old, Cloete Breytenbach, handed him a camera, and said, You’ll be a photographer. The young recruit’s first assignment was a photo session with the future Minister of Defense, General Magnus Malan. Breytenbach excelled and earned a permanent position. Years later, he was dubbed Mandela’s Photographer for being the only journalist permitted by the Prime Minister to visit Robben Island to photograph the ANC leader for London’s Daily Express. Breytenbach also documented the world’s first heart transplant on December 3, 1967, performed by Dr. Christiaan Barnard and self-taught surgeon Hamilton Naki.

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At the time, not everyone worked under their own name as articles were either anonymous or signed with pseudonyms. This practice changed in the late 1950s when the next editor-in-chief, Petrus Cillie, took over. For example:

• In the column Van Alle Kante (From All Sides), opinion pieces were written by Rykie van Reenen and D.C. de Villiers
• The parliamentary section In die Parlement was led by Schalk Pienaar

Cillie himself, under the pseudonym Dawie, had been running a weekly political column since January 28, 1946. Later adopting the pen name Piet, he continued writing as Dawie until 1964.

The newspaper became increasingly professional and well-regarded, not just by its readers. In 1952, Cillie devoted the entire second page to cultural topics, an unprecedented move. This marked the rise of cultural journalism in the paper. Women also gained prominence during this period. Anneke Keyter became a full-time cultural journalist and head of the section in 1955.

In 1957, literature joined the existing topics of theater, painting, and cinema. The literature column was entrusted to Leon Louw, who infused it with charm, humor, and dedication, earning the affection of readers.

Die Burger Among the Elite Newspapers

In 1965, Die Burger was ranked among the 12 most important newspapers in the world by the London Times. In 1968, it was included among 40 elite global newspapers in a University of Missouri study.

In 1964, News Check reported: Die Burger has achieved something rare in journalism: an “intelligence corporation.” While most newspapers depend on individual personalities, Die Burger has long had a team of thinkers with a common goal. These individuals, remarkable in their own right, harmonize their views, assumptions, and ideas to an extraordinary degree.

The team also prided itself on strong reader engagement. In the section Menings van Ons Lesers (Opinions of Our Readers), letters were printed, questions answered, and problems resolved. This approach was highly appreciated and respected.

Though loyal to the party and government, the newspaper often revealed a critical stance toward many decisions and actions. News Check described this position as “a surprising amalgam of political cunning,” widely recognized as a link between intellectuals and ordinary people.

Cracks in the Apartheid Glass

In 1965, Die Burger celebrated its 50th anniversary, marking achievements that impressed both domestic and international audiences. The paper underwent a slight facelift, with new printing machines improving its graphic design. The title font was updated, and the sports and cultural sections were expanded to include health and hygiene topics. An anniversary publication featured past and present staff reminiscing about the newspaper’s history. Naturally, it was published in Afrikaans.

Although Piet Cillie publicly denied the newspaper was intellectual, he gave it that very character. Inspired by the ideas of writer and poet N.P. van Wyk Louw, Cillie introduced debates and discussions on Die Burger’s pages, encouraging exchanges of opinions and ideas from both elites and common people. These debates, however, focused exclusively on Afrikaners, their culture, and their critiques of outsiders.

During his 17 years as editor-in-chief, Cillie and the newspaper evolved. Though loyal to the ruling party, they began diverging from apartheid’s path. While still viewing Afrikaners as the dominant group best suited to govern, the paper increasingly featured black politicians and activists. This didn’t prevent Die Burger from leading a 1954 campaign against voting rights for black citizens, only to support their faction in Parliament four years later. Cillie called this approach independence from both right and left perspectives.


The early 1960s brought significant changes to the newspaper and the country. The government proclaimed the Republic of South Africa, severed ties with Britain, and left the Commonwealth. Apartheid was condemned as a crime against humanity by the UN, and domestically, the policy of bantustanization—restricting integration between white and black populations—emerged, giving rise to a resistance movement.

Die Burger adopted a cautious strategy, focusing on reporting while commenting only when safe. More attention was devoted to societal issues as political circumstances intensified. South Africa faced sanctions affecting sports, culture, and the economy. By mid-decade, shifts occurred. “The Republic of South Africa can now cheer for the Springbok rugby team,” the paper reported in May 1965.

The Faces of the 1970s

Two years after South Africa captured global attention with the first heart transplant on December 4, 1967, Die Burger dedicated several pages to this historic event. The accompanying photo session from the surgery, which went worldwide, was provided by Cloete Breytenbach, already mentioned earlier.

In 1969, like the rest of the world, Afrikaners followed the moon landings while locally facing terror attacks and earthquakes.

When the ground shook in the Western Cape so violently that people fled their homes in panic, Die Burger`s April 15, 1970, issue reported, consoled, helped, and criticized the authorities for failing to maintain seismographs that were broken.

As throughout its history, the newspaper’s graphic artists commented on national and global events, and the 1970s were no exception. The only change was the cartoonist. In 1972, the paper hired its third staff cartoonist, Frederick Jacobus Mouton, who became the newspaper’s chief illustrator after Honiball retired in 1976, holding the role for decades.

When Mouton joined Die Burger, he was just 25 years old and immensely talented. For the paper, he created comics like Beeld and Rapport, numerous cartoons, and humorous illustrations. In 1983, he was awarded the Standard Bank Cartoonist of the Year prize, and in 2000, he received the PJ Cillie Medal for creativity in journalism. He published three collections of his work, the most popular being Van Zuma tot Zille (From Zuma to Zille, 2009). His works are included in the prestigious Year in Cartoons collections. Mouton eschewed computers, preferring to paint with brushes. He retired in 2012 but continued contributing illustrations until his death from cancer in 2022 at age 74.

Mouton was discovered by a vibrant character at Die Burger, Victor Holloway. Holloway, initially a sports editor, took charge of the arts section in 1970. Transitioning from a passion for sports to photography, architecture, and heritage conservation in Cape Town, he excelled as an art critic and elevated the cultural section to a professional standard. He was a mentor to many young talents at Die Burger.

Television Enters the Media Scene. And Wiets Beukes

On January 5, 1975, television debuted in South Africa, challenging newspapers and radio. The government had long delayed its introduction, deeming it too expensive and potentially harmful. But as the rest of the world embraced this novelty, South Africa had to join the fray.

In 1977, editor Petrus Cillie announced his retirement, leaving the paper in the hands of Wiets Beukes. Beukes, a longtime employee of the publishing house, began his career on January 1, 1948, at Die Volksblad before joining Die Burger in 1976 as deputy editor, with plans to succeed Cillie. He officially took over in 1977. Despite the political climate, Beukes was unaffiliated with any party, a fact seen as an opportunity for the paper’s future. His profile on www.geni.com reads:

The editor distinguished himself as a sharp and capable journalist and commentator. His political intuition helped him navigate every national crisis, and strong Christian principles were the foundation of the paper’s integrity and reliability. To him, a newspaper was a bridge to readers and a means of communicating across racial divides to all community members.


For 13 years, Beukes led South Africa’s only Afrikaans daily. He was open-minded and adept at circumventing censorship, which often curtailed journalists, writers, and artists. Unable to discuss certain topics in the domestic section, he often moved such debates to the arts section, where more freedom was allowed. This practice frequently landed him in hot water, but he stood firm. From 1983, his ally in this approach was Kerneels Breytenbach, who succeeded Victor Holloway as head of the arts section. Breytenbach became renowned for his review of a 1986 concert by black musician Sipho “Hotsticks” Mabuse, attended by an interracial audience that danced together.

Supported by Beukes, Breytenbach also published poetry by black authors and those opposing apartheid.

A Sign of the Times: Color

In 1989, the newspaper clarified its stance on discrimination. In July, at Victoria Falls in Zambia, 40 prominent writers met with African National Congress (ANC) representatives, led by Nelson Mandela. Die Burger journalist Andre le Roux attended the meeting and wrote a report supporting the ANC’s cultural boycott against South Africa. While the paper published the article, a July 13 commentary titled Linkse fascisme (Leftist Fascism) criticized the boycott.

Le Roux distanced himself from the event, highlighting the paper’s dual approach: providing information while maintaining an official stance. As later studies revealed, this tactic was often employed, particularly in the arts section, which operated under different rules than the political desk.

Beukes was a principled journalist, navigating political pressure and censorship with integrity. He is credited with exposing corruption and misconduct, including by Prime Minister P.W. Botha, earning readers’ respect but government disapproval.

Under Beukes, Die Burger reported extensively on street protests in Cape Town. While some reporters opposed the demonstrations, adventurous photojournalist Gert Vosloo captured them vividly. Vosloo, the paper’s first full-time photographer, climbed rooftops, streetlamps, and traffic signals to get the perfect shot, often giving police as much trouble as the protesters.

In 1990, Beukes retired, leaving behind another sign of the times: color. Color headers appeared in 1982, and by 1990, the newspaper was almost entirely printed in color.

The Era of Reckoning

The events of July 1989 may have contributed to the editorial leadership change, but the country was also undergoing significant transformations. Frederik Willem de Klerk became Prime Minister, signaling the end of apartheid, while Ebbe Dommisse assumed the role of editor-in-chief.

Dommisse, who joined Die Burger in 1961 as a reporter, rose through the ranks to take the helm. His tenure coincided with heightened tensions both within the newsroom and the nation.

By 1991, apartheid was abolished, and in 1994, Nelson Mandela was elected President in democratic elections. The new era prompted reflection, including for Die Burger.

Apologies at the Centennial

Dommisse wasted no time breaking formal ties with the National Party. However, like the rest of the Afrikaans press, he refused to testify before the Truth and Reconciliation Commission (TRC). Around 100 journalists did so individually. It wasn’t until the newspaper’s centennial celebrations that Die Burger and its publisher formally apologized for their role in apartheid.

New times brought further changes. Women took on prominent roles, not just in cultural or social sections but also in political and parliamentary reporting. By 2000, 15 of the 80 editorial staff were women, a significant increase from the seven women among 75 employees in 1965. Additionally, journalists from non-Afrikaner backgrounds began joining the newsroom.


Dommisse emphasized education, launching the project Koerant in die Klaskamer (Newspaper in the Classroom) in 1995 as an educational tool for African children. Using the newspaper’s content—poetry, drawings, and essays—this initiative aimed to teach teamwork, language skills, and social understanding. Reflecting on it later, Dommisse said: True education seeks wisdom, not just knowledge or technical skills, to build good societies. Education in one’s native language is key.

The 21st Century: Digitization and a New Image

A year before the turn of the century, a colorful calendar featuring Fred Mouton’s illustrations was published. However, these were not political cartoons but rugby-themed illustrations. A note on the front page read: A giant calendar with six dangerous moments on the field... because sports are also educational. In 1998, Die Burger launched its website, www.dieburger.com, which was modernized in 2004.

Ebbe Dommisse is said to have introduced SILENCE to the newsroom:

• replacing typewriters with computers
• swapping telephones for communicators
• editing and transmitting reports electronically
• equipping photographers with digital cameras
• sending print-ready pages to the press electronically

Entering the new century, Dommisse also transformed the paper’s image, having spent nearly four decades with Die Burger:

• redesigning the newspaper visually and content-wise
• introducing new, modern fonts for headlines, titles, and text
• adding more color, not just to photos but also as text backgrounds
• organizing content on pages for better clarity
• featuring navigation and highlights of key articles and events on the front page
• including more infographics (maps, comparisons)
• revamping individual sections with a fresh look

The first edition of Die Burger in the new century carried the subtitle Op pad na 2000 (On the road to 2000) and reported a daily readership of 330,000. Following this successful transformation, Dommisse bid farewell to the newsroom, his colleagues, and the newspaper, retiring and leaving his paper in the hands of Arie Rossouw.

The Newspaper Distances Itself from Columnists. Publicly

This became evident to Leopold Scholtz, a political journalist and weekly columnist writing under the title Sake van die dag (Matters of the Day), when a disclaimer began appearing under his articles on the new editor-in-chief`s orders: This is a personal opinion and not the opinion of the newspaper.

Rossouw also refrained from allowing the paper to take official stances on issues such as preserving Afrikaans as an official language or the anglicization of the Stellenbosch region. These were hot topics for many South Africans, yet journalists were barred from covering them, creating tension in the newsroom.

Although Rossouw had been part of the Naspers group for years, his background with Die Burger was limited. He was the creator of the news site News24.com and had led the editorial team of the sister paper Beeld in the Johannesburg area. Post-fact, he was recognized as a progressive editor, but opinions among staff remained divided.

Nonetheless, Die Burger became keenly attuned to government actions during this period, reporting enthusiastically on its missteps, such as the so-called travel scandal in September 2004.

Respect Returns to the Newsroom. Along with Investigative Journalism

The atmosphere in the newsroom improved in June 2006 when Henry Jeffreys, a black journalist, took over as editor-in-chief. In the 1980s, Jeffreys had worked with Beeld, leading its Beeld Extra section aimed at the northern colored community. Later, he joined the Urban Foundation (Business Initiatives) before returning to Naspers and Beeld in 1999 as a political editor.

When Koos Bekker, the head of Naspers, offered him the role of Die Burger’s editor, Jeffreys accepted. His experience in the Urban Foundation, working across various business fields, was reflected in the newspaper`s coverage.


Unlike his predecessor, Jeffreys did not antagonize journalists with differing views. He respected their opinions, allowing controversial commentary and sharp debates. He quickly earned the respect of his staff, and readers appreciated the evolving newspaper.

During his tenure from 2006 to 2010, there were no issues with Afrikaans, despite it being associated with the white community. Jeffreys believed that it was not a “taal-stryder” – a language campaign, but just one of the broader adaptations experienced by his readers. He aimed to ensure Afrikaners didn’t feel that with lost power, they had lost their newspaper. By 2000, half the readership was black or colored, but all spoke Afrikaans.

The paper did not favor anyone based on skin color. Jeffreys emphasized: We praise where praise is due, and we criticize where necessary, using the values enshrined in the Constitution as our criteria, which serve as an agreement between the country’s diverse peoples. In June 2007, Jeffreys was elected vice-chair of the South African National Editors’ Forum.

During his tenure, the paper focused extensively on the country’s crime epidemic, fostering investigative journalism. The health and regional sections also expanded. Despite the arrival of a competing Afrikaans publication, Kaapse Son, in 2005, Die Burger coexisted peacefully, maintaining a readership of 91,000 by 2007 (down from 98,000 in 2005).

Gadu Gadu, Allegro, Bankier: Die Burger’s Publisher in Poland

Jeffreys` tenure coincided with a period of intense activity by Die Burger’s publisher, Naspers, in Poland. While the newspaper itself did not plan to expand in Poland, its owner—then a global online giant—made significant acquisitions in the Polish internet market.

In October 2007, Naspers announced plans to acquire the Gadu-Gadu messaging platform and all its associated platforms. The purchase was completed in 2008 through its Dutch subsidiary, MIH Poland Holdings B.V., becoming the sole owner of Gadu-Gadu S.A.

The following year, in 2008, Naspers went further, acquiring Tradus, including its flagship auction platform Allegro and the price comparison site Ceneo.pl. In 2009, the publisher entered the Polish media market, buying the publishers of Bankier.pl, MojeAuto.pl, and OtoMoto.pl. Naspers exited the Polish market in 2016, selling all its assets.

Jeffreys Changes Employers, Booyens Faces Challenges

Back in South Africa, on April 7, 2010, news broke online of Jeffreys` sudden resignation as editor-in-chief. Readers were outraged, while Media24, the newspaper’s parent company, remained silent. Jeffreys himself also declined to comment. Some speculated that the cause was the implementation of faulty Cycad software, which caused major disruptions and disorganization. According to the website www.bizcommunity.com, Media24 offered Jeffreys the role of group political commentator for its Afrikaans newspapers, but he refused. What happened? What is Media24 hiding from the public? the authors of the site wondered. The truth will come out sooner or later. The digging continues.

Jeffreys left Die Burger and became editor-in-chief of The New Age in October 2010. His position at Die Burger was filled by Bun Booyens, founder of the magazine Weg (2004). From 2000 to 2004, Booyens served as Die Burger’s political and administrative editor, so he was no stranger to the paper’s operations.

His tenure coincided with a decline in interest in print newspapers and the rise of the internet—a challenging time. Print journalism remained a joy because, in some ways, each day could start anew, Booyens recalled.


It fell to him to edit the December 5, 2013, issue following Nelson Mandela’s death. Thanks to the efforts of journalist Johann Maarman and design chief Johnna-Grant Munro, the issue is considered one of the paper’s finest.

Special editions like these are highlighted in the centenary book Die Burger: Its People and Their Stories, chronicling 100 years of the newspaper’s history through profiles of its creators. This unique collection of memories, articles, cartoons, and photos was compiled by Bun Booyens, Aldi Schoeman, and Jonathan Ball.

Management Shakeups and Declining Readership

While the paper celebrated its centenary, the company faced a management shakeup. Over six months, four directors, including the CEO, were replaced. In March 2015, circulation was reported at 56,146 copies, down 3,000 from 2014. Nevertheless, Die Burger ranked eighth among all newspapers in South Africa and third among non-English publications, following Isolezwe (Zulu) and Son (Afrikaans). Reader numbers increased during this time.

Booyens had promised to stay for five years—until the centenary—and kept his word. In March 2016, he retired at age 57, dedicating himself to writing. Leadership of Die Burger passed to Willem Jordaan.

Jordaan joined the paper in 1999 as a parliamentary reporter and quickly rose to become a political journalist. From 2009, he served as deputy editor-in-chief. Media24’s CEO welcomed him with these words: Booyens hands over the reins to Jordaan at one of the most exciting moments in the paper’s history. We are experiencing a transitional phase in the media industry as readers migrate from print to digital platforms. I believe Willem is the right person to guide Die Burger’s editorial team and readers through this period.

Despite optimism, Die Burger, like many newspapers globally, faced significant challenges with its print edition. By mid-2017, circulation had dropped to 47,673 copies. Changes were made: in the Western Cape (Cape Town), no alterations were implemented, but in the Eastern Cape, the paper was reduced to Friday editions only. Full editions with supplements and ads were available online on other days. Jordaan informed readers of these changes on June 14, 20, and 21, 2018.

Despite these efforts, circulation continued to decline. By 2020, it stood at 35,349 copies, and by 2022, it had dropped to 29,120. Even so, the paper remained the third-largest non-English publication in the country. This situation led to a consolidation of Media24 newspapers, merging some editorial teams and sharing a single website. Since then, Die Burger can be read at netwerk24.com/dieburger.

Global Media Award for Children`s Initiatives

Undeterred, Jordaan invited readers on April 2, 2018, to the Digitale Sitkamer, a digital lounge featuring cultural and current affairs updates.

During this time, Die Burger became heavily involved in children’s and youth initiatives, organizing or co-organizing contests, games, and projects aimed at the country’s youngest citizens. Among the most popular were: Letter to Cyril (to South African President Cyril Ramaphosa), Printed School Newspapers, and Young Journalist programs.

In March 2019, the International News Media Association recognized the work of the Eastern Cape journalists with the Global Media Award for their Friday edition, winning in the Regional and Local Brands category.


When the COVID-19 pandemic broke out in 2019, many readers feared for the newspaper’s survival. Jordaan reassured them that the paper was secure and would even help those in need.

In April 2021, the newsroom celebrated Fred Mouton’s 50 years of service as a graphic artist, bidding him a final farewell in June when he passed away. Editor Jordaan dedicated a farewell article to his colleague, and the role of chief cartoonist was taken over by Jack Swanepoel.

In July 2023, Die Burger won an award for outstanding business performance in both its Afrikaans and English news sections. Among the awardees were Die Burger’s marketing manager, Tammy van Zyl, and its editor-in-chief.

Journalism Based on Truth

Today, as throughout its history, Die Burger remains current with national and international news, champions culture, and upholds core values:

• multiparty democracy
• free-market economy
• individual freedom
• freedom of the press
• full and equal status for the Afrikaans language

It is still published in print, accompanied by several supplements:

• Sake 24: Business from A to Z, Monday to Friday
• Buite (Outside): Regional news every Tuesday
• Jip: Youth sports magazine (Monday)
• Leefstyl (Lifestyle): Wednesday
• Motors (Cars): Automotive magazine (Thursday)
• Vrydag! (Friday): Weekend magazine
• Landbou (Agriculture): Farming news (Friday)

Although it is outpaced domestically by SON, Die Burger is internationally recognized as the leading Afrikaans publication. It practices journalism based on truth, honesty, accuracy, and balance, adhering to all standards of the Press Code (featured on page 2 of every issue).

Die Burger Timeline:

• 1915, July 26: First issue of De Burger
• 1916: First articles in Afrikaans
• 1916: First supplement, De Huisgenoot
• 1921: Title changed to Die Burger
• 1932, February 1: Redesign and introduction of photographs
• 1939, March 4: First comic strip published
• 1942, March 26: First use of the term apartheid
• 1952: Emergence of cultural journalism
• 1954: Accusations of publishing confidential information and threats of closure
• 1965: Recognized as one of the 12 most important newspapers worldwide
• 1965, July: 50th anniversary
• 1967, December 4: Exclusive photo coverage of the first heart transplant
• 1982: Introduction of color headlines
• 1986: Famous coverage of Sipho Mabuse’s concert
• 1990: Nearly all content in color
• 1990: Formal break with the National Party
• 1995: Launch of the “Koerant in die Klaskamer” project
• 1998: Launch of the website www.dieburger.com
• 2000: Complete redesign of the paper
• 2006: Appointment of black editor-in-chief, Henry Jeffreys
• 2015, July: 100th-anniversary celebration
• 2018: Changes to Eastern Cape editions (print only on Fridays)
• 2018, April 2: Launch of “Digitale Sitkamer”
• 2023, July: Award for best business performance in Afrikaans and English news sections

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