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Kathy’s Greatest Wish Acknowledgements Acknowledgements for original version of this exhibition Ahmed Mohamed Kathrada (or ‘Kathy’ as he is popularly known) was born in 1929 to Indian Kathy was released from prison on October 15, 1989. “As a free man since his release, Kathy has Graphic design and layout – Oryx Multimedia immigrants in a rural town in South Africa. It was during a period of racism and oppression of played a vital role in the ushering of a democratic South Africa and adjusted to a life that no longer Curator – Razia Saleh human rights in that country. Kathy was only 12 when he began a life of tireless activism for non- concentrates on “fighting apartheid” in South Africa but on fostering a world of non-racialism and Writing and research – Sahm Venter and Razia Saleh racialism and democracy. He was arrested several times and, along with eight friends and fellow democracy.” Picture research – Razia Saleh and Yunus Chamda Artifact research – Razia Saleh activists including Nelson Mandela and Walter Sisulu, he was sentenced to life imprisonment at Images and artifacts – All those who contributed so generously are acknowledged, especially the famous Rivonia Trial. He spent 26 years in prison, 18 of which were on Robben Island. Ahmed Kathrada and the Ahmed Kathrada Foundation; the Nelson Mandela Foundation; Mayibuye My greatest wish would be first of all to recognize, today we Centre and Robben Island Museum; Indicator Newspaper; South African National Archives; are 15 years old, we are nowhere near to what we want for Bailey’s African History Archives; The Star archives, courtesy of Independent News and Media Kathy was released from prison in 1989 and, in 1994, in the new democratic South African our democratic, non-racial, non-sexist South Africa. -
Mirror, Mediator, and Prophet: the Music Indaba of Late-Apartheid South Africa
VOL. 42, NO. 1 ETHNOMUSICOLOGY WINTER 1998 Mirror, Mediator, and Prophet: The Music Indaba of Late-Apartheid South Africa INGRID BIANCA BYERLY DUKE UNIVERSITY his article explores a movement of creative initiative, from 1960 to T 1990, that greatly influenced the course of history in South Africa.1 It is a movement which holds a deep affiliation for me, not merely through an extended submersion and profound interest in it, but also because of the co-incidence of its timing with my life in South Africa. On the fateful day of the bloody Sharpeville march on 21 March 1960, I was celebrating my first birthday in a peaceful coastal town in the Cape Province. Three decades later, on the weekend of Nelson Mandela’s release from prison in February 1990, I was preparing to leave for the United States to further my studies in the social theories that lay at the base of the remarkable musical movement that had long engaged me. This musical phenomenon therefore spans exactly the three decades of my early life in South Africa. I feel privi- leged to have experienced its development—not only through growing up in the center of this musical moment, but particularly through a deepen- ing interest, and consequently, an active participation in its peak during the mid-1980s. I call this movement the Music Indaba, for it involved all sec- tors of the complex South African society, and provided a leading site within which the dilemmas of the late-apartheid era could be explored and re- solved, particularly issues concerning identity, communication and social change. -
Music to Move the Masses: Protest Music Of
The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Music to Move the Masses: Protest Music of the 1980s as a Facilitator for Social Change in South Africa. Town Cape of Claudia Mohr University Dissertation submitted in partial fulfilment of the requirements for the degree of Masters of Music, University of Cape Town. P a g e | 1 A project such as this is a singular undertaking, not for the faint hearted, and would surely not be achieved without help. Having said this I must express my sincere gratitude to those that have helped me. To the University of Cape Town and the National Research Foundation, as Benjamin Franklin would say ‘time is money’, and indeed I would not have been able to spend the time writing this had I not been able to pay for it, so thank you for your contribution. To my supervisor, Sylvia Bruinders. Thank you for your patience and guidance, without which I would not have been able to curb my lyrical writing style into the semblance of academic writing. To Dr. Michael Drewett and Dr. Ingrid Byerly: although I haven’t met you personally, your work has served as an inspiration to me, and ITown thank you. -
SA Yearbook 10/11: Chapter 4
ARTS AND CULTURE SOUTH AFRICA YEARBOOK 2010/11 2010/11 ARTS AND CULTURE 4 The Department of Arts and Culture is tasked Arts and culture organisa- with creating an environment conducive to the tions and institutions growth, development and flowering of South National Heritage Council Africa’s arts, culture and heritage land- (NHC) scape. The NHC, a statutory body that aims to The department leads and coordinates bring equity to heritage promotion and efforts to promote national identity and conserva tion, was officially constituted on social cohesion. 26 February 2004 in terms of the NHC Act, The 2010 FIFA World CupTM provided a 1999 (Act 11 of 1999). The council creates unique opportunity for the diverse South an environment for preserving and promot- African heritage, arts, crafts and cultural ing South African heritage. sectors to come to the fore. In July 2010, the NHC and Freedom A substantial investment was made by the Park held the Intergenerational Dialogues department to integrate these elements into for the celebration of Nelson Mandela Day the World Cup, as well as to amplify them as at the Freedom Park in Pretoria. The part of the South African experience offered Department of Arts and Culture and the to the world. NHC have embarked on the development The Department of Arts and Culture of the National Liberation Heritage Route, funded 21 World Cup Arts and Culture- which will highlight the contribution of related projects totalling R59 million and set national heroes to the struggle for freedom. aside R127 million for infrastructure devel- opment projects, which were regarded as South African Heritage 2010 legacy projects. -
A3441 Alexandre Moumbaris Papers, 1970S-2000S Historical Papers
A3441 Alexandre Moumbaris Papers, 1970s-2000s Historical Papers Research Archive, University of the Witwatersrand, Johannesburg, South Africa, 2020 11 boxes, photographs, 1 CD OVERVIEW The collection contains the personal papers of Alexandre (Alex) Moumbaris, particularly his arrest, trial and imprisonment in South Africa. Also included are related documents covering the various anti-Apartheid movements in France, including the work of his wife Marie-Jose, and documents relating to 'Okhela'. A number of documents and newspaper clips are in French. BIOGRAPHICAL NOTES Alexandre (Alex) Moumbaris, born in Egypt to Greek parents, began his political life in England as a member of the British Communist Party and later the South African Communist Party. He also joined Umkhonto we Sizwe (MK), and together with his wife Marie-Jose became part of what is now known as the internationalist underground group ‘London Recruits’, for which they received the South African National Order “Sabotage Campaign Medal” in 2012. Alex and Marie-Jose Moumbaris were arrested on the 19 July 1972 while trying to cross the border from Botswana to South Africa during an MK operation, together with other members of MK. They were secretly detained for 4 months, before ‘Alexandre Moumbaris and 5 Others’ were charged under the Terrorism Act in January 1973. Marie-Jose, who was pregnant at the time with their first child, had been released through international pressure and deported to France in September 1972. Alex Moumbaris was sentenced to 12 years imprisonment on the 20 June 1973, which he started serving in the Pretoria Local Prison. On the 11 December 1979 Alex Moumbaris and two other prisoners, Tim Jenkin and Stephen Lee, made a daring escape from Pretoria Central Prison. -
2015-Fringe-Programme 2.Pdf
Dance 153 Physical Theatre 160 Poetry 168 Illusion 171 Drama 173 Comedy 198 Family Fare 226 Cabaret /Music Theatre 231 The Festival organisers have made every effort to ensure that Classical/Recital 235 everything printed in this publication is accurate. However, mistakes and changes do occur, and we do not accept any responsibility for Contemporary Music 236 them or for any inaccuracies or misinformation within advertisements. Artists provide images, logos, text and advertisements and we accept Film 241 no responsibility for the quality of reproduction in this publication. Visual Art 243 Pick up the FESTIVAL POCKET PLANNER for up-to-date info on all Festival events – cancellations, new shows, additional performances, changes and amendments. Spiritfest 254 Key to Fringe Listings Title of Presenting production company Indicates a première ~ Age recommendation ALL = All ages PG = Parental guidance INTERPLAY P 16/13+ etc. = Ages 16/13 & above Thetha Group ~ ALL Production and reason for recommendation: image Fafa’s husband has recently passed away leaving her S = Sex; V = Violence; hundreds of pieces of his artwork. Happy-go-lucky L = Language; P = Prejudice; Webster can’t find a job and makes his living stealing. M = Mature themes Interplay follows the story of Fafa and Webster as they Ad = Adults only discover how the Internet can create opportunities for them. Interplay features a bright young cast and director NFC = Not for very young children from Joza Township, including multi award winning Xolela Tsili. Credits Director: Thozi Ngeju -
A3393-C1-02-Jpeg.Pdf
^ESCAPEc y with a V 'V* §■ London journalist ^mystery planned it* and brunette set false trails PAR-ES-SALAAM. — Arthur Goldreich and Harold Wolp^ escaped from Johannesburg X 700 MMeya’ Tan« ah-’ W olpe from Becliuanaiand was organized Pais-SaLnm 8 Z Uth o f ' ‘>a,aam, yesterday. With them was a “mysterv” hr of “ The r „ V PT — Oliver Carrutherg nette of about -in , y t. Ly bru- dress and dUA f ’T eanng a blue backing of Kenneth g i . personal SAPA-Reuter * glasses* reports Rhodesia Ica.lcr. "d“’ ‘he Norther“ T«„rX ^'oSr.M l-betl- ‘SSiSsSLSS: of in™lKed";? ^ nCi„d“ ‘' ”»r;y -« b followed a week J| false trails. Tliev harYhe I 16 a,yiI1o ° f elaborate tow,, Jai| fey I f , Z T g t*1"8' " le There they were deke, , ! “ ‘g 'Z by r'™'1 f” Pa'apye. in Katanga ' U|>a,,d <» Llisabell,villa HAPPY m o o d rmnllf ^a/ SC trads included g eD^ er I Urs 'i,at tl»e two men, on thatathe escapers * Was added head, the South Afri MYSTERY to continued Rl 0noOVernn,ent ,,ad P^ced es-Salaam until today. { h °0 , were planning a road WOMAN dddl into Norther., Rhodesia. ELISABETHVILLE, lnc^di°ngS°v[vianfrEzrarefUgeeS' n 6d heiT“ S wa® ^at a m „ Monday. Ka„ * ere flying to an airstrip at A attractive European Kasama ln Northern Rhodesia woman of about 30, who w?s with Goldreich Z d Plane^n.Upri uefu^-es’ in a light stoppeHP hHpf1 by Tlm°th.V Bally, Wolpe, told journalists: “ We Kh aaw ass-A the n o r t h e r ^ rfat Kasani on anything.” Primed not to land. -
Political Prisoners in South Africa: a Who's Who
Political prisoners in South Africa: a who's who http://www.aluka.org/action/showMetadata?doi=10.5555/AL.SFF.DOCUMENT.nuun1975_12 Use of the Aluka digital library is subject to Aluka’s Terms and Conditions, available at http://www.aluka.org/page/about/termsConditions.jsp. By using Aluka, you agree that you have read and will abide by the Terms and Conditions. Among other things, the Terms and Conditions provide that the content in the Aluka digital library is only for personal, non-commercial use by authorized users of Aluka in connection with research, scholarship, and education. The content in the Aluka digital library is subject to copyright, with the exception of certain governmental works and very old materials that may be in the public domain under applicable law. Permission must be sought from Aluka and/or the applicable copyright holder in connection with any duplication or distribution of these materials where required by applicable law. Aluka is a not-for-profit initiative dedicated to creating and preserving a digital archive of materials about and from the developing world. For more information about Aluka, please see http://www.aluka.org Political prisoners in South Africa: a who's who Alternative title Notes and Documents - United Nations Centre Against ApartheidNo. 12/75 Author/Creator United Nations Centre against Apartheid Publisher Department of Political and Security Council Affairs Date 1975-04-00 Resource type Reports Language English Subject Coverage (spatial) South Africa Coverage (temporal) 1948 - 1975 Source Northwestern University Libraries Description This issue of Notes and Documents contains brief biographical data on persons imprisoned under the so-called security legislation of South Africa such as the Suppression of Communism Act, the Unlawful Organizations Act, the Sabotage Act and the Terrorism Act. -
National Archives of Namibia Findaid 2/237
National Archives of Namibia Findaid 2/237 Preliminary Findaid 2/237 A.1051 Simon Wilkie Collection Compiled by Werner Hillebrecht 2015 National Archives of Namibia Preliminary Findaid 2/237: A.1051 Simon Wilkie Collection Compiled by Werner Hillebrecht Windhoek, 2015 © National Archives of Namibia Attribution-NonCommercial-ShareAlike CC BY-NC-SA Republic of Namibia Ministry of Education, Arts and Culture National Archives of Namibia P/Bag 13250 Windhoek Namibia Tel. +264–61–2935211 (switchboard), 2935210 or 2935208 (reading room) Fax +264–61–2935207 [email protected] ii Findaid 2/237 Simon Wilkie Collection A.1051 Private Accession A.1051 Simon Wilkie Collection Introduction Simon Wilkie, a Namibian film producer, donated a large part of his private audiovisual archives to the National Archives in August 2015. The collection consisted of 1342 data carriers (including redundant duplicates) of audiovisual recordings, in part published videos by Simon Wilkie and other filmmakers, and in part raw footage by Simon Wilkie and his production company Mubasen. Due to the unavailability of adequate replay equipment and inadequate labelling of the material, it has so far only been possible to catalogue the published videos and a few labelled unpublished VHS videos and copies (the latter only by provided title without further detail). These videos were shelved with the audiovisual collection in the ADV, MV and SV series. Not more than 2 copies of the same video were taken into the collection; third and further copies were take to the surplus for exchange. The remainder of uncatalogued raw footage was taken into safe storage for future processing. -
Hugh Masekela
Elijah Star Hugh Masekela with Hugh Masekela Flugelhorn and Lead Vocals Abednigo Sibongiseni Zulu Bass Guitar Francis Manneh Edward Fuster Percussion and Backing Vocals Cameron John Ward Lead Guitar and Backing Vocals Randal Skippers Keyboards and Backing Vocals Lee-Roy Sauls Drums and Backing Vocals Garrick Quentin Van Der Tuin Sound Engineer Andrew Georgiou Senior Manager Rapelang Eugene Leeuw Band Manager PROGRAM. Set list will be announced from stage. Saturday, April 14 at 7 PM* Zellerbach Theatre *INSIGHT Event: Stay after the performance for a chat with Hugh Masekela. 24 | ABOUT THE ARTISTS Hugh Masekela (Trumpet) Legendary South African trumpeter Hugh Masekela is an innovator in the world music and jazz scene and continues to tour the world as a performer, composer, producer and activist. This iconic artist is best known for his Grammy®-nominated hit single “Grazing in the Grass,” which sold over 4 million copies in 1968 and made him an international star. He later played an integral role in Paul Simon’s tour behind the classic album Graceland, which was one of the first pop records to introduce African music to a broader public. Masekela was born on April 4, 1939 in Witbank, near Johannesburg. Masekela showed musical ability from a young age and began playing piano as a child. Inspired by the movie Young Man with a Horn (in which Kirk Douglas plays a character modeled after American jazz trumpeter Bix Beiderbecke), Masekela began to play the trumpet. He was encouraged by anti-apartheid activist Father Trevor Huddleston, who helped him acquire an instrument. As Apartheid tensions rose in 1960, Masekela escaped South Africa and enrolled in London's Guildhall School of Music. -
The Use of Personal Names in Respect of the Living-Dead Within Traditional Polygynous Families in Kwamambulu, Kranskop. Evangeli
UNIVERSITY OF KWAZULU NATAL PIETERMARITZBURG THE USE OF PERSONAL NAMES IN RESPECT OF THE LIVING-DEAD WITHIN TRADITIONAL POLYGYNOUS FAMILIES IN KWAMAMBULU, KRANSKOP. EVANGELINE BONISIWE NGIDI i THE USE OF PERSONAL NAMES IN RESPECT OF THE LIVING-DEAD WITHIN TRADITIONAL POLYGYNOUS FAMILIES IN KWAMAMBULU, KRANSKOP. By Evangeline Bonisiwe Ngidi (BA Hons, MA (UNP), HDE (TUT) Submitted in fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the School of Arts College of Humanities University of KwaZulu Natal Pietermaritzburg. Supervisor: Prof A. Koopman December 2012 ii DECLARATION I, Evangeline Bonisiwe Ngidi, student number 942405624, declare that this thesis is my own work except where otherwise indicated. It has not been submitted in part or as a whole for a degree at any University. ……………………… ………………………… Signature Date iii ACKNOWLEDGEMENTS I wish to extend my words of appreciation and my gratefulness to the following people who supported me through this endeavour. My supervisor, Prof. A. Koopman, for his criticisms, valuable insights and enduring support in making this thesis what it is. My late grandmother Fikisiwe Thembeni Ngidi (MaChamane) who was a mother, a best friend, an inspiration to me and contributed a great deal in the collection of the data involved in this study. Unfortunately she could not see the completion. My lovely daughter Thokola Zungu for her steadfast love and wonderful support which kept me going throughout this study. My little sister Buhle, cousin Sphelele, my mother Jabu and the Ngidi family for their enduring support. My friends at the Durban University of Technology (ML Sultan Campus) and my colleagues at UKZN School Arts – Pietermaritzburg and Howard College Campuses. -
Ahmed Kathrada (1929 - 2017)
Ahmed Kathrada (1929 - 2017) A Life of Activism Ahmed Kathrada – A Moral Compass for All Time Revolutionary. Lifelong activist against racism. Internationalist. These words were boldly displayed on a banner at Ahmed Kathrada’s funeral in Johannesburg on 29 March 2017. Comrade Kathy, as many of us know him, became an activist at the age of twelve. He dedicated his life to the struggle for a non-racial, non-sexist, democratic South Africa. He sacrificed his youth by serving a life sentence in prison for fighting against a racist, apartheid state. He dedicated his time after his release from imprisonment to building a new South Africa. And as the years advanced, Comrade Kathy still continued serving – promoting non-racialism and human rights through the Ahmed Kathrada Foundation. In death too, he still made his mark. His funeral was characterised by dignity and Derek Hanekom a sombre sense of loss, but it also provided a platform to reflect on why we should continue his legacy and uphold the values that Comrade Kathy stood for. Comrade Kathy was known for his honesty and courage in speaking out against what he believed was wrong. At his funeral, a similar sort of honesty and frankness prevailed. Speakers reflected on the political challenges faced by South Africa, and what needs to be done to solve it. Despite his passing, Comrade Kathy was still playing the role of moral compass. He has taken his place amongst the giants of our revolution. He remains a guiding light for all of us, so that when we are confronted with uncertainty and doubt, all we need to do is to look at the example he set, and follow the light that he brought into our world.