DOCSLIB.ORG

WO II, Die SAUK, FAK En Boeremusiek?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WO II, Die SAUK, FAK En Boeremusiek? Plate & Politiek Populêre Afrikaanse musiek en die samelewing 1900‑2017 S.D. VAN DER MERWE Plate en Politiek – Populêre Afrikaanse Musiek en die Samelewing, 1900‑2017 Uitgegee deur AFRICAN SUN MeDIA onder die druknaam SUN PReSS Alle regte voorbehou Kopiereg © 2019 AFRICAN SUN MeDIA en die outeur. Hierdie publikasie is deur die uitgewer aan ’n onafhanklike dubbel-blinde portuurevaluering onderwerp. Die outeur en die uitgewer het alles moontlik gedoen om kopieregtoestemming te verkry vir die gebruik van derdepartyinhoud en om sodanige gebruik te erken. Rig alle navrae aan die uitgewer. Geen gedeelte van hierdie boek mag sonder die skriftelike verlof van die uitgewer gereproduseer of in enige vorm deur enige elektroniese, fotografiese of meganiese middel weergegee word nie, hetsy deur fotokopiëring, plaat-, band- of laserskyfopname, mikroverfilming, via die Internet of e-pos of enige ander stelsel van inligtingsbewaring of -ontsluiting. Menings in hierdie publikasie weerspieël nie noodwendig dié van die uitgewer nie. Eerste uitgawe 2019 ISBN 978-1-928357-68-1 ISBN 978-1-928357-69-8 (e-boek) https://doi.org/10.18830/9781928357698 Geset in Minion Pro 10/13 pt Bandontwerp en bladuitleg en produksie deur AFRICAN SUN MeDIA SUN PReSS is ’n gelisensieerde druknaam van AFRICAN SUN MeDIA. Vakkundige, professionele en navorsingswerke word onder hierdie druknaam in druk- en elektronieseformaat uitgegee. Hierdie publikasie kan direk bestel word by: www.sun-e-shop.co.za africansunmedia.snapplify.com (e-boeke) www.sotre.it.si (e-boeke) www.africansunmedia.co.za INHOUDSOPGAWE Erkennings ..................................................................................................... i Inleiding ........................................................................................................ 1 1 Grammofone, “warm patriotte” en radio-oorloë ............................................ 19 2 “Plaaslike geur”, spanning, en die opkoms van Afrikanernasionalisme .......... 41 3 WO II, die SAUK, FAK en Boeremusiek? .......................................................... 63 4 Die apartheid regime, rock ’n roll en die Afrikanerjeug .................................. 83 5 Nuwe stemme, veranderende politiek en toenemende ondermyning ........... 101 6 Alternatiewe Afrikaanse musiek teen die einde van apartheid ....................... 123 7 Nostalgie, vrees en wins in post-apartheid Afrikaanse musiek ...................... 139 Slot ................................................................................................................ 161 Bibliografie .................................................................................................... 171 Indeks ............................................................................................................ 185 erkennings Hierdie boek verteenwoordig die samekoms van die twee wêrelde waarin ek gelyktydig woon: die akademie en musiek. Ek is die dank verskuldig aan ’n aantal individue in beide. By Universiteit Stellenbosch: dankie aan veral Prof Albert Grundlingh vir intellektuele en logistiese ondersteuning; Prof Eugene Cloete, Vise- Rektor (Navorings, Innovering en Nagraadse Studies), vir sy ruim finansiële bydrae, en aan Prof Stephanus Muller van die Africa Open Institute, wat bydrae van onskatbare waarde gedurende die navorsingsfase gemaak het. ’n Spesiale woord van dank ook aan John Cowlin vir sy finansiële bydrae. Dankie aan die biblioteekstaf by Universiteit Stellenbosch se Biblioteekargief, die Universiteit van die Vrystaat se Insituut vir Eietydse Geskiedenis Argief, en die SABC Inligtingsbiblioteek, sowel as Justa Niemand, Emily Vosloo en Anina Joubert by African Sun Media, en aan Erna Compion vir die proeflees van ’n vroeër weergawe van hierdie teks. Op die musiekfront is daar ook ’n paar mense wat, deur te doen wat hulle doen, enorm baie bygedra het tot hierdie boek. Ek is veral dank verskuldig aan Tertius Louw, ’n onvervangbare bron (wat altyd beskikbaar was) van inligting oor die geskiedenies van populêre Suid-Afrikaanse musiek. Hierdie boek is grotendeels geskryf tussen toere met my musiekkollegas Karen Zoid, Tim Rankin, Henry Steel, Kyle Petersen, Darren Petersen en Jeandré Schultz. Dankie! Ek is ook dankbaar vir my ander broers en susters in musiek: Mike en Dave, Gerald, Valiant, die ander Schalk, Vernon, Carien, Simon, Parri, Guy, Albert, Melissa, Tony G, Piet, Mel, Pietman, die ontslape Ollie Viljoen, die oorlewende lede van Die Gereformeerde Blues Band, en nog baie meer. Op ’n meer persoonlike noot, aan die twee mense aan wie hierdie boek opgedra is, julle ondersteuning en liefde bly die belangrikste. i Aan Ilse en Valki Inleiding Kent gij dat volk vol heldenmoed en toch zo lank geknecht?1 Die bogenoemde is die welbekende eerste strofe van die volkslied van die eertydse Transvaalse Republiek. Die bedoeling met die aanhaling daarvan is nie om ’n aanprysing te wees van wat ander beskou as “een van die beste volksliedere van alle tye”2 of om ’n hagiografiese toon aan die Afrikanergeskiedenis3 te gee nie. Dit is eerder ’n blote aanhaling van die eerste twee reëls van die eerste opname ooit van ’n stuk musiek met Afrikanerwortels.4 In Januarie 1900 het drie Europese sangers, nie besonder beroemd nie, elk ’n opname van die lied gemaak – J.C. van den Berg in Den Haag, en Ewald Brückner en H. Cornelli in Berlyn. Op dieselfde dag waarop Van den Berg in die ateljee in Den Haag was, het E. Spieksma ook opgedaag om twee ander liedjies met ’n 1 Vert. “Ken jy die volk vol heldemoed en tog so lank gekneg?” 2 A. M. Swanepoel, “Music inspired by the Afrikaner cause (1852-1902), with special reference to the Transvaal Volkslied”, ongepubliseerde M. Tesis (Universiteit van Suid-Afrika, 1979). 3 Dit het gebruiklik geraak om die term “Afrikaner” te kwalifiseer. Dit word hier gebruik as ’n beskrywing van iemand wat wit is en Afrikaans praat. Alle wit Afrikaanssprekers self-identifiseer beslis nie as “Afrikaners” nie, maar voorkeur word gegee aan “Afrikaner” en nie “wit Afrikaanssprekers” nie, want die eersgenoemde het historiese strekking en het gedien as ’n kern waar rondom sulke konsepte soos “Afrikanernasionalisme” ontstaan het. Dit dui ook op rasse-eksklusiwiteit en ’n rasse-hierargie wat aan die spil is van Afrikaanse taalpolitiek en het direkte betrekking op die inhoud van hierdie boek. Dit is ook belangrik om uit te wys dat wit Afrikaanssprekers, ten spyte daarvan dat hulle histories kuratorskap oor die taal geëis het, ’n minderheid (omtrent 40%) van alle eerste-taal Afrikaanssprekers beslaan. 4 Ian Colquhoun het “We are marching to Pretoria” in 1899 opgeneem, wat sover as wat vasgestel kan word, die vroegste verwysing na Suid-Afrika in opgeneemde musiek is. In hierdie geval lê die wortels natuurlik by die Britte. 1 boere-oorsprong op te neem – “Transvaal en Nederland” en “Volkslied van den Oranje Vrijstaat”, die volkslied van die ander Boererepubliek, die Oranje Vrystaat. Dit was die eerste twee Africana-grammofoonopnames, meer Hollands as Afrikaans, maar tog ’n onbedoelde begin vir die Afrikaanse musiekbedryf. Hoekom het hulle die liedere opgeneem? Het hulle daarmee een of ander vorm van solidariteit of waardering vir die Boere uitgespreek wat teen die Britte geveg het op die slagvelde van die Anglo-Boereoorlog? Dit is welbekend dat die twee Boererepublieke minstens die morele ondersteuning van baie Europeërs gehad het tydens die oorlog. Meer as 100 jaar later, in Oktober 2006, is die debuut-album wat die vinnigste nog verkoop het in die geskiedenis van Afrikaanse musiek uitgereik.5 Die gewildheid daarvan was weens ’n trefferliedjie vernoem na ’n Boeregeneraal uit daardie selfde oorlog en wat merkwaardig ooreenstem met die sentiment van Van den Berg, Brückner, Cornelli en Spieksma. Die liedjie was “De la Rey” deur die sanger Bok van Blerk. Daar het natuurlik baie gebeur tussen 1900 en 2006. Enigiemand wat selfs net ’n bietjie kennis dra van Suid-Afrikaanse geskiedenis in die twintigste eeu sal weet van die rassistiese beleid van apartheid, die afskaffing daarvan en die gevolglike oorgang na ’n demokratiese bestel in 1994. Dit is daarom ’n merkwaardige kenmerk van die Afrikanergemeenskap in ’n post-apartheidkonteks dat die oproeping van – nie noodwendig letterlike nie, maar wel metaforiese – “volk vol heldenmoed en toch zo lang geknecht” so diep met die gemeenskap sou resoneer. Of dalk nie. Volk dui op Afrikanernasieskap en hegemonie – ’n gelaaide en onafgestorwe kenmerk van Suid-Afrikaanse geskiedenis. Die band tussen musiek en nasieskap is niks nuuts nie en was reeds in Antieke Griekeland ’n besprekingspunt. In Plato se Die Republiek IV eggo Sokrates in sy gesprek met Adeimantus, Damon se standpunt dat “wanneer die modes van musiek verander, verander die fundamentele wette van die Staat daarmee saam”.6 Of dit ’n effense oordrywing is of nie – hy het per slot van rekening ook tot min of meer dieselfde gevolgtrekking gekom oor gimnastiek – of ’n growwe oorvereenvoudiging, was daar wel al ’n hele aantal historiese periodes waartydens sosiale verandering geresoneer het met die musiek van die dag. Die sosiale bewegings van die 1960’s en hul bande met populêre musiek (soos Bob Dylan) is ’n goeie voorbeeld. As geskiedkundige en musikant is ek al lank geïnteresseerd in dié verband. As ’n eerstejaarstudent aan die Universiteit Stellenbosch in 1995, het ek by ’n eksperimentele prog rock-groep die Wild Possums aangesluit en my eerste optrede saam met hulle was om te open vir die legendariese Voëlvry 7– rocker/digter Koos Kombuis. Al het ons ’n allemintige klomp drank op sy
Load more

Recommended publications
  • Transnational Resistance Strategies and Subnational Concessions in Namibia's Police Zone, 1919-1962
    Graduate Theses, Dissertations, and Problem Reports 2021 “Remov[e] Us From the Bondage of South Africa:” Transnational Resistance Strategies and Subnational Concessions in Namibia's Police Zone, 1919-1962 Michael R. Hogan West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the African History Commons Recommended Citation Hogan, Michael R., "“Remov[e] Us From the Bondage of South Africa:” Transnational Resistance Strategies and Subnational Concessions in Namibia's Police Zone, 1919-1962" (2021). Graduate Theses, Dissertations, and Problem Reports. 8264. https://researchrepository.wvu.edu/etd/8264 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. “Remov[e] Us From the Bondage of South Africa:” Transnational Resistance Strategies and Subnational Concessions in Namibia's Police Zone, 1919-1962 Michael Robert Hogan Dissertation submitted to the Eberly College of Arts and Sciences at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Philosophy In History Robert M.
    [Show full text]
  • Constitutional Authority and Its Limitations: the Politics of Sexuality in South Africa
    South Africa Constitutional Authority and its Limitations: The Politics of Sexuality in South Africa Belinda Beresford Helen Schneider Robert Sember Vagner Almeida “While the newly enfranchised have much to gain by supporting their government, they also have much to lose.” Adebe Zegeye (2001) A history of the future: Constitutional rights South Africa’s Constitutional Court is housed in an architecturally innovative complex on Constitution Hill, a 100-acre site in central Johannesburg. The site is adjacent to Hillbrow, a neighborhood of high-rise apartment buildings into which are crowded thousands of mi- grants from across the country and the continent. This is one of the country’s most densely populated, cosmopolitan and severely blighted urban areas. From its position atop Constitu- tion Hill, the Court offers views of Hillbrow’s high-rises and the distant northern suburbs where the established white elite and increasing numbers of newly affluent non-white South Africans live. Thus, while the light-filled, colorful and contemporary Constitutional Court buildings reflect the progressive and optimistic vision of post-apartheid South Africa the lo- cation is a reminder of the deeply entrenched inequalities that continue to define the rights of the majority of people in the country and the continent. CONSTITUTIONAL AUTHORITY AND ITS LIMITATIONS: THE POLITICS OF SEXUALITY IN SOUTH AFRICA 197 From the late 1800s to 1983 Constitution Hill was the location of Johannesburg’s central prison, the remains of which now lie in the shadow of the new court buildings. Former prison buildings include a fort built by the Boers (descendents of Dutch settlers) in the late 1800s to defend themselves against the thousands of men and women who arrived following the discovery of the area’s expansive gold deposits.
    [Show full text]
  • Re-Membering Queer Africa in Literature and Film Matthew Ap Trick Durkin
    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Spring 1-1-2017 "Unorthodox Conduct": Re-membering Queer Africa in Literature and Film Matthew aP trick Durkin Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Durkin, M. P. (2017). "Unorthodox Conduct": Re-membering Queer Africa in Literature and Film (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/126 This One-year Embargo is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. "UNORTHODOX CONDUCT": RE-MEMBERING QUEER AFRICA IN LITERATURE AND FILM A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Matthew Durkin May 2017 Copyright by Matthew P. Durkin 2017 "UNORTHODOX CONDUCT": RE-MEMBERING QUEER AFRICA IN LITERATURE AND FILM By Matthew P. Durkin Approved April 7, 2017 ________________________________ ________________________________ Emad Mirmotahari, Ph.D. Laura Engel, Ph.D. Associate Professor of English Professor of English (Committee Chair) (Committee Member) ________________________________ James Holstun, Ph.D. Professor of English, University at Buffalo (Committee Member) ________________________________ ________________________________
    [Show full text]
  • South Africa and the African Renaissance
    South Africa and the African Renaissance PETER VALE* AND SIPHO MASEKO On May , immediately prior to the adoption of South Africa’s new con- stitution,Thabo Mbeki, Nelson Mandela’s chosen successor, opened his address to the country’s Constitutional Assembly with the words ‘I am an African!’. In an inclusionary speech, symptomatic of post-apartheid South Africa, Mbeki drew strands of the country’s many histories together. His words evoked great emotion within the assembly chamber, and later throughout the country: across the political spectrum, South Africans strongly associated themselves with the spirit of reconciliation and outreach caught in his words. South Africa’s reunification with the rest of the continent had been a significant sub-narrative within the processes which led to negotiation over the ending of apartheid. That South Africa would become part of the African community was, of course, beyond doubt; what was at issue was both the sequence of events by which this would happen and the conditionalities attached to its happening.The continent’s enthusiasm for the peace process in South Africa was initially uneven: the Organization of African Unity (OAU) summit in June decided to retain sanctions against South Africa although the Nigerian leader, General Ibrahim Babingida, expressed an interest in meet- ing South Africa’s then President, F.W.de Klerk, if such an occasion ‘would help bring about majority rule.’ The political prize attached to uniting South Africa with the rest of the continent explains why South Africa’s outgoing minority government, despite energetic and expensive diplomatic effort, was unable to deliver its own version of South Africa in Africa.
    [Show full text]
  • 200 1. Voortrekkers Were Groups of Nineteenth- Century Afrikaners Who
    Notes 1. Voortrekkers were groups of nineteenth- century Afrikaners who migrated north from the Cape colony into the South African interior to escape British rule. 2. ‘Township’ is the name given by colonial and later apartheid authorities to underdeveloped, badly resourced urban living areas, usually on the outskirts of white towns and cities, which were set aside for the black workforce. 3. See, for example, Liz Gunner on Zulu radio drama since 1941 (2000), David Coplan on township music and theatre (1985) and Isabel Hofmeyr on the long- established Afrikaans magazine Huisgenoot (1987). 4. In 1984 the NP launched what it called a ‘tricameral’ parliament, a flawed and divisive attempt at reforming the political system. After a referendum among white voters it gave limited political representation to people classi- fied as coloured and Indian, although black South Africans remained com- pletely excluded. Opposition to the system came from both the left and right and voting rates among non- whites remained extremely low, in a show of disapproval of what many viewed as puppet MPs. 5. The State of Emergency was declared in 1985 in 36 magisterial districts. It was extended across the whole country in 1986 and given an extra year to run in 1989. New measures brought in included the notorious 90- day law, in which suspects could be held without trial for 90 days, after which many were released and then re- arrested as they left the prison. 6. According to André Brink, ‘The widespread notion of “traditional Afrikaner unity” is based on a false reading of history: strife and division within Afrikanerdom has been much more in evidence than unity during the first three centuries of white South African history’ (1983, 17).
    [Show full text]
  • Political Contestations Within South African Migration Governance
    Political Contestations within South African Migration Governance Khangelani Moyo & Franzisca Zanker December 2020 KEY POINTS South African migration governance has adopted an increasingly securitised approach which also blurs the boundaries between refugees and migrants. Refugee protection is increasingly fragmented, enveloped by an exclusive immigration system and a weak regional approach in terms of free movement. There are a number of political stakes related to refugee and migration governance: o Migration governance is used as leverage in domestic politics. Xenophobic violence against migrant and refugee communities continues routinely. The exclusionary approach works particularly well as a form of leverage in scapegoating the governments failures to address poverty and job creation. A focus on securitisation further concretises an anti-refugee and anti-migrant stance in policy. o The exclusionary approach contrasts to visions of free movement and Pan-Africanism as well as the benefits of “skilled” migration. In practice however, domestic imperatives are still more important and are often strengthened by the approach to foreign policy, such as quiet diplomacy in neighbouring Zimbabwe. More recently, they have resulted in diplomatic tensions with other African countries. o The Department of Home Affairs has a performative relationship with civil society who try to keep them in check. Refugee activists are side-lined where possible and given a negative portrayal. Social xenophobic rhetoric is based on the premises of identity-construction through othering as well as being linked to economic deprivation. These discourses are reinforced both through rhetoric by politicians and the media. o The border town of Musina shows that such rhetoric is not ubiquitous and a more proactive role for political and community leaders to change the public discourse on the contributions made by migrants to communities is possible.
    [Show full text]
  • Designing the South African Nation from Nature to Culture
    CHAPTER 3 Designing the South African Nation From Nature to Culture Jacques Lange and Jeanne van Eeden There is to date very little published research and writing about South African design history. One of the main obstacles has been dealing with the legacy of forty years of apartheid censorship (1950 to 1990) that banned and destroyed a vast array of visual culture in the interests of propaganda and national security, according to the Beacon for Freedom of Expression (http://search.beaconforfreedom.org/about_database/south%20africa.html). This paucity of material is aggravated by the general lack of archival and doc- umentary evidence, not just of the struggle against apartheid, but also of the wider domain of design in South Africa. Even mainstream designed mate- rial for the British imperialist and later apartheid government has been lost or neglected in the inadequate archival facilities of the State and influential organizations such as the South African Railways. Efforts to redress this are now appearing as scholars start to piece together fragments, not in order to write a definitive history of South African design, but rather to write histories of design in South Africa that recuperate neglected narratives or revise earlier historiographies. This chapter is accordingly an attempt to document a number of key moments in the creation of South African nationhood between 1910 and 2013 in which communication design played a part. Our point of departure is rooted in Zukin’s (1991: 16) belief that symbolic and material manifestations of power harbour the ideological needs of powerful institutions to manipulate class, gender and race relations, ultimately to serve the needs of capital (and governance).
    [Show full text]
  • Corrective Rape and the War on Homosexuality: Patriarchy, African Culture and Ubuntu
    Corrective rape and the war on homosexuality: Patriarchy, African culture and Ubuntu. Mutondi Muofhe Mulaudzi 12053369 LLM (Multidisciplinary Human Rights) Supervisor Prof Karin Van Marle Chapter 1: Introduction ........................................................................................................ 3 1.1 Research Problem ................................................................................................................................................................ 3 1.2 Research questions .............................................................................................................................................................. 5 1.3 Motivation/Rationale .......................................................................................................................................................... 6 1.4 Methodology .......................................................................................................................................................................... 7 1.5 Structure .................................................................................................................................................................................. 8 Chapter 2: Homophobic Rape – Stories and response by courts .......................................... 9 2.1 Introduction ............................................................................................................................................................................ 9 2.2 The definition
    [Show full text]
  • Afrikaans (Pdf)
    Historia, 64, 2, November 2019, pp156‐177 Koos Kombuis: Ikonoklas na ikoon Wouter de Wet Opsomming Die Afrikaanse skrywer en musikant Koos Kombuis word vandag wyd as ’n ikoon beskou. In die 1980’s was hy egter ’n randfiguur van die Afrikaner‐establishment. Hoe het hierdie transformasie van ikonoklas na ikoon oor tyd plaasgevind? Kombuis het sy loopbaan as digter en skrywer in die 1980’s begin. Hy het homself aan die spits van die sogenaamde Tagtigerbeweging in die letterkunde bevind, en in 1989 het hy aan die berugte Voëlvry‐toer deelgeneem wat sy status as dwarstrekker verskans het. Sy letterkunde en musiek van dié dekade het gepoog om die waardes en norme van die heersende Afrikaner‐establishment omver te gooi. Die vroeë 1990’s het bepaalde veranderinge in sowel die breër sosio‐politieke konteks van Suid‐Afrika as Kombuis persoonlik gesien. Sy beeld onder Afrikaners het stelselmatig begin verander, en soos sy loopbaan in die jare sedertdien ontwikkel het, het hy algaande ikoonstatus bekom. Hierdie artikel stel ondersoek in na Koos Kombuis se transformasie van ikonoklas na ikoon binne Afrikaner geledere. Sleutelwoorde: Koos Kombuis; ikoon; ikonoklas; Tagtigers; Voëlvry; Afrikaners; Suid‐Afrika. Abstract The Afrikaans author and musician, Koos Kombuis, is widely regarded as an icon today. In the 1980s, however, he was a fringe figure, arguably even an iconoclast of the Afrikaner establishment. How did this transformation from iconoclast to icon happen over time? Kombuis began his career as poet and author in the 1980s. He found himself as a leading figure of the so‐called Tagtiger movement in Afrikaans literature, and in 1989 he participated in the Voëlvry tour which entrenched his image as an Afrikaner iconoclast.
    [Show full text]
  • BEYOND RETRIBUTION Existing Practice As Well As Practitioners’ Production of This Monograph
    ISS MONOGRAPH No 111 A joint publication with the Restorative Justice Centre Restorative justice is a way of dealing perceptions – for using restorative with victims and offenders by focusing justice methods in the day-to-day on settling the conflicts arising from handling of criminal offences. In doing crime, resolving the underlying so, the main challenge will be providing problems that cause it, and thereby effective training on the aims, outcomes healing all those affected. The and applications of restorative justice for community, rather than just the police, all those involved in the process. courts and prisons should be allowed a space in the formal justice process to take responsibility for controlling crime. Currently, however, the criminal justice system rarely provides this opportunity. This monograph argues that inter- nationally, restorative justice has been carefully considered and a high degree of consensus about the approach exists. South Africa is now well positioned – in terms of the policy environment, The Royal Danish Embassy funded the BEYOND RETRIBUTION existing practice as well as practitioners’ production of this monograph. PROSPECTS FOR RESTORATIVE JUSTICE IN SOUTH AFRICA EDITED BY TRAGGY MAEPA The vision of the Institute for Security Studies is one of a stable and peaceful Africa characterised by human rights, the rule of law, democracy and collaborative security. BEYOND RETRIBUTION As an applied policy research institute with a mission to conceptualise, inform and enhance the security debate in Africa, the Institute supports this vision statement by PROSPECTS FOR RESTORATIVE undertaking independent applied research and analysis; facilitating and supporting policy formulation; raising the JUSTICE IN SOUTH AFRICA awareness of decision makers and the public; monitoring trends and policy implementation; collecting, interpreting and disseminating information; networking on national, EDITED BY TRAGGY MAEPA regional and international levels; and capacity-building.
    [Show full text]
  • Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
    Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant
    [Show full text]
  • Proquest Dissertations
    FROM POLITICAL VIOLENCE TO CRIMINAL VIOLENCE - THE CASE OF SOUTH AFRICA by Sydney M. Mitchell Submitted in partial fulfillment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia April 2006 © Copyright by Sydney M. Mitchell, 2006 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-44089-6 Our file Notre reference ISBN: 978-0-494-44089-6 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]