Department of Arts and Culture Annual Report 2014/2015
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Part 2 DEPARTMENT of ARTS and CULTURE | ANNUAL REPORT | Budget Vote 14 | 2014-2015 Performance Information Arts & Culture 30
29 Part 2 DEPARTMENT OF ARTS AND CULTURE | ANNUAL REPORT | Budget Vote 14 | 2014-2015 Performance Information Arts & Culture 30 DEPARTMENT OF ARTS AND CULTURE | ANNUAL REPORT | Budget Vote 14 | 2014-2015 2.1 REPORT OF THE AUDITOR-GENERAL ON Development, protection, preservation and promotion of arts, culture PREDETERMINED OBJECTIVES and heritage The Social Cohesion Programme The audit conclusion on the performance against predetermined objectives is included in the report to management, with findings being reported under the It remains our task to reconstruct our fractured and divided past to a more socially Predetermined Objectives heading in the Report on other legal and regulatory and economically inclusive society that is proud of all its cultural expressions. This requirements section of the Auditor-General’s report. entails, among other things, mobilising people to act together to enable the birth Refer to page 96 of the Report of the Auditor-General, published as Part Five: of a new culture and create new forms of engagement towards greater unity. Financial Information Following the successful Social Cohesion Summit held in 2012, at which a 12-point declaration was endorsed and adopted, the Department developed and continues 2.2 OVERVIEW OF DEPARTMENTAL PERFORMANCE to implement a social cohesion programme that includes initiatives such as community conversations, social cohesion summits and social cohesion advocates. The Department of Arts and Culture is forging ahead with the agenda of In the period under review 30 community conversations were held in different parts “transforming society and uniting the country” as directed by the National of the country. The conversations are part of the ongoing national dialogues that Development Plan. -
Honours, Awards and Other Forms of Recognition
Tributes to Nelson Mandela Streets, roads, boulevards and parks in Nelson Mandela’s name # STREETS ROADS BOULEVARDS DATE SOURCE SA High 1 Nelson Mandela Street, Rio de Janeiro, Brazil Commission 2 Nelson Mandela Road, Gaborone, Botswana 3 Nelson Mandela Boulevard, Toronto, Canada 4 Mandela Street, Camden, London, NW1 0DU, SA High England Commiss (London Borough of Camden) ion SA High 5 Nelson Mandela Walk, Sheffield, S2, England Commission SA High 6 Nelson Mandela Road, London, SE3, England Commission SA High 7 Nelson Mandela Close, Harlesden, London, N10 8BWQ, England (London Borough of Brent) Commission SA High 8 Mandela Way, Southwalk1, London, SE 1, Commission England (London Borough of Southwalk) SA High 9 Mandela Close, Sunderland, Lancashire, SR1, England Commission SA High 10 Mandela Close, Stanley, County Durham, DH9, England Commission SA High 11 Mandela Close, Norwich, Norfolk, NR3 3BA, England Commission SA High 12 Mandela Close, London, NW10, England Commission SA High 13 Mandela Close, London (White City), W12 7PW, England Commission (London Borough of Hammersmith and Fulham) SA High 14 Mandela Avenue, Falkirk, FK2, England Commission SA High 15 Mandela Way, London, SE1, England Commission SA High 16 Mandela Way, Southampton, Hampshire, SO15 Commission 5RZ, England 1 Southwalk is pronounced ‘suthik’ – the ‘u’ as in ‘Cuthbert’ 1 # STREETS ROADS BOULEVARDS DATE SOURCE SA High 17 Mandela Way, Gateshead, Tyne and Wear, NE11 9DH, England Commission SA High 18 Mandela Street, London, NW1, England Commission 19 Mandela Road, London, -
Still on the Road Venue Index 1956 – 2016
STILL ON THE ROAD VENUE INDEX 1956 – 2016 STILL ON THE ROAD VENUE INDEX 1956-2016 2 Top Ten Concert Venues 1. Fox Warfield Theatre, San Francisco, California 28 2. The Beacon Theatre, New York City, New York 24 3. Madison Square Garden, New York City, New York 20 4. Nippon Budokan Hall, Tokyo, Japan 15 5. Hammersmith Odeon, London, England 14 Royal Albert Hall, London, England 14 Vorst Nationaal, Brussels, Belgium 14 6. Earls Court, London, England 12 Jones Beach Theater, Jones Beach State Park, Wantagh, New York 12 The Pantages Theater, Hollywood, Los Angeles, California 12 Wembley Arena, London, England 12 Top Ten Studios 1. Studio A, Columbia Recording Studios, New York City, New York 27 2. Studio A, Power Station, New York City, New York 26 3. Rundown Studios, Santa Monica, California 25 4. Columbia Music Row Studios, Nashville, Tennessee 16 5. Studio E, Columbia Recording Studios, New York City, New York 14 6. Cherokee Studio, Hollywood, Los Angeles, California 13 Columbia Studio A, Nashville, Tennessee 13 7. Witmark Studio, New York City, New York 12 8. Muscle Shoals Sound Studio, Sheffield, Alabama 11 Skyline Recording Studios, Topanga Park, California 11 The Studio, New Orleans, Louisiana 11 Number of different names in this index: 2222 10 February 2017 STILL ON THE ROAD VENUE INDEX 1956-2016 3 1st Bank Center, Broomfield, Colorado 2012 (2) 34490 34500 30th Street Studio, Columbia Recording Studios, New York City, New York 1964 (1) 00775 40-acre North Forty Field, Fort Worth Stockyards, Fort Worth, Texas 2005 (1) 27470 75th Street, -
2018 Spring Tour of Europe
STILL ON THE ROAD 2018 TOUR OF EUROPE MARCH 22 Lisbon, Portugal Altice Arena 24 Salamanca, Spain Multiusos Sanchez Paraiso 26 Madrid, Spain National Auditorium of Music 27 Madrid, Spain National Auditorium of Music 28 Madrid, Spain National Auditorium of Music 30 Barcelona, Spain El Gran Teatre del Liceu 31 Barcelona, Spain El Gran Teatre del Liceu APRIL 3 Rome, Italy Auditorium Parco della Musica 4 Rome, Italy Auditorium Parco della Musica 5 Rome, Italy Auditorium Parco della Musica 7 Florence, Italy Nelson Mandela Forum 8 Mantova, Italy Palabam 9 Milan, Italy Teatro degli Arcimboldi 11 Zurich, Switzerland Hallenstadion 12 New-Ulm, Germany Ratiopharm Arena 13 Salzburg, Austria Salzburgarena 15 Brno, Czech Republic Sportovní Hala Vodova 16 Vienna, Austria Halle D, Vienna Stadthalle 18 Leipzig, Germany Leipzig Arena 19 Krefeld, Germany KönigPALAST 21 Bielefeld, Germany Seidensticker Halle 22 Nuremberg, Germany Frankenhalle 23 Baden-Baden, Germany Festspielhaus 25 Genoa, Italy RDS Stadium Arena 26 Jesolo, Italy Pala Arrex 27 Verona, Italy Anfiteatro Arena di Verona Bob Dylan: Still On The Road − 2018 Tour Of Europe Bob Dylan: Still On The Road − 2018 Tour Of Europe 38900 Altice Arena Lisbon, Portugal 22 March 2018 1. Things Have Changed 2. It Ain't Me, Babe 3. Highway 61 Revisited 4. Simple Twist Of Fate 5. Summer Days 6. Make You Feel My Love 7. Honest With Me 8. Tryin' To Get To Heaven 9. Don't Think Twice, It's All Right 10. Pay In Blood 11. Tangled Up In Blue 12. Soon After Midnight 13. Early Roman Kings 14. Desolation Row 15. -
Iscrizione-Workshop-2-Dicembre
| OUT OF SOUTH AFRICA | workshop di ritmo, percussioni, musica e voce facilitati dal maestro sudafricano Kholeho Mosala per TUTTI, proprio TUTTI, grandi e piccini. ____________________________________________________________________________ I partecipanti saranno suddivisi in tre gruppi e due fasce d’età, adulti & bambini: # Livello 1: per chi non ha uno strumento percussivo né esperienza # Livello 2: per chi HA provato o HA il proprio strumento perscussivo e un po’ di esperienza # Livello 3: per chi ha esperienza e desidera approfondire ______________________________________________________________________________ | OFFERTA lancio Workshop € 5 persona domenica 2 dicembre, ore 17-19h30 | se avete un qualsiasi strumento percussivo (anche non professionale) portatelo, altrimenti vi daremo uno strumento improvvisato. Per tutti adulti e bambini. ______________________________________________________________________________ Nei miei workshop vi propongo la musica in modo naturale: ascoltare, riprodurre, associare il “suono – come facciamo in Africa. Nei cicli di lezioni vi condurrò a capire il concetto fondamentale di poliritmo africano, e a produrlo in modo olistico coinvolgendo strumenti, voce e movimento. Specialmente per i bambini le lezioni includono story-telling (affabulazione) proposte come racconto collettivo espresso in musica. Il mio ruolo è sempre quello del facilitatore, piuttosto che dell’insegnante. ______________________________________________________________________________ ” 2013 Da gennaio CICLI di 5 /10 lezioni (2 ore ciascuna) -
Jahresrückblick 2005
A.Q.F.C.V. Austrian Queen Fan Club Vienna QUEEN WORKS A YEAR IN ROCK JAHRESRÜCKBLICK 2005 01.01.2005: Kate Hoolihan, die „Killer Queen“ von WWRY Australia, gewinnt den Theatre Award 2004 in der Kategorie „Beste Weibliche Rolle in einem Musical“. 04.01.2005: „46664 - 1 Year On – EP“ mit der Studioversion von „Invincible Hope“ von Nelson Mandela feat. Queen wird zum download auf iTunes freigegeben. 04.01.2005: „We Are The Champions“ wird für die „Public´s All Time Favourite British Single“ bei den Brit Awards nominiert. 04.01.2005: Das WWRY-Musical in Köln spendet bei einer ZDF-Spendengala 150.000 EUR zu Gunsten der Tsunami-Flutopfer in Südasien. 07.01.2005: Queen + Paul Rodgers kündigen die erste Show in Europa für den 28.03.2005 in der Brixton Academy in London an. Die Tickets erhalten nur Fans in einer Lotterie. 08.01.2005: Die WWRY Russia Cast spielen ihren ersten Gig in der Moskauer Club Szene. Die Performance der Queen Songs (in englisch und russisch gesungen findet im Club „B2“ statt. 10.01.2005: Der Ticketvorverkauf für die Queen + Paul Rodgers Show in der Wiener Stadthalle startet. Christian Rischer www.austrianqueenfanclubvienna.at 31.12.2005 Seite 1 12.01.2005: Im Dominion Theatre findet die 1.000 Aufführung von „We Will Rock You“ statt. Anlässlich der Flutkatastrophe in Südasien steht die Show unter dem Motto „We Will Rock You – A Benefit For The UNICEF Tsunami Appeal“. Brian May und Roger Taylor spielen eine spezielle One-Off Live Performance mit der WWRY Cast. 12.01.2005: Brian May und Roger Taylor sind Gäste in der englischen TV Sendung „London Tonight“ und sprechen über die 1.000 WWRY Vorführung und das Tsunami Disaster. -
Municipality of Florence Stadio Artemio Franchi
MUNICIPALITY OF FLORENCE STADIO ARTEMIO FRANCHI GRADO 1 STADIUM DESIGN REQUIREMENTS JUNE 2021 TABLE OF CONTENT 1. MASTERPLAN DESIGN REQUIREMENTS p. 3 3. COMMERCIAL DEVELOPMENT REQUIREMENTS p. 23 1. Project site p. 4 2. Scope of the project p. 5 4. APPLICABLE CODES AND REQUIREMENTS p. 24 3. Preservation of existing elements p. 6 4. Infrastructure p. 7 5. PHASE 2 p. 27 5. Overall objective of the plan p. 8 6. Modes of Operation p. 9 7. UEFA EURO Requirements p. 10 2. GENERAL STADIUM REQUIREMENTS p. 13 1. Stadium Capacity p. 14 2. Preservation of existing elements p. 16 3. Architectural vision of the stadium p. 19 4. UEFA EURO Requirements p. 20 5. Regular stadium requirements p. 22 2. 1. MASTERPLAN REQUIREMENTS 3. 1. MASTERPLAN REQUIREMENTS 1. PROJECT SITE Overview site location 1. Stadio Comunale Artemio Franchi Will be explained in chapter 2. 2. Campi da Calcio “Cerreti" Independent football pitches. 1. 3. Sporting Centre “Davide Astori” Training grounds of football club ACF Fiorentina. 4. Rugby Field Used by a second division local rugby team. 2. 5. 5. Baseball Stadium “Pier Paolo Cesare Vita” Home to Fiorentina baseball team, competing in the Serie A2 (second division baseball in Italy). 6. Sports club “Affrico” 3. Sports club, facilitating a multitude of sports (such as basketball, tennis, football, bowls, 6. swimming and chess) and other recreational activities. 8. 4. 7. Sports arena “Nelson Mandela Forum” Sports arena used for multi-functional purposes. 8. Athletics stadium “Luigi Ridolfi” Asics Firenze marathon stadium. 9. Municipal Swimming Pool 7. 9. 4. 1. -
Sadler's Wells Theatre, London, England (FM)[MP3-320];124 514 KB
10,000 Maniacs;1988-07-31;Sadler's Wells Theatre, London, England (FM)[MP3-320];124 514 KB 10,000 Maniacs;Eden's Children, The Greek Theatre, Los Angeles, California, USA (SBD)[MP3-224];150 577 KB 10.000 Maniacs;1993-02-17;Berkeley Community Theater, Berkeley, CA (SBD)[FLAC];550 167 KB 10cc;1983-09-30;Ahoy Rotterdam, The Netherlands [FLAC];398 014 KB 10cc;2015-01-24;Billboard Live Tokyo, Tokyo, Japan [MP3-320];173 461 KB 10cc;2015-02-17;Cardiff, Wales (AUD)[FLAC];666 150 KB 16 Horsepower;1998-10-17;Congresgebow, The Hague, Netherlands (AUD)[FLAC];371 885 KB 16 Horsepower;2000-03-23;Eindhoven, Netherlands (Songhunter)[FLAC];514 685 KB 16 Horsepower;2000-07-31;Exzellenzhaus, Sommerbühne, Germany (AUD)[FLAC];477 506 KB 16 Horsepower;2000-08-02;Centralstation, Darmstadt, Germany (SBD)[FLAC];435 646 KB 1975, The;2013-09-08;iTunes Festival, London, England (SBD)[MP3-320];96 369 KB 1975, The;2014-04-13;Coachella Valley Music & Arts Festival (SBD)[MP3-320];104 245 KB 1984;(Brian May)[MP3-320];80 253 KB 2 Live Crew;1990-11-17;The Vertigo, Los Angeles, CA (AUD)[MP3-192];79 191 KB 21ST CENTURY SCHIZOID BAND;21st Century Schizoid Band;2002-10-01;Queen Elizabeth Hall, London, England [FLAC];619 21ST CENTURY SCHIZOID BAND;21st Century Schizoid Band;2004-04-29;The Key Club, Hollywood, CA [MP3-192];174 650 KB 2wo;1998-05-23;Float Right Park, Sommerset, WI;Live Piggyride (SBD)(DVD Audio Rip)[MP3-320];80 795 KB 3 Days Grace;2010-05-22;Crew Stadium , Rock On The Range, Columbus, Ohio, USA [MP3-192];87 645 KB 311;1996-05-26;Millenium Center, Winston-Salem, -
University of Zululand Master of Music
UNIVERSITY OF ZULULAND INDIGENOUS FEATURES INHERENT IN AFRICAN POPULAR MUSIC OF SOUTH AFRICA A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF MUSIC in the department of Music at the University of Zululand by THULASIZWE NKABINDE DECEMBER 1997 INDIGENOUS FEATURES INHERENT IN POPULAR MUSIC OF SOUTH AFRICA SUPERVISOR: PROF MK XULU DECLARATION The whole of this work is a product of my original thought and research. Where the contrary is found that willl always be acknowledged in full. THULASIZWE NKABINDE ACKNOWLEDGMENTS I would like to express my gratitude to Professor Musa ~IU for his patience, advice and guidance, without which this project would have been all the more difficult. My deepest appreciate goes to my father, Mr. Gibson Siyabonga Nkabinde, my wife Beauty and all my children, Khayelihle, Phelelani and Banele for all their support and encouragement, and to Ms Brenda Trimmel for her endless hours of typing and perfectionist care in the format of this project. I would also like to thank all those people who, in one way or another, made this project reach completion. They are: Professor Joseph Bhekizizwe Shabalala of the Ladysmith Black Mambazo, Marks Mankwane of the Makgona Tsohle Band, Mahlathini and the Mahotella Queens, Yvonne Chaka Chaka, Simon Buthelezi, Bongani Hlatshwayo, Print and Electronic Media, the entire SABC staff and the SABC Choristers, not forgetting the enormous support from the audience, the music lovers. DEDICATION This thesis is dedicated to my late mother Mrs Thembakuye Nkabinde who gave me all the support to pursue my career. ABSTRACT The central aim of this study is to identify those features in the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens that derive from Indigenous African music and show how they have been transformed to become part of popular idioms. -
Dipartimento Di Filologia Letteratura E Linguistica Long Walk to Freedom
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Electronic Thesis and Dissertation Archive - Università di Pisa Dipartimento di Filologia Letteratura e Linguistica Corso di Laurea Magistrale in Lingue e Letterature Moderne Euroamericane TESI DI LAUREA Long Walk to Freedom: un autoritratto policromatico del Mandela uomo e leader politico Relatrice: CHIAR.MA PROF.SSA LAURA GIOVANNELLI Candidata: MARTINA MORI ANNO ACCADEMICO 2014-2015 1 INDICE INTRODUZIONE ...............................................................................................................p. 4 CAPITOLO PRIMO: Un lungo cammino verso la “normalità”: letteratura e autobiografia in Sudafrica ............................................................................................................................ p. 14 1.1 La tradizione orale .......................................................................................................... p. 15 1.2 Le prime testimonianze scritte ..................................................................................... p. 18 1.3 Il dominio imperialistico e il nuovo profilo nazionale .......................................... p. 20 1.4 Il Modernismo e gli incroci transnazionali ............................................................... p. 23 1.5 Dagli anni dell’apartheid al presente .......................................................................... p. 25 1.5.1 Le principali tappe storiche ...................................................................................... -
Still on the Road Venue Index 1956 – 2020
STILL ON THE ROAD VENUE INDEX 1956 – 2020 STILL ON THE ROAD VENUE INDEX 1956-2020 2 Top Concert Venues Venue # 1. The Beacon Theatre, New York City, New York 46 2. Fox Warfield Theatre, San Francisco, California 28 3. Madison Square Garden, New York City, New York 20 4. Nippon Budokan Hall, Tokyo, Japan 15 5. Hammersmith Odeon, London, England 14 Royal Albert Hall, London, England 14 Vorst Nationaal, Brussels, Belgium 14 6. Earls Court, London, England 12 Heineken Music Hall, Amsterdam, The Netherlands 12 Jones Beach Theater, Jones Beach State Park, Wantagh, New York 12 Spektrum, Oslo, Norway 12 The Pantages Theater, Hollywood, Los Angeles, California 12 Wembley Arena, London, England 12 7. Entertainment Centre, Sydney, New South Wales, Australia 11 Greek Theatre, University Of California, Berkeley, California 11 Pine Knob Music Theatre, Clarkston, Michigan 11 The Tower Theater, Upper Darby, Pennsylvania 11 8. Globe Arena, Stockholm, Sweden 10 Hammersmith Apollo, London, England 10 Le Grand Rex, Paris, France 10 Palais Theatre, Melbourne, Victoria, Australia 10 Pavillon de Paris, Paris, France 10 Scandinavium, Gothenburg, Sweden 10 State Theatre, Sydney, New South Wales, Australia 10 The Forum, Inglewood, Los Angeles, California 10 The Orpheum Theatre, Boston, Massachusetts 10 Top Ten Studios rank Studio # 1. Studio B, The Abernathy Building, Washington, District Of Columbia 85 2. Rundown Studios, Santa Monica, California 63 3. Studio A, Columbia Recording Studios, New York City, New York 27 4. Studio A, Power Station, New York City, New York 26 5. Columbia Music Row Studios, Nashville, Tennessee 16 6. Studio E, Columbia Recording Studios, New York City, New York 14 7. -
Collins Chabane
TRIBUTE EDITION May 2010 New Copyright Laws Owen Dean & others explain Kippie Moeketsi Remembered Nkosi sikelel’ iAfrika Unleashing the Power of Song Collins Chabane His Musical Journey Message from the CEO to ensure that the juristic form of simply: we propose a separate law companies limited by guarantee, an that is designed, from start to finish, to old but important form of a not-for- protect traditional knowledge. profit public company, is appropriately Furthermore, it is our contention that translated and/or accommodated in copyright legislation is fast becoming the new Companies Act. The effect of a “suitcase” of things that are loosely not having that done would have been related but are not necessarily a complete paralysis of entities such as coherent. Needless to say, that this kind eadership as a concept is SAMRO in that they would not have a of approach is dangerous in that the one of the most debated and legal mechanism to distribute income law, by its nature, has to be interpreted probably one of the most by way of royalties and other forms to as a whole and not as a conglomeration written-about subjects. Since their members. That would have gone Ltimewis for that reason that we have of stand-alone concepts and principles. to the heart of collective administration Forcing the protection of traditional dedicated this issue of SAMRO Notes as we know it. to celebrate the leadership success of knowledge into the existing copyright one of our own, the Minister in the Other examples of such active legislation, disjointed as it already is, is Presidency, Collins Chabane.