DOCSLIB.ORG

Vulture Route!

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vulture Route! Explore the Culture Fax: Vulture Nelson Mandela Bay’s rich cultural heritage By the middle of the 18th century, the number e-mail: guarantees history lovers a unique insight of ships passing the “Bay” had increased and Telephone: into the Eastern Cape’s and the Municipality’s occasionally survivors of the shipwrecks were Route! diverse and remarkable past. given hospitality by Dutch Trekboers (farmers) [email protected] www.nmbt.co.za who had trekked from the Cape in search of Website address: + (27) 41 582 2575 + (27) 41 582 2573 The nomadic San were the earliest group of good farmland. At the end of 1799 the English, Blue Flag Beaches indigenous people known to live in the Eastern fearing that the French would render military Cape. The Khoi displaced the San into the assistance to the Graaff-Reinet rebels, decided mountains and semi-desert, early in the second to construct Fort Frederick, overlooking the millennium AD. The forefathers of the Xhosa mouth of the Baakens River as a permanent Tourism Information Office speaking people arrived on the banks of the military post. Kei River in about 800 AD. 4 000 British settlers arrived by sea in 1820, to While on his epic voyage of discovery searching become the first permanent British residents in for a sea route to the East, the Portuguese, the Albany District. On 6 June 1820, Sir Rufane Bartolomeu Dias, rounded the “Cabo da Roca” Donkin, Acting Governor of the Cape Colony in February 1488 and entered “Baia da Roca” – at the time, named the new sea port in memory Cape and Bay of the Rock (now Cape Recife of his late wife, Elizabeth. and Algoa Bay). Dias also gave the name “Ilheus Chaos” (Flat Islands) to the Bird Islands. Before the up-country gold and diamond In 1497, Vasco da Gama, successor to Dias, booms, PE developed as one of the major entered Algoa Bay and noted the Bird Islands commercial cities in SA, trading in wool, mohair on his voyage to India. His charts gave Cape and ostrich feathers. As a result, the harbour Recife it’s name – “Cabo do Arricife” – Cape became a bustling port. People traveled to the of the Reef. The “Bay” was later named “Baia city in search of trade and labour opportunities. 2 de Lagoa”, by navigator and cartographer Early Port Elizabeth was characterized by the Manuel de Mesquita Perestrelo in 1576, which settlement of European, Cape Malay and OVERVIEW MAP BAY NELSON MANDELA referred to the lagoon situated at the mouth of immigrant communities. The diverse community the Baakens River. lived together according to economic and 3 social status, rather than on an ethnic basis. Some folk were already residing in New Brighton 4 since 1903. However, when the Group Areas Act was legislated in 1960, this resulted in forced 5 relocation under the “apartheid law” among the non-white population and the so-called 6 townships came into being. 1 11 9 7 10 8 PE 24 21 Airport 12 23 22 13 17 14 15 19 18 16 20 "Ikhaya lenkululeko - The home of the Spirit of freedom." www.nmbt.co.za boutiques, small suburban complexes, craft markets and massive all-encompassing city malls. Speciality stores are conveniently scattered throughout the city and include TOWNSHIP VIBE specialist foods and wine; jewellery shops, gifts and clothing, antique, spice, coffee, attractive momentoes and souvenirs. Taverns (informal drinking halls) were once ‘illegal’ because they were not licensed for the sale of liquor, but have now legally become a lively cross between social 25 clubs, a bar and a general meeting place. A Tavern tour TOURIST INFO & BOOKINGS offers an entertaining 3 – 4 hours through the life and soul ARTS & CRAFTS of the “Townships”. Taverns come alive over weekends when hard work is replaced by beer and laughter. These OPEN-AIR FLEA MARKETS venues are found on every street corner and add to the atmosphere of Township life. Amid hooting taxis and On the first and last Sunday of each month, St. George’s eager pedestrians, the Tavern offers an informal venue Park comes alive with Art in the Park, (tel: 041 360 9754), where patrons can relax. an open-air exhibition of craft stalls and home-craft Visitors to Nelson Mandela Bay can choose from a wide variety of where stallholders sell their wares. Some well-frequented Shebeens include the Visitors wishing to browse around a local flea accommodation facilities which are available in the area. Whether your following: market along the beachfront during a weekend preference is a luxury hotel or a five star game lodge, a guest house, bed & can view the wares of the Beachfront Traders, breakfast or backpacker, Nelson Mandela Bay offers excellent and exciting • Las Vegas Tavern, KwaZakhele, (Cell: 083 415 6144 Johan Gerber) which extends 26 tel: 041 464 0844 / 083 562 4965 along the promenade between King’s Beach and the possibilities. For enquiries or bookings contact Nelson Mandela Bay Tourism’s Call • Kwe Kwe’s Sports Tavern, 536 Njoli Street, McArthur’s Baths. 27 Centre via [email protected] or call 041 582 2575. KwaZakhele, tel: 041 466 2336 / 28 cell: 083 741 7602 The Lady Slipper Market has fresh fruit and vegetables, • Patido’s Pub & Grub, 27 Jabavu Street, eggs, milk and other farm produce on sale. They are NELSON MANDELA BAY TOURISM - VISITOR INFORMATION CENTRES: New Brighton, tel: 041 454 0663 situated next to St Albans Prison on the corner of Old cell: 082 968 0540 Cape and Rocklands Roads. Contact: 082 727 3252 Airport Visitor Info Centre: +27 0(41) 581 0456/7 • Jeya’s Jazz Corner Tavern, Sheya Kulati (Denise) Circle, Cnr Ferguson & Avenue A, Boardwalk Visitor Info Centre: +27 0(41) 583 2030 New Brighton, tel: 041 454 7567 / Arts & Craft Outlets Donkin Visitor Info Centre: +27 0(41) 585 8884 cell: 072 555 2582 • FG’s Tavern, 216 Mkhombe Street, NU1 33 Uitenhage Visitor Info Centre: +27 0(41) 922 5214 • Boardwalk Craft Workshop, Boardwalk Motherwell, tel: 041 469 4190 / Complex, Marine Drive, tel: 041 583 1152 34 Website: www.nmbt.co.za cell: 083 690 9858 • Aya’s Ceramic Studio, 90 Gunguluza Street, 32 29 E-Mail: [email protected] • Kwa Lunga-General Jazz Place, 11 Nhose New Brighton, tel: 041 454 3350 31 Street, Zwide, tel: 041 459 1993 • Momento’s of Africa, PE Airport, Allister Miller 30 Nelson Mandela Bay Tourism is a booking agent for South African National Parks • Billy’s Tavern, 4 Peta Street, KwaNobuhle, Road, tel: 041 507 7214 35 Uitenhage, cell: 073 334 7654 • Wezandla Gallery & Craft Centre, 27 Baakens • Emzini Restaurant, 38 Yoyo Street, Zwide, Street, Central, tel: 041 585 1185 Safety tips: cell: 073 912 1782 • African Creations, No. 4 Third Avenue, • Tourists should take the sensible precautions they would17 in any major city. • Zwai’s Tavern, Motherwell, Walmer, tel: 041 581 8204 • Avoid carrying large sums of cash and other valuables (cameras, video cameras, etc.). tel: 041 462 1110 / cell: 076 024 3977 • Jade, Adel Centre, 10 Newton Street, • Mavela Tavern, 22 Qhogi Street, Zwide, • Avoid leaving belongings unattended. Newton Park, tel: 041 363 8323 tel: 041 464 2716 • Art in the Park, St. George’s Park, • Be alert and vigilant at all times. tel: 041 360 9754 • Take special precautions in secluded areas (including parks and gardens and walks / trails), POLITICAL AND HISTORICAL TOWNSHIP TOURS • Bead Shop, 69a 4th Avenue, Newton Park, especially at dusk and after dark. tel: 041 365 6780 Visitors who wish to explore South Africa’s politics and • Street children and beggars may approach you for a handout – Social workers counsel against history, may opt for a number of organised social, history ENTERTAINMENT VENUES giving money. and traditional township tours. These tours unveil how • Try and walk around in groups; there is safety in numbers. history evolved, encompassing diverse peoples and Regular concerts, musicals and operettas and cultures and including a visit to the historical townships • At night, park in a secure, well-lit area. productions by various artists and theatre groups are demonstrating the impact of the apartheid era on the staged at major venues. Alternative performances • Be aware that uniformed parking attendants will offer to safeguard one’s car for a tip (small fee). city. In the townships one will see what limitations applied are staged at some of the smaller and more • Do not leave valuable belongings in your car; rather lock everything in the boot where they are out in the past and how people resisted and adapted. intimate secondary venues. See the local press for of sight. Township life first-hand may be a thought-provoking more detailed information, including dates, times experience, but visitors are likely to experience a current and rates of shows. Bookings may be made via • For any emergency, dial 10111 spirit of optimism. For marketers and planners, this is the Computicket Call Centre, tel: 041 586 3177, where the future of South Africa will be shaped. Various www.computicket.com. For all events and venues visit accredited tour operators offer social history / township our website www.nmbt.co.za or call 041 582 2575. tours and taverns tours. The Red Location Museum of Struggle is a must-see on any visitor’s itinerary. The museum, which was opened in November 2006, commemorates South Africa’s turbulent apartheid history and long struggle for freedom. Several prestigious awards have been bestowed on the museum for its magnificent architecture. The museum is situated in the historical Red Location, the city’s first black township, where the first urban black families settled in the 1900s.
Load more

Recommended publications
  • Monuments and Museums for Post-Apartheid South Africa
    Humanities 2013, 2, 72–98; doi:10.3390/h2010072 OPEN ACCESS humanities ISSN 2076-0787 www.mdpi.com/journal/humanities Article Creating/Curating Cultural Capital: Monuments and Museums for Post-Apartheid South Africa Elizabeth Rankin Department of Art History, University of Auckland, Private Bag 92019, Auckland 1142, New Zealand; E-Mail: [email protected] Received: 5 February 2013; in revised form: 14 March 2013 / Accepted: 21 March 2013 / Published: 21 March 2013 Abstract: Since the first democratic elections in 1994, South Africa has faced the challenge of creating new cultural capital to replace old racist paradigms, and monuments and museums have been deployed as part of this agenda of transformation. Monuments have been inscribed with new meanings, and acquisition and collecting policies have changed at existing museums to embrace a wider definition of culture. In addition, a series of new museums, often with a memorial purpose, has provided opportunities to acknowledge previously marginalized histories, and honor those who opposed apartheid, many of whom died in the Struggle. Lacking extensive collections, these museums have relied on innovative concepts, not only the use of audio-visual materials, but also the metaphoric deployment of sites and the architecture itself, to create affective audience experiences and recount South Africa’s tragic history under apartheid. Keywords: South African museums; South African monuments; cultural capital; transformation; Apartheid Museum; Freedom Park 1. Introduction This paper considers some of the problems to be faced in the arena of culture when a country undergoes massive political change that involves a shift of power from one cultural group to another, taking South Africa as a case study.
    [Show full text]
  • Appropriation of Ah Architecture for Truth and Reconciliation Constitution Hill, Johannesburg, South Africa Hennie Reynders the University of Edinburgh (UK)
    Appropriation of ah Architecture for Truth and Reconciliation Constitution Hill, Johannesburg, South Africa Hennie Reynders The University of Edinburgh (UK) At certain moments a significant shift in the social, economic, and political reality of a region, a country 16 Robert Mudie. A Historical Account of His Majesty's Visit or a continent provides us with new insights into the Scotland. Oliver and Boyd. High Street. Edinburgh (1822): to underlying processes of territorial reconfiguration, the 108. appropriation of place, and the mutation of colfective ' 6 Andrew Hemingway, Landscape Imagery and Urban identity - a process that South Africans have been Culture in Early Nineteenth-Century Britain, Cambridge experiencing since 1989 in a localized and unique University Press. Cambridge (1992): 72. manner, yet globally with significant meaning. This 11 Scott: 20. paper explores the site of the neoN South African 10 Scott: 21. Constitutional Court in Johannesburg to define, and •o A Narrative ... : 43. explain how the shift from an ideology of difference towards an ideology of co-existence and democracy 10 Scott. 19. are being translated through the urban development 21 Simpson: 24. frameoNork and ongoing architectural and installation 72 Simpson: 115. projects. Constitutional Hill has become densely stratified through socio-economic and political conflict, Fig. 1: "Nine Drawings for Projection" but has reasserted its role as iconic site in the urban environment and the political landscape. In many key roles in the struggle against apartheid are creating respects the Constitutional Hill project is similar to the a visual language to express the complexity and attempts at reconciliation through the translation of a contradictory nature of locating history and vision in collective identity in sites such as Place des Marlyrs physical space (Carol Becker: 2004) 1 in Beirut.
    [Show full text]
  • Using Vuyisile Mini's Protest Songs
    Creative Education 2013. Vol.4, No.12B, 51-57 Published Online December 2013 in SciRes (http://www.scirp.org/journal/ce) http://dx.doi.org/10.4236/ce.2013.412A2008 Reliving South African Apartheid History in a Classroom: Using Vuyisile Mini’s Protest Songs1 Vuyisile Msila Department of Educational Leadership and Management, College of Education, University of South Africa (UNISA), Pretoria, South Africa Email: [email protected] Received October 30th, 2013; revised November 30th, 2013; accepted December 7th, 2013 Copyright © 2013 Vuyisile Msila. This is an open access article distributed under the Creative Commons Attri- bution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. In accordance of the Creative Commons Attribution License all Copyrights © 2013 are reserved for SCIRP and the owner of the intellectual property Vuyisile Msila. All Copyright © 2013 are guarded by law and by SCIRP as a guardian. Many history pupils in South African classrooms study history in second or third language. This creates a number of problems for pupils who have to struggle with the language of learning and teaching as they grapple with historical events. This study sought to examine the impact of the protest song in the teaching of South African (struggle) history. The researcher employed qualitative research methods to investigate one teacher’s practice in her two history classes. She used struggle stalwart and composer, Vuyisile Mini’s compositions in facilitating teaching. The songs were either played from an audiotape or the teacher taught the class lyrics of some songs for the pupils to sing.
    [Show full text]
  • Route 67, to Appreciate the 67 Art Pieces and the Artists That Created Them
    RENEW • REVIVE • INSPIRE • REVIVE • RENEW lifetime HIS JOURNEY HIS "I would like for the Nelson Mandela Bay residents, local and EXPERIENCE international tourists to embrace Route 67, to appreciate the 67 art pieces and the artists that created them. They have done a fantastic job." Pierre Voges - MBDA CEO SSDA | 7678 Artwork location 1 Way-finding Markers 37 34 Lights 53 Athenæum Collection 2 Campanile Frieze 38 Amphitheatre Wall 54 artEC Mural 3 Wall of Texts 39 Election Queue 55 artEC Sculpture Courtyard 4 Talking Woman 1 (votes of the future) 56 Beaded Book 62 5 Talking Woman 2 40 Whites Road Wall 57 Tree of Life 6 Talking Woman 3 41 Fish Bird 58 Constitutional Court 7 16 Identities 42 Piazza Mosaic 59 Trinder 56 17 Pool of Words 43 Great Flag 60 Trinder Bench 18 Bus Station Mural 44 Voting Line 61 Rose Street 19 29 Red Location Pieces 45 Windward 62 Map 30 FishBone 46 River Memory 63 South End Glass Sculpture 55 31 Conversations with the Queen 47 Untitled 64 Uitenhage - Untitled 61 32 Vuyisile Mini 48 Welcome Carpet 65 Nkosi Sikelele 33 76 Youth 49 Mosaic Moments 66 Children’s Memorial 54 60 59 34 Chapel Street Crossing 50 Garden 67 Guernica 57 35 Tower Sculpture 51 Harmony in Nature 36 Mosaic Stairs 52 The Seated Couple 58 Central Map 48 47 46 51 50 ARTS / CULTURE / HERITAGE ROUTE 49 52 45 The Mandela Bay Development Agency (MBDA) was established 53 43 44 in 2003 by the Nelson Mandela Bay Municipality. The MBDA has become the driving force behind urban regeneration in Nelson 42 Mandela Bay’s inner city.
    [Show full text]
  • 2006/2007 South Africa Yearbook: 5
    5 Arts and culture The Department of Arts and Culture seeks to The words of the first stanza were originally preserve and develop South Africa’s richly diverse written in isiXhosa as a hymn. Seven additional cultural, artistic and linguistic heritage. stanzas in isiXhosa were later added by the poet Samuel Mqhayi. It has been translated into most of Funding South Africa’s official languages. The department’s budget grew at an average annual rate of 22,9% between 2002/03 and National flag 2005/06, mainly due to additional resources South Africa’s national flag was launched and used for capital projects such as the development of for the first time on Freedom Day, 27 April 1994. The Freedom Park, and upgrading and maintenance design and colours are a synopsis of the principal of the Robben Island Museum. Transfers to heritage elements of the country’s flag history. and arts institutions still dominate expenditure. The The central design of the flag, beginning at the 2006 Budget increased the department’s allocation flag-pole in a ‘V’ form and flowing into a single to R84,1 million in 2006/07; R309,2 million in horizontal band to the outer edge of the fly, can be 2007/08; and R687,5 million in 2008/09. interpreted as the convergence of diverse elements within South African society, taking the road ahead National symbols in unity. The flag was designed by the State Herald. National anthem When the flag is displayed vertically against a South Africa’s national anthem is a combined wall, the red band should be to the left of the viewer, version of Nkosi Sikelel’ iAfrika and The Call of with the hoist or the cord seam at the top.
    [Show full text]
  • Jazz in Service of the Struggle: the New Brighton Story
    JAZZ IN SERVICE OF THE STRUGGLE: THE NEW BRIGHTON STORY by DIANE THRAM Abstract. This article contributes to the substantial body of publications on South African jazz with information on jazz performance and performers in New Brighton, a township adjacent to Port Elizabeth noted for its vibrant jazz scene and outstanding jazz musicians. The article covers several decades from the heyday of swing bands in the 1940s–50s through the 1960s–70s when New Brighton’s premier jazz combo, the Soul Jazzmen, were at the height of their artistry. The role of swing bands in New Brighton and surrounding communities as the training ground for members of the Soul Jazzmen and other local musicians of note is discussed, as well as how the Soul Jazzmen in turn were tutors for musicians of the next generation who became widely recognized artists, composers and arrangers. This is followed by a focus on the Soul Jazzmen and compositions by its members that protested against the apartheid regime in the 1960s–70s. The article is informed by historic photographs, newspaper clippings and information from oral history interviews that richly document how jazz was performed in service of the anti-apartheid struggle in New Brighton. Keywords. South African jazz, 1940s–70s, New Brighton, swing bands, the Soul Jazzmen, protest songs. Introduction New Brighton, a township of Port Elizabeth in the Eastern Cape of South Africa, has been home to many outstanding jazz musicians over the years since it and Korsten were created from 1901–1910 to replace Port Elizabeth’s inner
    [Show full text]
  • FOR IMMEDIATE RELEASE Internationally Proclaimed Artist
    FOR IMMEDIATE RELEASE Internationally proclaimed artist Georgia Papageorge is to install the second phased “Washing Lines/Bloodlines Series” landart project in follow up to her “AFRICA RIFTING – LINES OF FIRE” at the Red Location Museum on 28 July 2007. NATION- BUILDING LAND- ART EVENT RED LOCATION MUSEUM, NELSON MANDELA BAY, SOUTH AFRICA—JUNE 09, 2007: The event: An installation with the long red banners used during the Enon/Bersheba 2005 procession, will be made on Saturday the 28th July, 2007 at the historic Red Location settlement and the adjacent Red Location Cultural Precinct where a primary development, and multi-award winning Red Location Museum stands. Red Location settlement was established in Port Elizabeth in the early 1900’s using the same red rusted corrugated iron cottages from the Uitenhage Concentration Camp where the British incarcerated Boer women and children during the First South African War (1899 to 1902). From the inception of the former Apartheid Government in 1948, Red Location became a ‘hotspot’ of the Anti-Apartheid movement. Red banners are to create a textile “Bloodline” from the New Brighton Railway Station Bridge, where first national arrests were made during the passive resistance campaign (defiance campaign) in 1952 against the notorious pass laws. Liberation Struggle Veterans will help to clad the Railway Bridge Barrier (where many historic events occurred) with a 10 meters long chevroned red and white banner. Then, commencing as red banners spread by Metro Community members across the base of the bridge, down the stairs and over the 300 meters of grit and stones leading to the entrance of the Museum.
    [Show full text]
  • ISSUES in DEVELOPMENT, No. 17
    ISSUES IN DEVELOPMENT, No. 17 Is industrial development an effective local economic development strategy? The Case of Port Elizabeth-Uitenhage Tamzyn Dorfling September 1999 Paper prepared for the Friedrich-Ebert-Stiftung Published by: Friedrich-Ebert-Stiftung South Africa Office P.O. Box 412664 Craighall Park, Dunkeld West 2196 Phone: 011-788-5995 Fax: 011-788-5840 E-mail: [email protected] Please note that papers published in the Issues in Development series do not necessarily reflect the views of the Friedrich-Ebert-Stiftung or the organisation for which the authors work. Table of contents Executive Summary 1 Introduction 3 1 Industrial development – job machine for South Africa? 4 1.1 Global trends in industrialisation 5 1.2 Import substitution vs. export-led growth 6 1.3 The role and performance of the industrial sector in South Africa 7 2 Industrial development on a local level 7 2.1 Industrialisation-based LED strategies vs. other LED strategies 7 2.2 Different LED approaches 9 3 Reviving industrial development as a LED strategy: 11 the case of Port Elizabeth-Uitenhage 3.1 History and status quo of economic and social development in 11 Port Elizabeth-Uitenhage 3.2 Current role of the industrial sector in Port Elizabeth´s economy 13 3.3 Towards a new LED strategy for Port Elizabeth 15 3.4 Pros and cons of industrial development as a LED strategy in 18 Port Elizabeth 3.5 LED process in Port Elizabeth up to now and the role of 22 local government 3.6 Perception of stakeholder groups towards the industrial development 23 option and
    [Show full text]
  • South African Jazz and Exile in the 1960S: Theories, Discourses and Lived Experiences
    South African Jazz and Exile in the 1960s: Theories, Discourses and Lived Experiences Stephanie Vos In fulfilment of the requirements for the degree of Doctor of Philosophy in Music Royal Holloway, University of London September 2015 Declaration of Authorship I, Stephanie Vos, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 28 August 2016 2 Abstract This thesis presents an inquiry into the discursive construction of South African exile in jazz practices during the 1960s. Focusing on the decade in which exile coalesced for the first generation of musicians who escaped the strictures of South Africa’s apartheid regime, I argue that a lingering sense of connection (as opposed to rift) produces the contrapuntal awareness that Edward Said ascribes to exile. This thesis therefore advances a relational approach to the study of exile: drawing on archival research, music analysis, ethnography, critical theory and historiography, I suggest how musicians’ sense of exile continuously emerged through a range of discourses that contributed to its meanings and connotations at different points in time. The first two chapters situate South African exile within broader contexts of displacement. I consider how exile built on earlier forms of migration in South Africa through the analyses of three ‘train songs’, and developed in dialogue with the African diaspora through a close reading of Edward Said’s theorization of exile and Avtar Brah’s theorization of diaspora. A case study of the Transcription Centre in London, which hosted the South African exiles Dorothy Masuku, Abdullah Ibrahim, and the Blue Notes in 1965, revisits the connection between exile and politics, broadening it beyond the usual national paradigm of apartheid politics to the international arena of Cold War politics.
    [Show full text]
  • Red Location Cultural Precinct
    RED LOCATION CULTURAL PRECINCT NOERO ARCHITECTS MOSTRA dal 27.08.18 al 28.09.18 orario 17:30, 21:00 ILS Innovative Learning Spaces A CURA DI Massimo Faiferri Samanta Bartocci Rosa Manca Fabrizio Pusceddu Laboratorio di ricerca Dipartimento di Architettura, Design, Urbanistica Università degli studi di Sassari EVENTO ORGANIZZATO IN OCCASIONE DI: Scientific school ILS_Innovative Learning Spaces “A city for everyone” Notte Europea dei Ricercatori 2018 “BEES-BE a citizEn Scientist” @LISTLAB RED LOCATION CULTURAL PRECINCT Jo Noero, Noero Architects Il terreno comune è quasi sempre necessario per la trasforma- Noero Architects zione, per la traduzione e per l’espressione dell’arte e dell’ar- <<L’architettura è un’arte sociale e come tale ha la responsa- chitettura. Il “piano disegnato a mano di Red Location Cultural bilità non solo di essere utile, ma anche bella. Questo obiettivo Precinct”, un insediamento storico a Port Elizabeth, in Sudafri- attraversa tutto il lavoro che facciamo con Noero Architects. ca, illustra un nuovo centro culturale in una parte della città “Un capanno per biciclette è un edificio; la cattedrale di Lin- devastata dalla pianificazione spaziale dell’apartheid. coln è un’architettura - il termine architettura si applica solo “La cultura e le sue manifestazioni di produzione, performan- agli edifici progettati in un’ottica di attrazione estetica “- Pe- ce e scambio sono state individuate come forme di sviluppo vsner (1943). Non siamo assolutamente d’accordo con que- per il Distretto. In tal modo, si sono aperti nuovi modi di pen- sta affermazione. Tutti gli edifici, piccoli o grandi, economici sare, fare città e architettura in Sud Africa“ afferma Noero.
    [Show full text]
  • Victim Findings ABRAHAMS, Derrek (30), a Street Committee Me M B E R, Was Shot Dead by Members of the SAP at Gelvandale, Port Elizabeth, on 3 September 1990
    Vo l u m e S E V E N ABRAHAMS, Ashraf (7), was shot and injured by members of the Railway Police on 15 October 1985 in Athlone, in the TRO J A N HOR S EI N C I D E N T , CAP E TOW N . Victim findings ABRAHAMS, Derrek (30), a street committee me m b e r, was shot dead by members of the SAP at Gelvandale, Port Elizabeth, on 3 September 1990. ■ ABRAHAMS, John (18) (aka 'Gaika'), an MK member, Unknown victims went into exile in 1968. His family last heard from him Many unnamed and unknown South Africans were the in 1975 and has received conflicting information from victims of gross violations of human rights during the the ANC reg a rding his fate. The Commission was Co m m i s s i o n ’s mandate period. Their stories came to unable to establish what happened to Mr Abrahams, the Commission in the stories of other victims and in but he is presumed dead. the accounts of perpetrators of violations. ABRAHAMS, Moegsien (23), was stabbed and stoned to death by a group of UDF supporters in Mitchells Like other victims of political conflict and violence in Plain, Cape Town, on 25 May 1986, during a UDF rally South Africa, they experienced suffering and injury. wh e re it was alleged that he was an informe r. UDF Some died, some lost their homes. Many experienced leaders attempted to shield him from attack but Mr the loss of friends, family members and a livelihood.
    [Show full text]
  • Housing in the Apartheid City by Dick Urban Vestbro, Prof
    Housing in the Apartheid City by Dick Urban Vestbro, Prof. Emer. at the Royal Institute of Technology, Stockholm The article was originally written in 1999 as part of a report by students of architecture at the Royal Institute of Technology, Stockholm. The report was a result of a course on third world housing given by Prof Vestbro and included a fieldwork in Port Elizabeth, South Africa. In 2012 the paper was slightly revised. In this chapter a description is given of the South African “Bantu” housing policy during the reign of the white minority regime. The racist character of apartheid housing and town planning is analysed. Motives are searched behind the various types of housing developed for blacks in urban areas. It is shown how South Africa in the 1950s, at the cost of a repressive system, became the only African country to eradicate the shanty towns. It is also shown why the shantytowns came back in the 1980s. A special analysis is made of South African housing as a result of modernist doctrines, and to what extent this doctrine contra- dicts the apartheid ideology of ‘separate development’. How the housing problem started The urban housing problem in South Africa occurred as a result of the rapid urbanisation that took place after the gold and diamond mines were established at the end of the 19th century. The extraction of valu- able minerals brought with it the construction of railroads, roads and harbours, which in turn lead to the recruitment of manual workers taken both from rural areas and from other colonies in the British Empire.
    [Show full text]