Photograph by Mothlalefi Mahlabe Chapter 5

and

The Department of Arts, Culture, Science and • participating in the International Network Technology deals with matters pertaining to on Cultural Policy with 45 countries. arts, culture, science and technology, and ren- ders State archive and heraldic services at Policy and legislation national level. Since its establishment in 1994, the Department’s work has included, among The Council of Culture Ministers makes other things, the important decisions on policy matters of • submission of 17 pieces of legislation national impact, and consists of the Minister • reprioritisation of expenditure and Deputy Minister of Arts, Culture, Science • construction of some 40 community centres and Technology and the Members of • allocation of R55 891 million to new initi- Provincial Executive Councils responsible for atives in arts and culture arts and culture. • funding of 21 museums and art galleries • signing of 28 cultural and arts-related bilat- National symbols eral agreements • promotion of multilingualism National anthem • development of the National Arts Council The national anthem of is a com- (NAC) to a funding level of R25 million bined version of Nkosi Sikelel’ iAfrika and The • funding of 261 film projects Call of South Africa (Die Stem van Suid- • implementation of poverty alleviation pro- Afrika) and is played at all State occasions. grammes, using cultural industries The Call of South Africa (Die Stem van Suid- • developing a national skills plan for the arts Afrika) was written by CJ Langenhoven in and cultural industries May 1918. The music was composed by the • participating in trade missions in the United Reverend ML de Villiers in 1921. Nkosi Sikelel’ States (US), Europe and Africa, promoting iAfrika was composed in 1897 by Enoch cultural industries Sontonga, a Methodist mission school teacher. The words of the first stanza were origi- South Africa has a vibrant music industry. In April nally written in isiXhosa as a hymn. 2001, the internationally acclaimed Philip Tabane of the Seven additional stanzas in isiXhosa were band Dr Malombo received a South African Music Awards Lifetime Achievement Award. The group fuses later added by the poet Samuel Mqhayi. It ancient African rhythms with western instruments. became a popular church hymn that was later

85 South Africa Yearbook 2001/02

adopted as an anthem at political meetings. It and a knobkierie. Together, this asserts the has been translated into most of the official defence of peace rather than a posture of languages. war. This shield of peace, that also suggests an African drum, conveys the message of a National flag people imbued with love for culture. Its upper The national flag of the Republic of South part is a shield being imaginatively represent- Africa was taken into use on 27 April 1994. ed by the protea. The design and colours are a synopsis of prin- Contained within the shield are some of the cipal elements of the country’s flag history. earliest representations of humanity in the The central design of the flag, beginning at world. Those depicted were the very first the flag-pole in a ‘V’ form and flowing into a inhabitants of the land, namely the Khoisan single horizontal band to the outer edge of people. These figures are derived from images the fly, can be interpreted as the convergence on the Linton Stone, a world-famous example of diverse elements within South African soci- of South African rock art. The motto of the ety, taking the road ahead in unity. The flag Coat of Arms, written in the Khoisan language was designed by the State Herald. of the /Xam people, means diverse people When the flag is displayed vertically against unite or people who are different join together. a wall, the red band should be to the left of the viewer with the hoist or the cord seam at the National orders top; when it is displayed horizontally, the hoist In November 2000, the Presidency invited jew- should be to the left of the viewer and the red ellery designers to submit designs for the band at the top. When the flag is displayed country’s top medals and awards. The nation- next to or behind the speaker at a meeting, it al orders which will be redesigned include the must be placed to the speaker’s right. When it Woltemade Award for bravery, the Order of is placed elsewhere in the meeting place, it the Southern Cross for exceptional achieve- should be to the right of the audience. ment, the Order of the Star of South Africa for contributions to peace and security, the Order National Coat of Arms for Meritorious Service, and the Order of South Africa’s new Coat of Arms was Good Hope bestowed on visiting dignitaries. launched on 27 April 2000. A central image of the Coat of Arms is the Arts and culture organisations legendary secretarybird with its uplifted wings. Above the bird is the rising sun, a force National Heritage Council that gives life while representing the flight of The National Heritage Council Act, 1999 (Act darkness and the triumph of discovery, 11 of 1999), established a framework and knowledge, the understanding of things that institution that coordinates the heritage sec- have been hidden, illuminating also the new tor, including archives, museums, heritage life that is coming into being. Below the bird resources, geographical names and libraries. is the protea, an indigenous flower of South In addition to funding projects in these Africa which represents beauty, the aesthetic areas, the Council also serves as a policy advi- harmony of all the cultures, and South Africa sory body to the Minister, a lobby for and rais- flowering as a nation. The ears of wheat are er of additional funding, a strategy-determin- emblems of the fertility of the land while the ing and planning body, and a promoter of tusks of the African elephant, reproduced in international liaison. pairs to represent men and women, symbol- ise wisdom, steadfastness and strength. At South African Heritage Resources the centre stands a shield, which signifies the Agency (SAHRA) protection of South Africans from one gener- The National Heritage Resources Act, 1999 ation to the other. Above it repose a spear (Act 25 of 1999), has established the SAHRA,

86 The National Anthem South Africa Yearbook 2001/02

which replaced the National Monuments atory with regard to race, colour, creed, Council. This body manages the heritage gender, political affiliation or other social resources of the country in co-operation with factors similar new agencies in the provinces, by – names that are clumsily compounded implementing legislation that is in line with – names consisting of personal names international trends in the heritage resources without a generic element field. – names that may be regarded as an advertisement for a particular product, The South African Geographical service or firm Names Council (SAGNC) – names of living persons. The SAGNC is an advisory body appointed by The Council has commenced the review of the Minister of Arts, Culture, Science and names that have not previously been submit- Technology in terms of the South African ted for approval. Names that appear to have Geographical Names Council Act, 1998 (Act racist connotations have been referred to rel- 118 of 1998). The Council advises the evant authorities and communities for com- Minister on the transformation and standard- ment and suggested substitutes. isation of official geographical names in The draft fourth edition of the Toponymic South Africa. Guidelines for South Africa, compiled by the The objectives of the SAGNC are to United Nations Group of Experts on Geo- • facilitate the establishment of provincial graphical Names, was submitted to the geographical names committees Council in May 2000. These guidelines cover • ensure the standardisation, transformation the orthographies of the languages of South and implementation of geographical names Africa and their application to geographical • promote the use of standardised South Afri- names. The Council has made amendments can geographical names at international level to the draft, and it has been submitted to the • promote awareness of the economic and national language bodies that have been social benefits of the standardisation of established by the PanSouth African geographical names. Language Board (PANSALB), with the request The Council has jurisdiction over all names of that the orthographic rules should be brought geographical features and entities falling into line with the most recent standardised within the territories over which the South orthographies. African Government has sovereignty or juris- As the national body, the SAGNC has been diction acquired by treaty. assigned, amongst its duties, the responsibil- The following principles are adhered to: ity to facilitate the establishment of Provincial • each individual feature entity should have Geographical Names Committees (PGNCs). only one official name According to the Act, the Council must set • the following types of geographical names guidelines for the operation of PGNCs and should generally be avoided: municipalities in their respective areas of juris- – approved names of places elsewhere in diction. South Africa – names of places in other countries, and National Arts Council (NAC) names of countries The main task of the NAC is to advise the – names of which the spelling or pronun- Minister on arts policies for the country, in ciation is so close to that of an existing addition to distributing funds to artists and name that confusion might result arts organisations and for bursaries. – names that are blasphemous, indecent, Before 1994, until the establishment of the offensive, vulgar, unaesthetic or embar- NAC, 67,7% of arts financial resources went rassing to the four Performing Arts Councils (PACs) in – names that are discriminatory or derog- the four provinces. The first-cut back on the

88 expenses of these councils resulted in a saving Town, the Playhouse Company in Durban and of R10 million, which was then handed over the Performing Arts Centre of the Free State. to the NAC for distribution. Today, the PACs The State Theatre was temporarily closed in receive 32,4%, and the NAC R25 million. July 2000 for restructuring purposes, and Requests for funding far exceed the avail- reopened on 1 April 2001. It is now function- able resources. However, of the R75 million ing as a playhouse. received so far, only 15% (or R11,25 million) In June 2001, the Minister of Arts, Culture, has been spent on administration, while 85% Science and Technology, Dr Ben Ngubane, (or R63,75 million) has been disbursed as announced that R10 million previously allo- grants, over a period of four years. cated to the State Theatre in Gauteng was to Since 1997, the NAC has been funding be made available to the NAC for special arts some projects that could be regarded as of a companies, excluding playhouses and those provincial or local nature, and even purely cul- presently funded by either the Department or tural rather than artistic. the NAC. Given the limited funds at the NAC’s dis- The aim of this grant is to encourage excel- posal, it has become imperative that the lence across all arts disciplines for the current organisation concentrates on projects of financial year as well as to stimulate the cre- national significance. It encourages provincial ation of indigenous works. and local arts and culture councils to provide more funding at that level. Business Arts South Africa (BASA) On 17 November 2000, the NAC launched BASA was launched in 1997 as a joint initi- the National Craft Development Initiative as ative between the Government, through the part of its National Development Strategy to Department, and the business sector, to assist redress the plight of rural and urban crafters in securing the future development of the arts country-wide. The NAC was appointed as the industry. BASA’s aim is to promote and encour- administrator on behalf of South Africa to age sustainable partnerships between the busi- implement a R9 million grant that Norway ness sector and the arts sector to their mutual has committed to cultural co-operation benefit and to that of the community at large. between the two countries. Mmino is the With funding from the Government, BASA has name of the Education and Music Education introduced its matching grant scheme, where Programme, which provides funding and additional funds are made available to support attempts to establish mutually beneficial rela- sponsorship of arts organisations or events. tions in the field of music. This creates an incentive for business to sponsor the arts on the basis of identifying Arts and Culture Performing arts councils strategic marketing or promotional oppor- It is part of the policy of the Department of tunities through such sponsorship. It also pro- Arts, Culture, Science and Technology to vides the arts sector with an opportunity to ensure that the regional PACs are fully rep- approach sponsors on the basis of potential resentative of the diversity of South African benefits to their business. In addition, BASA is culture. The four main State-sponsored the- actively seeking to lift the profile of the arts in atres in South Africa are the Spoornet State South Africa and to develop business skills Theatre in , the Artscape in Cape within the arts community. BASA is a member of the International Network of Business Arts Associations, linking Information with similar organisations internationally. In October 2000, former South African President Nelson The Business Day/BASA Awards take place Mandela was honoured in London as World Leader of the annually to acknowledge the importance of Century by the International Women of the Year Asso- ciation. The Russian cosmonaut Valentina Tereshkova private sponsorships to the development of was honoured as the Woman of the Century. the arts.

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Arts and Culture Trust The Legacy Project was approved by the The Arts and Culture Trust was launched in Cabinet as a mechanism to establish com- October 1994 to finance and manage fund- memorative structures that will be based on a ing for the arts in South Africa. The Trust, coherent set of principles and criteria. The with Mr Nelson Mandela as its chief patron, principles were developed with consideration has Nedcor, Sun International, the Ministry of of the need for redress, consultation with Arts, Culture, Science and Technology and affected parties, environmental sensitivity and the Dutch Government as its major funders. the linking of heritage with the Reconstruc- They each made initial capital contributions of tion and Development Programme (RDP). The R1 million, entitling them to founding party Legacy Projects include: status. Great emphasis is placed on identify- • Women’s Monument: A monument to ing young talent, training at all levels by pro- commemorate the contribution of the viding bursaries for talented artists and per- women of South Africa to the struggle for formers, and the creation of suitable per- freedom was unveiled by President Thabo formance venues. Mbeki on 9 August 2000 at the in Pretoria. The ceremony marked Other cultural organisations the time 44 years ago when 20 000 There have always been a number of non- women marched to the Union Buildings to governmental organisations (NGOs) and protest against the Government’s pass community-based cultural organisations laws. operating in South Africa. The majority of • Anglo-Boer/South African War of 1899– these organisations have never received State 1902: 1999 saw the start of the centenary support. Since March 1996, however, the commemorations of the War which will emphasis in funding has shifted to assist last until 2002. organisations, communities and projects • Chief Albert Luthuli Centenary Commem- which were previously not considered for oration Project: The Department is in the funding. process of renovating the home of Chief Albert Luthuli in Stanger, KwaZulu-Natal, in Arts and culture initiatives order to pay homage to South Africa’s first Nobel Peace Prize winner. Legacy projects • Battle of Blood River/Ncome Project: In the next few years, monuments, museums, Following the unveiling of the Ncome plaques, outdoor art, heritage trails and other Monument on 16 December 1998, the symbolic representations will create visible Ncome Museum was opened on 26 reminders of and commemorate the many November 1999. aspects of South Africa’s past. • Samora Machel Project: Since the unveiling of the Samora Machel Monument in Mbuzini, Mpumalanga, on 19 January Information 1999, the Department has entered into The Department of Arts, Culture, Science and Techno- consultation with the local community to logy has committed itself to the upliftment of people develop a community structure, such as a with disabilities within the arts. In 2000, it undertook a library or community centre. Disability Awareness Campaign to celebrate the talents • Nelson Mandela Museum: The Museum of artists with disabilities as well as to demystify oppor- tunities within the sector. There is a continued impetus was opened on 11 February 2000. It is within the Department to identify the needs and address being developed as a single component them through consultation. A consultative conference comprising three elements, namely a was planned for 2001. The South African Federal Council on Disability has museum in Umtata, a youth centre at been identified as a strategic partner in the develop- Qunu and a visitors’ centre in Mvezo, ment and promotion of the disability sector. where the former President was born.

90 • Constitution Hill Project: The Old Fort Arts and culture education Prison in Hillbrow, Johannesburg, is being and training developed into a multidimensional and multipurpose precinct that will house the Before 1994, training and education in the Constitutional Court and accommodate fields of arts and culture was the domain of a various constitutional commissions. privileged, small minority with the result that • Khoi-San Project: Consultation with rele- the majority of South Africans remained vant role-players at national, provincial largely deprived of the opportunity to engage and local level has been initiated to pro- in and develop creative skills. mote and protect the Khoisan heritage. At The new education policy reflects a clear a workshop, held in February 2001 in commitment to introduce an effective and Kimberley, ideas such as the erection of a transformed education in arts and culture to monument, the founding of a national learners in the formal and non-formal sec- institute, a museum for Khoisan heritage tors as a fundamental part of lifelong learn- studies and the establishment of a ing. The White Paper on Arts, Culture and Khoisan Heritage Route were discussed. Heritage commits the Department of Arts, The Route will be developed by SAHRA Culture, Science and Technology to play a and will incorporate heritage resource significant facilitative role for arts and cul- centres such as houses of memory and a ture education and training. A subdirec- wide range of national and provincial her- torate has been established to manage this itage sites. process. • Freedom Park Project: Cabinet approved The education and training strategy pro- the development of the Freedom Park at vides and develops access to arts education Salvokop in Pretoria in May 2000. The and training for all South Africans in the Freedom Park Board of Trustees has been formal and non-formal sectors as well as the established, with Mr Joe Modise as chair- workplace. person. A chief executive officer has been The strategy is to increase community appointed by the Board and Government. awareness of the developmental, economic The Park will be developed to give expres- and educational value of arts and culture edu- sion to the many struggles that have cation. An integrated and holistic approach to shaped South Africa’s history of democrati- arts education that strengthens the relation- sation. ship between the formal and non-formal arts education and training sectors, art practition- ers, community arts structures, cultural and

Kopano Arts and Culture In the latter half of 2000, the Department of heritage institutions, schools, tertiary institu- Arts, Culture, Science and Technology tions and the cultural industries is being pro- organised a Forum and a Cultural moted. Awareness Programme between the South Training is critical for the development of African Government and representatives arts and culture, to achieve both the develop- from the South African Development mental and economic potential of the sector. Community countries to promote co-opera- It needs to absorb the new policy environ- tion between South Africa and the southern ment set out in the South African African region in the field of arts, culture Qualification Authority Act, 1995 (Act 58 of and heritage. 1995), and the Skills Development Bill, which The Kopano Conference, meaning ‘coming both fall within the ambit of the National together’ or ‘gathering’, took place in July Qualifications Framework (NQF). Training also 2000 with the theme The Role of Arts, Cult- needs to be market-driven and in harmony ure and Heritage in the African Renaissance. with the current thinking on human resource Six African countries attended. development.

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The following strategic areas have been closely with resorts, national parks and other prioritised in the 2001/02 Budget: tourist destinations and attractions, cultural • networking and communication producers, consumers and cultural tourists can • the accreditation of arts and culture educa- be linked into an economic network. tion and training on the NQF The Wild Coast Festival, which was held in • the development and implementation of a April 2001 at Port St Johns, was made pos- Skills Development Strategy for the arts, sible through a donation of R500 000 by the culture and entertainment sectors Department of Arts, Culture, Science and • arts education and training advocacy Technology. The money allowed a number of • arts education and training research and crafters and performers to be trained intens- policy development ively and to use the Festival as a showcase • human resource development with specific and selling point. reference to arts practitioners, arts educa- The Deputy Minister of Arts, Culture, tors and arts managers. Science and Technology, Ms Brigitte Strategic objectives include: Mabandla, announced that the Department • ensuring the continued provision of quality, would support the Festival and the cultural accredited arts education and training by tourism project in the Wild Coast for the next the non-formal sector and community arts three financial years. A special allocation for centres poverty relief will be used to train, capacitate • developing the capacity of people with dis- and create sustainable job opportunities for abilities to participate more effectively in artists and crafters in the Wild Coast. the arts The Lubombo SDI in northern KwaZulu- • developing a range of sector-specific pro- Natal is the Department’s leading cultural grammes and curricula in arts, culture, and programme in the SDI regions. Apart from heritage management accredited on the the R850 000 the Department had already NQF and a cadre of new cultural manage- made available for the development and pro- ment with skills directly relevant to the motion of cultural tourism in the region, an challenges facing the sector additional R3 million is earmarked in the • bringing together people committed to 2001/02 financial year to continue and effective teacher training in the arts and to expand the programme. This involves the develop a sectoral plan of action to address training of crafters, music groups and cultur- challenges, career paths and employment al dancers. Its aim is to build self-reliance opportunities through the production and marketing of • curriculum development and accreditation. saleable crafts. The 12-month training and mentorship pro- Cultural tourism gramme for crafters reached its climax in April A survey in 1997 into cultural tourism activ- during the Craft Convention. The Convention ities in three Spatial Development Initiatives will become an annual event, focusing on (SDIs) yielded a wealth of information. The crafters from the mentorship programme. survey identified areas where government intervention could help cultural workers to Cultural villages benefit from cultural tourism. Most tourists visiting South Africa are eager The research suggested the Lubombo, to explore the country’s cultural diversity. At Wild Coast and Maputo Corridor SDIs as the same time, an increasing number of local focus areas. tourists want to learn more about the lives of Cultural festivals, African cuisine projects, people they were separated from under cultural villages, heritage routes and story- apartheid. (See Chapter: Tourism.) telling were highlighted as activities which Various projects around the country offer would attract revenue to these areas. Working insight into South Africa’s cultural wealth,

92 ranging from traditional dances and rituals in manufacturing plant. It has also initiated a the rural areas to excursions into the urban tender to develop a handbook for crafters. and township milieux that give South Africa It is working closely with the provinces to its defining features. These include Kaya develop craft projects. Lendaba – The Place of Creative Enlightening • Film and television: The film industry has Talk – near Port Elizabeth; the Basotho taken the initiative to establish a cluster to Cultural Village, situated in the QwaQwa collaborate on projects to develop the Nature Reserve near Harrismith, Free State; industry. The Department has approached the Makhosini Cultural Village and Tourism the industry to form export councils. Initiative in the Valley of Kings at • Music: In 1999, the Minister of Arts, Umgungundlovu in KwaZulu-Natal; Lesedi Culture, Science and Technology appointed Cultural Village, near Johannesburg; Tlholego the Music Industry Task Team to investigate in Magaliesburg; the KoMjekejeke Cultural problems pertaining to the music industry. Village, north of Pretoria; the Mapoch The Team started its work in February Ndebele Village in Winterveld, north-west of 2000. The report was released in 2001. Pretoria; the Gaabo Motho Cultural Village in The Department has identified key priority Mabopane; the Rainbow Cultural Village, areas. They are: west of the Hartbeespoort Dam, North-West; – developing and/or implementing an Botshabelo in Middelburg, Mpumalanga; and effective and enabling legislative frame- Shangana in Hazyview, Mpumalanga. work. – education and training in the music Cultural Industries Growth industry. The Department is working with Strategy the Department of Labour to address The aim of the Cultural Industries Growth this. Strategy is to enhance the potential of South – investigating the livelihood of the music African cultural industries to contribute to job industry. and wealth creation. The project began with – promoting and resourcing the music a research and strategy development phase, industry. resulting in detailed analyses of the craft, film – facilitating the establishment of an and television, music and publishing indus- export council for the music industry. The tries. project is facilitated by the Music Industry The key recommendations were: Development Initiative Trust (comprising • developing education and training oppor- MIDI, major record companies, inde- tunities pendent labels and other stakeholders). Arts and Culture • increasing local and international demand – liaising with the Department of Home for cultural products Affairs to establish a new accreditation • encouraging the industries to work togeth- system to monitor the activities of foreign er artists in the country. • generating information – ensuring that the needs of the arts sector • continuing to raise the profile of the cult- are incorporated in Sector, Education and ural industries in the media and in govern- Training Authority (SETA) structures. ment departments. • Publishing: The Print Industries Cluster is Projects already under way include: continuing its strategic work to develop the • Craft: At national level, in conjunction with sector. the Department of Trade and Industry, a • Urban regeneration: The Department has small exporters council that includes crafts worked closely with the cities of Johannes- is being established. The Department of burg, Cape Town and Durban on strategies Arts, Culture, Science and Technology is to include culture in urban regeneration. In researching the feasibility of a glass bead future, work will be done in targeted areas

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around the country towards a strategy for • creating rehearsal rooms and workshops at urban renewal through arts and culture. Three Gables • SETAs: The Department has been integrally • establishing its own orchestra and chorus involved in mobilising the arts and culture • giving priority to community involvement. sector to form SETAs according to the Skills The North Sea Jazz Festival – Cape Town, was Development Act, 1998 (Act 97 of 1998). held from 31 March to 1 April 2000, the first This led to the Department commissioning a time a jazz festival on this level (four simultan- sector skills strategy, and arts and culture eous stages) took place in South Africa. being located in the Media, Advertising, Other festivals that attract tourists at both Publishing, Printing and Packaging SETA. national and international level are Oppikoppi, Calabash and Aardklop, The One City Festival Arts festivals and Awesome Africa Music Festival in Durban.

The Standard Bank National Arts Festival, held Theatre annually in July in Grahamstown in the Eastern Cape, is the largest and most diverse The performing arts marketed South Africa arts gathering of its kind staged in Africa, rat- most effectively to overseas audiences during ing favourably with similar international festi- the eighties, specifically theatre and musical vals. It features southern African talent in all productions. As a result, South African arts disciplines. theatre is internationally acclaimed as unique There is also growing interest and parti- and of top-class standard. cipation from other African countries and the The well-known Market Theatre in Johan- rest of the world. The year 2001 was the last nesburg kept South African theatre alive time that Standard Bank was the main spon- through the apartheid years. The Market sor of the Festival. Theatre’s reputation is based on its local con- The Klein Karoo Nasionale Kunstefees is a tent productions. A new trend is the estab- vibrant festival for the performing arts pre- lishment of smaller theatres to move art from sented mainly, but not exclusively, in the domain of the privileged only. A growing Afrikaans. It is held annually at Oudtshoorn in number of directors are doing original South the Western Cape at the end of March. African works. Disciplines include drama, cabaret, and con- It is not easy to separate dance from temporary and classical music. theatre in South Africa, as the two are very Arts Alive, Johannesburg’s annual interna- closely linked in indigenous works. tional festival of music, dance, theatre and performance poetry, was hosted for the 10th Music time by the city in September 2001. Spier Festival Trust appointed a new artistic South African music is characterised by its director in 2000 to realise Spier’s goal to fusion of diverse musical forms. Local musi- become a centre of excellence. Among the cians are tapping into the rich musical inheri- plans are: tance of South Africa, whilst also remaining • enlarging the amphitheatre for the staging open to the influence of music from other of four major productions countries. The blend that arises from these diverse cultural influences is becoming evi- Information dent in all music forms, including the work of local classical composers who have begun to In August 2000, the Japanese Government allocated a grant in aid of 50 million Yen, equivalent to R2 million, use African musical instruments in a potent for lighting and technical equipment for the Market fusion of traditions. Theatre. This is the first time that the Japanese Government has allocated this particular type of grant to Choral music is very important in South the Department of Arts, Culture, Science and Technology. Africa. School and adult choirs, many of

94 which are supported by corporate business, Activities such as a recording project for regularly hold competitions. young artists, workshops at schools about the Township jazz and blues, especially the music industry and piracy, and information kwela music of the forties and fifties, are also sessions for the industry were held as part of being redefined. Techno-raves and house the project. music have found their own variations in local culture. Musicians from all over Africa per- Awards form in nightclubs throughout South Africa. In November 2000, the Kora All Africa Music The results of a study by KPMG, released in Awards were held at the Sun City Superbowl 2000, show that in the past five years the in North-West. The event attracted more than music industry has grown into a R1-billion 70 top exponents of African music. The industry, the 22nd-largest in the world. The Awards were televised to 380 million viewers local industry employs more than 20 000 peo- throughout the world. South African artists ple, and more than one third of the music won awards in five categories. bought by South Africans is generated in Ladysmith Black Mambazo was honoured South Africa. with a special judges’ award for their contribu- A national conference was held in October tion to African music. The top award, for the 2000 to investigate the collection, preserva- best overall African artist, went to 26-year-old tion and development of indigenous music. Kaysha from the Democratic Republic of Congo. The Department of Arts, Culture, Science Kaysha has released two albums, with a mix of and Technology secured funds from the hip-hop, R&B, zouk, salsa and African rhythms. Poverty Alleviation Fund for job creation in the The award for best artist from the diaspora, arts and culture. ‘Music in public places’ is one African American, went to Sisqo from the US. of the strategies for young artists’ development The weekend ended with a One Billion and the promotion of South African music. Against AIDS concert at the Johannesburg The project focuses on live performances Stadium where the Kora winners and nom- and the selling of South African music in pub- inees entertained the crowd while spreading lic places such as airports and stations. The the AIDS message. project is targeting emerging artists who will For the 43rd Annual Grammy Awards, get the opportunity to perform and to sell which took place on 21 February 2001 in Los their products. Angeles, US, Miriam Makeba was nominated The South African Music Week is held in the category World Music Album, for her annually and is funded by the Department, album Homeland. the NAC, BASA and other major role-players The nomination followed closely upon her Arts and Culture in the music industry. In 2001, the event was being the first Kora Lifetime Achievement held from August 25 to September 1. Award recipient. Ladysmith Black Mambazo The project is aimed at promoting South was nominated a sixth time in the category African music through the development of Traditional Folk. young artists, the celebration of established The 2001 Standard Bank South African artists, and rejoicing in the country’s rich cul- Music Awards winners were: tural identity. • Best female artist: Miriam Makeba for Homeland Information • Best male artist: Don Laka for Pyramid. Singer Fikile Mvinjelwa, playwright Brett Bailey, visual artist Walter Oltmann and dancer Tracey Human were Dance named winners of the 2001 Standard Bank Young Artist Awards. As part of their prizes, they received financial South African dance is unique in its vitality, backing for participating in the main programme of the 2001 National Arts Festival, which was held in energy and integrity. More and more South Grahamstown from June 28 to July 7. African dance companies and individual

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dancers and choreographers are invited to promote the visual arts. perform at festivals throughout Europe, These range from arts publication and Australia and the US. women empowerment programmes to Contemporary work ranges from the national and international exhibitions and unconventional to normal preconceptions of infrastructure funding. movement and performance art or perform- The Department considers the visual arts, ance theatre. crafts and design as integral to arts and cul- Added to these is the African experience, ture. In its development of the arts, it is par- which includes traditional dance, inspired by ticularly interested in the application of inter- wedding ceremonies, battles, rituals and the disciplinary technology to art. trifles of everyday life. An informal but highly versatile perform- Photography ance venue in Johannesburg, called The Dance Factory, provides a permanent plat- Various South African photographers have form for all kinds of groups. been acclaimed for their art and documentary The Wits Theatre (attached to the Univers- work. Many are or were employed by newspa- ity of the Witwatersrand) is also a popular pers and magazines. There are a growing num- dance venue. It is home to the annual Dance ber of South African photographers such as Umbrella, which usually takes place over three Peter Magubane who do documentaries, cof- weeks from the end of February. It is comple- fee table books and other information material. mented by workshops and performances by National and international photographic visiting international groups. The festival pro- salons are held in South Africa annually, and vides a free platform for the full spectrum of various national awards are bestowed on out- southern African contemporary dance. standing local photographers. Only new and indigenous choreography is In January 2001, Victor Matom won the accepted and no previous experience is African section of the 2001 Mother Jones required. The concept has also been launched International Fund for Documentary Photo- in Cape Town, Bloemfontein, Durban and graphy. He compiled a visual documentary Grahamstown. about residents from the Joe Slovo squatter Started in 1934 as the University of Cape camp near Lenasia, Gauteng. Town Ballet Company, the Cape Town City At the end of March 2001, Karel Prinsloo, Ballet is the oldest ballet company in the photographer of Sunday Times, was announ- country. Ninety-nine per cent of the artists ced the winner of the 2001 Fuji Film Photo employed by the company are local artists. Press Award in the Netherlands. A significant event on the local dance scene was the introduction of integrated Architecture dance. In October 2000, the Tshwarano – In Touch Integrated Dance project workshops South Africa has a rich architectural heritage, took place at the Dance Factory in Newtown. to which all the cultural groups in the country The project was headed by Adam Benjamin, have contributed. The statutory organisation, British choreographer and teacher, and aims SAHRA, conserves buildings of historical or to train dancers, including the disabled. architectural value. To date, more than 4 000 The earliest projects in dance with the dis- buildings, sites and other objects (including abled started in 1996. trees) have been declared national monu- ments. Visual arts The Simon van der Stel Foundation is the most important non-profit, private organisa- The Department of Arts, Culture, Science and tion that conserves and restores buildings of Technology supports a number of projects to historical and architectural importance.

96 Rock art Science and Technology. There are numerous role-players involved in various initiatives to There are many traces of people of ancient develop the sector. cultures who roamed the country in the dis- The work of various bodies and institutions tant past. The San people left a priceless and can be categorised in areas such as training, unique collection of Stone Age paintings marketing, information provision, supply of and engravings in South Africa, the largest raw material, coordination, and funding or in the world. The mountains, especially the financing. Drakensberg range and the Cape moun- The Department, in partnership with other tains, are home to fascinating rock art government departments and role-players, panels. aims to address the coordination of the sec- Rock engravings are scattered throughout tor, developing a national strategy for craft the interior on flat rock surfaces and boul- financing, marketing and development, and ders. The art works mainly depict hunter- finding a suitable vehicle to develop and grow gatherers and their relationship with the an- exports of South African craft products. imal world, historical events, and interaction The National Craft Development Initiative, with and observation of newcomers en- spearheaded by the NAC and supported by croaching upon their living space. Indigenous several national bodies, is one such example, people with spears and Nguni cattle, Khoi- providing a platform for growing the local Khoin fat-tailed sheep, European settlers on market by staging craft fairs at various levels. horseback with rifles, wagons, ships and sol- The biggest intervention from government diers in uniform were captured in surprising and other craft development agencies is with detail. regard to training. On the sandstone canvas are immortalised It covers areas such as product develop- visions of the artists’ spiritual world, using ment, product design and diversification, sus- complex symbols and metaphors to illustrate tainable use of raw materials, craft tech- the supernatural powers and potency they niques and skills, costing and pricing, market- received from nature. ing and selling, running a craft business, and The oldest dated rock art in South Africa, financial management as well as business an engraved stone, was discovered in a living administration. floor 10 200 years old at Wonderwerk Cave The Department has awarded a tender for near Kuruman in the Northern Cape. the development of a craft information hand- The oldest painted stones (6 400 years) book. It will cover broad and diverse topics were recovered at Boomplaas Cave in the related to craft and craft development. Arts and Culture Cango Valley near Oudtshoorn. Three painted stones were also found at Design the Klasies River Caves, which yielded the second-oldest stone, dating back 3 900 The Department of Arts, Culture, Science and years. Technology has been examining the status of the design industry in South Africa. Subse- Craft quent to the Design Summit held in February 2000, the Department has launched a num- Craft is vibrant in South Africa, with the ber of initiatives aimed at creating centres of industry employing about one million expertise. These have promoted collaborative people. The crafts are exported all over the ventures between the private and public sec- world. tors in areas of product design, the use of The development of South Africa’s craft computer-aided design, and computer-aided industry is an ongoing task for government engineering. The initiatives are the following: through the Department of Arts, Culture, • The launch of the National Product

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Development Centre at the Council for Film Scientific and Industrial Research (CSIR). This initiative operates within a national According to a report commissioned by the framework, optimising the contributions of Department of Arts, Culture, Science and service-providers throughout the country in Technology, the local film industry generates the area of design technologies. close to R1,4 billion worth of production • The successful launch and promotion of annually. the computer-aided design initiative at the The funding provided by government is CSIR, which is linked to the technology sta- R10 million a year, implying a funding ratio of tion at Free State Technikon as well as tech- 0,7%. Using this allotment the National Film nikons in KwaZulu-Natal and Eastern Cape. and Video Foundation (NFVF) has been able to • The National Monument for Women at the provide for 414 productions in the past three Union Buildings in Pretoria. years, satisfying a third of the 1 203 applica- The 2000 South African Bureau of Standards tions received during this time. It is estimated Design Institute Awards and Prototype that at least R200 million is required annually Awards were held in October 2000. to make an international impact. South African Design Week was held from It was announced in November 2000 that 10 to 17 September 2001. the South African National Lotteries Board would contribute 10% of the amount in its Literature disbursement fund to the arts, including the film industry. South Africa has a vibrant and rich oral tradi- Through established industry players, tion. This form of expression goes back many South Africa offers film facilitation, logistics centuries and has been passed down from and administration management services, generation to generation as an important which ensure the effortless and smooth way of sharing advice, remembering history, production of films in South Africa. This is telling stories and reflecting on contemporary achieved through the world-class facilities society. Creative writing finds expression in and professional film facilitators in this most of the languages of South Africa. country. At the end of September 2000, the African South Africa is at the cutting-edge in terms Languages Literary Museum was opened at of imagination, technology and product qual- Unisa, Pretoria. ity, with a wealth of experienced, talented All nine indigenous languages are catered and skilled people, both at management and for, and authors featured include Prof Maja operational level. Combined with the ad- Serudu, EM Ramaila, OK Matsepe and vanced technology employed across the Semakaleng Monyaise. It also features books, industry, this talent provides foreign investors manuscripts, old typewriters used by some and producers with an excellent support African writers, antiques and authors’ portraits. infrastructure. There is an English museum in Grahams- The NFVF, which was formed with the town and an Afrikaans museum in Bloem- promulgation of the NFVF Act, 1997 (Act 73 fontein. of 1997), is the key institution coordinating and promoting this industry. The Council of Information the NFVF translated the objectives of the Act into specific strategies that are sensitive to the In January 2001, South African film producer, Anant Singh, was awarded the Crystal Award by the World Eco- needs of the industry. nomic Forum in Davos, Switzerland. The Award honours Due to the competitive nature of the indus- personalities who, in addition to having won interna- try, most producers make huge capital outlays tional recognition through their artistic achievements, have also made an outstanding contribution to cross- in order to secure the necessary equipment to cultural understanding. remain competitive. Rapidly rising production

98 costs are a reality in all film-producing • develop a framework that will ensure the nations. Also, the low value of the Rand strengthening of small and medium-size against other currencies provides export enterprises in the film sector opportunities as it allows producers to work • establish a financial framework to finance in South Africa. co-productions between the EU and South The industry consolidation is driven by the Africa. fact that a number of large South African Sithengi 2001, the sixth presentation of the media companies have acquired production South African International Film and Tele- companies to increase their capabilities in the vision market, was held in November at media and entertainment sector. The revenue Artscope in central Cape Town. It was spon- generated from television production current- sored by the NFVF. ly constitutes approximately 36% of the total annual film/television revenues. Film and Publication Board The increase in the number of channels The Films and Publications Act, 1996 (Act 65 available to South African viewers has result- of 1996), propagates freedom of expression ed in an increased demand for local pro- and the arts, freedom of religion, the protec- gramming from the television channels due tion of children from potentially harmful and to the imposed local content quotas. In South disturbing materials, the protection of dignity, Africa, locally produced television productions the protection of privacy, and the principles of are extremely popular among viewers. natural justice. It will invade privacy only South African broadcasters are exploring where child pornography is concerned. opportunities to distribute local productions The Film and Publication Board no longer into the rest of Africa through direct sales and censors, but classifies movies and imposes through a form of ‘bartering’, where content age restrictions. There is no pre-classification is exchanged for advertising airtime. This is of magazines, but publishers can voluntarily expected to increase demand for locally pro- apply to have their magazines classified to duced television content. avoid risking an XX classification, which The three largest film distributors in South would remove a particular issue of a maga- Africa are Ster-Kinekor, UIP and Nu-Metro. zine from circulation after it has appeared. Ster-Kinekor has a specialised art circuit called In terms of the legislation, the Board may Cinema Nouveau with theatres in Johannes- ban the distribution of visual material con- burg, Cape Town, Durban and Pretoria. taining A Film Symposium hosted in South Africa • sexual acts involving persons under the age jointly by the European Union (EU) and the of 18 years or who appear to be under the Arts and Culture South African Government was held in age of 18 years November 2000. The participants of the • bestiality Symposium were Chief Executive Officers • explicit violent acts that promote violence (CEOs) of the EU member states’ film com- • material that promotes religious hatred missions/foundations, the NFVF, significant • explicit violent acts coupled with sexual players in the South African film and televi- conduct. sion industry at the level of the CEO, and Although such material, classified as XX, is strategic industry organisations in South only banned from distribution, the possession Africa such as the Independent Producers’ of child pornography is a criminal offence. Organisation. The objectives were to People found guilty of possessing child porno- • develop and sustain robust co-productions graphy could face up to five years in prison for between the EU member states and the each item found. The Act has been amended South African film industry to include the regulation and control of child • create varied products for the film and tel- pornography on the Internet and a more pre- evision markets of the territories concerned cise definition of what constitutes child

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pornography. The Act also provides for the The latter is based in Johannesburg. regulation of trade in previously banned, sex- The Southern Flagship (renamed Iziko ually explicit materials. Adult shops which do Museums of Cape Town) consists of the not comply with the requirements of the Act South African Museum, South African could be closed by the Board for up to a year. Cultural History Museum and its satellite museums, the South African National Gallery, Museums and monuments the William Fehr Collection and the Michaelis Collection. Museums are the windows on the natural In terms of the Cultural Institutions Act, and cultural heritage of a country. South 1998, the declared museums in other pro- Africa can justifiably be called the museum vinces continue to operate as before. These country of Africa, with the earliest of its include the National Museum and the Anglo- museums dating back to the first half of the Boer War Museum (Bloemfontein), the 19th century. Today, more than 300 of the William Humphreys Art Gallery (Kimberley), approximately 1 000 museums in Africa are the Natal Museum and the Voortrekker situated in South Africa. They range from Museum (Pietermaritzburg), the JLB Smith museums of geology, history, the biological Institute for Ichthyology (Grahamstown) and sciences and arts to mining, agriculture, the Foundation for Education, Science and forestry and many other disciplines. Most of Technology in Pretoria, which manages a sci- the country’s national museums are declared ence and technology museum. cultural institutions (national museums that The Act also provides for a National have framework autonomy and are managed Council of Museums, comprising the flagship by their own councils) and fall under the over- museums and the other declared museums. all jurisdiction of the Department of Arts, This organisation will function as an umbrella Culture, Science and Technology. They receive body between the Department and the an annual subsidy from the Department, but declared museums, and its main functions are otherwise autonomous. According to the will comprise the development of codes of Cultural Institutions Act, 1998 (Act 119 of ethics and general museum policies. 1998), a new streamlined system was estab- Very popular is the Robben Island Museum. lished on 1 April 1999 under which the It was established as a national monument declared institutions operate. In terms of this and museum and has been administered by Act, the declared museum institutions in the Department since January 1997. Guided Gauteng and Cape Town are grouped tours are offered to historical sites on the together into two new organisations, known Island, including the cell in which former as Flagship Institutions. Whilst the com- President Nelson Mandela was imprisoned. ponents of these two museum flagships (the The Robben Island Museum has its own museums from which they have been consti- council and is a separate declared institution, tuted) continue to operate as semi-independ- independent of Iziko. ent museums with regard to their core func- Apart from the declared museums that fall tions (collecting, preservation, research and under the Department, there are also a num- education), other functions, particularly ber of other national museums, which are administration, financing and human administered by central government depart- resources management, have been cent- ments or by research councils. Notable exam- ralised in the flagship head office. ples are the Museum of the Council for The Northern Flagship consists of the Geoscience (Pretoria), the Theiler Veterinary National Cultural History Museum and its for- Science Museum at Onderstepoort (Pre- mer satellite museums, the Transvaal toria), the South African Air Force Museum at Museum of Natural History and the South Air Force Base Zwartkop (Pretoria) with its African National Museum of Military History. satellites in Cape Town, Port Elizabeth and

100 Durban, the museum of the Department of in Cape Town houses the oldest cultural his- Correctional Services (Pretoria) and the tory collection in the country – in a magnifi- Porcinarium (the world’s first pig museum) cent old building to which modern facilities outside Pretoria on the Irene campus of the have been added. Agricultural Research Council. The South African Museum showcases the A number of museums fall directly or indir- natural history of South Africa, as well as the ectly under the provincial government depart- early human inhabitants of the subcontinent. ments responsible for arts and culture. In The huge whale hall houses possibly the most some provinces, these museums render impressive of all its exhibitions. This is also the museum support services at provincial level, only collection in South Africa with a planet- while other provinces, notably Gauteng, arium attached to it. KwaZulu-Natal, the Western Cape and the The Transvaal Museum in Pretoria houses Free State, have separate museum service the skull of Mrs Ples, a 2,5-million-year-old organisations. hominid fossil, and depicts the origin and However, many museum and heritage ser- development of life in South Africa, from the vices are also rendered by the declared most primitive unicellular form of life to the national museums on a consultancy basis. emergence of mammals and the first human Many municipalities also manage museums. beings. It has a collection of early human fos- Other museums fall under universities and sils. university departments or are owned and The Tswaing Meteorite Crater is situated to managed by private-sector companies, NGOs the north-west of Pretoria. It is an example of and individuals. The largest museums are sit- the new way a museum is combined with cul- uated in Johannesburg, Pretoria, Cape Town, tural development in order to support the Durban, Pietermaritzburg and Bloemfontein. Presidential Imperatives. The best-known natural history collections in The National Cultural History Museum (for- South Africa are housed in the Iziko museums mer African Window) in Pretoria is a centre and the Northern Flagship Institution, as well for the preservation and communication of as in the following: the culture and heritage of all South Africans. • Natal Museum, Pietermaritzburg It explores cultural diversity and commonal- • National Museum, Bloemfontein (fossils) ities, links the present with the past to offer a • McGregor Museum, Kimberley better understanding of both, and nurtures • East London Museum (coelacanth) the living culture of all South Africans. As a • JLB Smith Institute, Grahamstown (fish) museum of the Northern Flagship Institution, • Port Elizabeth Museum the National Cultural History Museum has Arts and Culture • Durban Museum of Natural History. access to a collection of about three million The best-known cultural history collections objects which are displayed in a variety of are housed in the Iziko museums and the permanent and temporary exhibitions. In Northern Flagship Institution, as well as in the addition, the Museum works with institutions following: and community-based organisations to host • National Museum, Bloemfontein film festivals, arts and crafts exhibitions, sem- • Natal Museum, Pietermaritzburg inars, conferences, festivals and other cultural • Durban Local History Museum events. • MuseumAfrica, Johannesburg. Mining is best represented by the De Beers Among the art museums are the following: Museum at the Big Hole in Kimberley, where • The South African Gallery visitors can view the biggest hole ever made • Johannesburg Art Gallery by man with pick and shovel. It includes an • Pretoria Art Museum open-air museum, which houses many build- • William Humphreys Art Gallery, Kimberley. ings dating back to the era of the diamond The South African Cultural History Museum diggings.

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The other important mining museum is at South Africa has two national military his- Pilgrim’s Rest, Mpumalanga, where the first tory museums. The South African Museum economically viable goldfield was discovered. for Military History in Johannesburg reflects The entire village has been conserved and the military history of the country, while the restored. It boasts beautiful examples of War Museum in Bloemfontein depicts the houses from the period of the goldrush, as Anglo-Boer/South African War in particular. well as an early mining camp and a complete The famous battlefields of KwaZulu-Natal, reduction works. Northern Cape and North-West are also Agriculture in South Africa is depicted worth a visit. The work of the current war- mainly at two museums. These are Kleinplasie graves division of the SAHRA will include the at Worcester, Western Cape, which show- upkeep of graves of victims of the struggle cases the wine culture and the characteristic for the liberalisation of South Africa. architecture of the winelands, and the Willem Prinsloo Agricultural Museum between Archives and heraldry Pretoria and Bronkhorstspruit in Gauteng. The latter houses an extensive collection of Archives of governmental bodies are trans- early farming implements, as well as early ferred to archives repositories after a period indigenous domesticated animals. Both of 20 years, and are accessible to the public museums are famous for their mampoer and and the office of origin. The National witblits – potent liquor, distilled from fruit and Archives functions in terms of the National grapes. Archives of South Africa Act, 1996 (Act 43 of The Absa Museum and Archives in 1996). Johannesburg, which belongs to Amalga- The archives of central government are mated Banks of South Africa (ABSA), aims to preserved in the National Archives Repository preserve the banking group’s more than 110 in Pretoria, and provincial archives repositories years of history. It also houses a unique and in Pretoria, Cape Town, Pietermaritzburg, very valuable coin and banknote collection. Durban, Ulundi, Port Elizabeth and Bloem- One of the most common types of mus- fontein house the archives dating from before eums in South Africa is the house museum. 1910 and the relevant provincial archives. Examples include an entire village nucleus in Records centres for archives younger than 20 Stellenbosch; Groot Constantia in the years exist in centres such as Pretoria, Western Cape, as an example of the lifestyle Bloemfontein and Cape Town. of the wealthy wine farmer; the mansion of During 2001, the National Archives will the millionaire industrialist out- manage the acquisition of the archives of the side Pretoria; and the Victorian affluence mir- Truth and Reconciliation Commission. rored in , Pretoria. Simpler The National Oral History programme was architectural variations have not been neg- launched in 2000, and the National Archives lected, for instance the pioneer dwelling in programme developed guidelines for the Silverton, Pretoria, and the humble farm- management of electronic records. It also house at Suikerbosrand near Heidelberg in designed a pilot archives educational project Gauteng. There are several open-air mus- for senior high school students (Edukit). eums which showcase the black cultures of The retrieval of information in archives is the country, for example the Tsongakraal near facilitated by the national automated archival Letsitele, Northern Province, the Ndebele information system, which includes national Museum at Middelburg, Mpumalanga, the registers of manuscripts, photographs and Bakone Malapa (Northern Sotho) Museum at audiovisual material. The system was web- Pietersburg, Northern Province, and the enabled in 2001 (www.national.archives.gov.za). South Sotho Museum at Witsieshoek, Free The National Archives also renders a compre- State. hensive record management service for cur-

102 rent records aimed at promoting efficient services. At the same time, the National administration. Archives is responsible for trying to ensure An important aspect of the Act is its man- effective, transparent and accountable ma- date to the National Archives to collect non- nagement of all public records. public records with enduring value of na- The National Archives in Pretoria includes tional significance. In so doing, the National the National Film, Video and Sound Archives. Archives is obliged to pay special attention to Its primary functions are to obtain and aspects of the nation’s experience neglected preserve films, videotapes and sound record- by archives of the past. A key project in this ings of archival value, and to make these regard is the Oral History Project which seeks available for research and reference pur- to build National Archives capacity to docu- poses. ment the spoken word, and develop a na- The Bureau of Heraldry, which is a subpro- tional oral history programme. The automat- gramme of the National Archives, is respons- ed National Register of Oral Sources is an ible for the registration of coats of arms, important element of the project. The Act badges and other emblems such as flags, also provides the Government with a mea- seals, medals and insignia of rank, and offices sure of control over private collections. of order, as well as the registration of names Archives are taken to the people through and uniforms (colours) of associations and coordinated national and provincial archive organisations, such as universities. Arts and Culture

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Acknowledgements

Department of Arts, Culture, Science and Technology Department of Home Affairs Film and Publication Board National Arts Council National Cultural History Museum Suggested reading Aliens in the Household of God: Homosexuality and Christian Faith in South Africa. Editors: P. Germond and S. de Gruchy. Cape Town: David Philip, 1997. Architecture of the Transvaal. Editors: R.C. Fisher, S. le Roux and E. Marè. Pretoria: University of South Africa, 1998. Becker, R. and Keene, R. Art Routes: A Guide to South African Art Collections. Johannesburg: Witwatersrand University Press, 2000. Berman, E. Art and Artists of South Africa. 3rd ed. Halfway House: Southern Book Publishers, 1992. Berman, E. Painting in South Africa. Halfway House: Southern Book Publishers, 1993. Blignaut, J. and Botha, M. Movies, Moguls and Mavericks: South African Cinema, 1979–1991. Cape Town: Vlaeberg, 1992. Botha, M. and Van Aswegen, A.H. Images of South Africa: The Rise of the Alternative Film. Pretoria: Human Sciences Research Council, 1992. Breakey, B. Beyond the Blues: Township Jazz in the ‘60s and ‘70s. Cape Town: David Philip, 1997. Brink, A. Reinventing a Continent: Writing and Politics in South Africa, 1982–1995. London: Secker and Warburg, 1996. Caplan, D. In Township Tonight: South Africa’s Black City Music and Theatre in South Africa. Johannesburg: Ravan, 1985. Christian Spirituality in South Africa Editors: C. Kourie and L. Kretzschmar. Pietermaritzburg: Cluster Publications, 2000. Cinema of Apartheid: Race and Class in South African Film. Editor: K. Tomaselli. Bergvlei: Random Century, 1989. Contemporary South African Art: The Gencor Collection. Johannesburg: Jonathan Ball, 1997. Crwys-Williams, J. Penguin Dictionary of South African Quotations. 2nd ed. Sandton: Penguin Books, 1999. Diawara, M. African Cinema: Politics and Culture. Johannesburg: Witwatersrand University Press, 1992. Directory of South African Contemporary Art. Vol. 1. (Painting, 1997/98). Stanford, Western Cape: Contemporary Arts Publishers, 1997. Filming Emerging Africa: A Pioneer Cinematographer’s Scrapbook: From the 1940s to the 1960s. Compiler: G. Mangin. Cape Town: The Author, 1998. Fletcher, J. Story of Theatre in South Africa: A Guide to its History from 1780–1930. Cape Town: Vlaeberg, 1994. Goldblatt, D. South Africa: The Structure of Things Then. Cape Town: Oxford University Press, 1998. Harris, V. Exploring Archives: An Introduction to Archival Ideas and Practice in South Africa. National Archives of South Africa, Pretoria, 2000. Hauptfleisch, T. Theatre and Society in South Africa: Some Reflections in a Fractured Mirror. Pretoria: Van Schaik, 1997. Jackson, G.S. Outside Insights: Quotations for Contemporary South Africa. Cape Town: Human and Rousseau, 1997. Kavanagh, R.M. Theatre and Cultural Struggle in South Africa. London: ZED Books, 1985. Kavanagh, R.M. Making People’s Theatre. Johannesburg: Witwatersrand University Press, 1997. Kivnick, H.Q. Where is the Way: Song and Struggle in South Africa. New York: Viking Penguin, 1990. Larlham, P. Black Theatre, Dance and Ritual in South Africa. Ann Arbor, Michigan (US): UMI Research Press, 1985. Levinsohn, R.R. Art and Craft of Southern Africa. Johannesburg: Delta Books, 1984. Lewis-Williams, D. and Blunt, G. Fragile Heritage: A Rock Art Fieldguide. Johannesburg: Witwatersrand University Press, 1998. London Missionary Society in Southern Africa: historical essays in celebration of the bicentenary of the LMS in Southern Africa, 1799–1999. Editor: J. de Gruchy. Cape Town: David Philip, 1999.

104 Liberated Voices: Contemporary Art From South Africa. Editor: F. Herreman. New York: Museum for African Art,1999. Miles, E. Land and Lives: A Story of Early Black Artists. Cape Town: Human and Rousseau, 1997. Molefe, Z.B. and Mzileni, M. A Common Hunger to Sing: A Tribute to South Africa’s Black Women of Song, 1950 to 1990. Text by Z.B. Molefe; photographs by M. Mzileni. Cape Town: Kwela Books, 1997. Morris, J. Speaking with Beads: Zulu Beads from Southern Africa. Text by E. Preston Whyte. London: Thames and Hudson,1994. Muwanga, C. South Africa: A Guide to Recent Architecture. London: Ellipsis, 1998. Music Africa Directory, 1997. Sandton: Sun Circle, 1997 – Annual. Nettleton, A. and Hammond-Tooke, W.D. African Art in South Africa: From Tradition to Township. Johannesburg: Donker, 1989. Orkin, M. Drama and the South African State. Johannesburg: Witwatersrand University Press, 1991. Over the Rainbow: An Anthology of African Verse. Scottburgh: Poetry Institute of Africa, 1997. Picton-Seymour, D. Victorian Buildings in South Africa. Cape Town: Balkema, 1977. Petersen, B. Monarchs, Missionaries and African Intellectuals: African Theatre and the Unmasking of Colonial Marginality. Johannesburg: Witwatersrand University Press, 2000. Politics and Performance: Theatre, Poetry and Song in Southern Africa. Editor: L. Gunner. Johannesburg: Witwatersrand University Press, 1993. Saron, G. The Jews of South Africa: An Illustrated History to 1953, edited by N. Musiker. Johannesburg: South African Jewish Board of Deputies, 2001. South African Handbook on Arts and Culture, 1998. Editors: M. van Graan and N. du Plessis. Rondebosch: Article 27 Arts and Culture Consultants, 1998. Strauss, P. Africa Style in South Africa. Johannesburg: Jonathan Ball, 1994. To Cast Fire Upon the Earth: Bible and Mission Collaborating in Today’s Multicultural Global Context, edited by T. Okurè. Pietermaritzburg: Cluster Publications, 2000. Van Rensburg, J.J. The Paradigm Shift: An Introduction to Postmodern Thought and its Implications for Theology. Pretoria: Van Schaik, 2000. Arts and Culture

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