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Transnational Resistance Strategies and Subnational Concessions in Namibia's Police Zone, 1919-1962
Graduate Theses, Dissertations, and Problem Reports 2021 “Remov[e] Us From the Bondage of South Africa:” Transnational Resistance Strategies and Subnational Concessions in Namibia's Police Zone, 1919-1962 Michael R. Hogan West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the African History Commons Recommended Citation Hogan, Michael R., "“Remov[e] Us From the Bondage of South Africa:” Transnational Resistance Strategies and Subnational Concessions in Namibia's Police Zone, 1919-1962" (2021). Graduate Theses, Dissertations, and Problem Reports. 8264. https://researchrepository.wvu.edu/etd/8264 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. “Remov[e] Us From the Bondage of South Africa:” Transnational Resistance Strategies and Subnational Concessions in Namibia's Police Zone, 1919-1962 Michael Robert Hogan Dissertation submitted to the Eberly College of Arts and Sciences at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Philosophy In History Robert M. -
UNSUNG: South African Jazz Musicians Under Apartheidunsung
UNSUNG: South African Jazz Musicians under Apartheid outh African jazz under apartheid has in recent years been the subject of numerous studies. The main focus, however, has hitherto been on the musicians who went into exile. Here, for the first time, those who stayed behind are allowed to tell their stories: the stories of musicians from across the colour spectrum who helped to keep their art alive in South Africa during the years of state oppression. CHATRADARI DEVROOP &CHRIS WALTON CHATRADARI Unsung South African Jazz Musicians under Apartheid EDITORS Chatradari Devroop & Chris Walton UNSUNG: South African Jazz Musicians under Apartheid Published by SUN PReSS, an imprint of AFRICAN SUN MeDIA (Pty) Ltd., Stellenbosch 7600 www.africansunmedia.co.za www.sun-e-shop.co.za All rights reserved. Copyright © 2007 Chatradari Devroop & Chris Walton No part of this book may be reproduced or transmitted in any form or by any electronic, photographic or mechanical means, including photocopying and recording on record, tape or laser disk, on microfilm, via the Internet, by e-mail, or by any other information storage and retrieval system, without prior written permission by the publisher. First edition 2007 ISBN: 978-1-920109-66-9 e-ISBN: 978-1-920109-67-7 DOI: 10.18820/9781920109677 Set in 11/13 Sylfaen Cover design by Ilse Roelofse Typesetting by SUN MeDIA Stellenbosch SUN PReSS is an imprint of AFRICAN SUN MeDIA (Pty) Ltd. Academic, professional and reference works are published under this imprint in print and electronic format. This publication may be ordered directly from www.sun-e-shop.co.za Printed and bound by ASM/USD, Ryneveld Street, Stellenbosch, 7600. -
AFRICAN STUDIES INSTITUTE SEMINAR the Rehoboth Rebellion
The Gubblns Library, AFRICAN STUDIES INSTITUTE SEMINAR The Rehoboth Rebellion by P. Pearson At dawn on the 5th of April 1925, a force of 621 men comprising citizen force troops and police surrounded the town of Rehoboth in South West Africa. Their object was to secure the arrest of three men who had failed to respond to summonses issued under the stock branding proclamation. Seven days previously a large group of supporters had prevented three local policemen from entering the building where the men were staying. In response to this act of defiance, the Administrator had mobilized the citizen force in nine districts and declared (2) martial law in Rehoboth. At 7am a messenger entered the town carrying an ultimatum from Col. de Jager, commander of the troops. It called for an unconditional surrender by 8am. The rebels asked for more time in order to evacuate the women and children, but at 8.15am three aeroplanes fitted with machine guns flew low over the town and the soldiers charged. Faced with this vastly superior force, the rebels offered little resistance, and no shots were fired. The soldiers and policemen were spurred on by de Jager to attack their opponents with sticks arid rifle butts. Women and children who surrounded the rebel headquarters in an attempt to (4) protect their menfolk inside were also quickly dealt with in this way. Six hundred and thirty two people were arrested on charges of illegal assembly and 304 firearms were confiscated. All of the weapons were subsequently declared 'unservicablef and destroyed. Organised resistance had begun some twenty months earlier on the 17th of August 1923. -
Form L5: Title Registration/08
NICO CARSTENS AS INNOVEERDER VAN SUID-AFRIKAANSE POPULÊRE MUSIEK Susanna Helena Robina Louw Voorgelê om te voldoen aan die vereistes vir die graad MAGISTER MUSICAE in die Fakulteit Geesteswetenskappe, Departement Musiek, aan die Universiteit van die Vrystaat Studieleier: Prof. N.G.J. Viljoen Medestudieleier: Prof. M. Viljoen Januarie 2013 VERKLARING Ek verklaar hiermee dat die verhandeling wat hierby vir die graadMagister Musicae aan die Universiteit van die Vrystaat deur myingedien word, my selfstandige werk is en nie voorheen deurmy vir ’n graad aan ’n ander universiteit/fakulteit ingedien isnie. Ek doen voorts afstand van die outeursreg op dieverhandeling ten gunste van die Universiteit van die Vrystaat. ____________________________________ i ERKENNINGS By die voltooiing van hierdie verhandeling is dit die behoefte van my hart om persone en instansies wat my op een of ander wyse met genoemde materiaal behulpsaam was, opreg te bedank: My studieleier, prof Nicol Viljoen, en mede-studieleier, prof. Martina Viljoen, vir hulle besondere kundige leiding in alle fases en fasette van hierdie navorsing. SAMRO, vir die beskikbaarstelling van navorsingmateriaal, maar veral aan dié personeel wat genoemde materiaal so goedgunstiglik behulpsaam was. SABC en hulle Argief vir klank- en beeldmateriaal. Die FAK/SAMRO/National Arts Council of South Africa, vir finansiële bystand om hierdie projek te voltooi. Ingrid Howard, wat as behulpsame tussenganger opgetree het in my kontak en ontmoetings met Nico Carstens. Corrie Geldenhuys, vir die taalkundige versorging van die teks. Nico, die inligting hierin vervat, is net ’n fraksie van alles wat ek van jou ontvang het. Geen akademiese geskrif kan in elk geval vriendelikheid, openhartigheid en gasvryheid omskryf nie. -
Download the Music Market Access Report Canada
CAAMA PRESENTS canada MARKET ACCESS GUIDE PREPARED BY PREPARED FOR Martin Melhuish Canadian Association for the Advancement of Music and the Arts The Canadian Landscape - Market Overview PAGE 03 01 Geography 03 Population 04 Cultural Diversity 04 Canadian Recorded Music Market PAGE 06 02 Canada’s Heritage 06 Canada’s Wide-Open Spaces 07 The 30 Per Cent Solution 08 Music Culture in Canadian Life 08 The Music of Canada’s First Nations 10 The Birth of the Recording Industry – Canada’s Role 10 LIST: SELECT RECORDING STUDIOS 14 The Indies Emerge 30 Interview: Stuart Johnston, President – CIMA 31 List: SELECT Indie Record Companies & Labels 33 List: Multinational Distributors 42 Canada’s Star System: Juno Canadian Music Hall of Fame Inductees 42 List: SELECT Canadian MUSIC Funding Agencies 43 Media: Radio & Television in Canada PAGE 47 03 List: SELECT Radio Stations IN KEY MARKETS 51 Internet Music Sites in Canada 66 State of the canadian industry 67 LIST: SELECT PUBLICITY & PROMOTION SERVICES 68 MUSIC RETAIL PAGE 73 04 List: SELECT RETAIL CHAIN STORES 74 Interview: Paul Tuch, Director, Nielsen Music Canada 84 2017 Billboard Top Canadian Albums Year-End Chart 86 Copyright and Music Publishing in Canada PAGE 87 05 The Collectors – A History 89 Interview: Vince Degiorgio, BOARD, MUSIC PUBLISHERS CANADA 92 List: SELECT Music Publishers / Rights Management Companies 94 List: Artist / Songwriter Showcases 96 List: Licensing, Lyrics 96 LIST: MUSIC SUPERVISORS / MUSIC CLEARANCE 97 INTERVIEW: ERIC BAPTISTE, SOCAN 98 List: Collection Societies, Performing -
William Kentridge
CAP UCLA presents Refuse the Hour William Kentridge Philip Miller Dada Masilo, Catherine Meyburgh, Peter Galison Fri, Nov 17 & Sat Nov 18 | Royce Hall Photo by John Hodgkiss East Side, MESSAGE FROM THE DIRECTOR West Side, All Around LA Welcome to the Center for the Art of Performance The Center for the Art of Performance is not a place. It’s more of a state of mind that embraces experimentation, encourages Photo by Ian Maddox a culture of the curious, champions disruptors and dreamers and One would have to admit that the masterful work of William Kentridge leaves supports the commitment and courage of artists. We promote virtually no artistic discipline unexplored, untampered with, or under-excavated in rigor, craft and excellence in all facets of the performing arts. service to his vigilant engagement with the known world. He has done x, y z, p, d, q, (installations, exhibitions, theater works, prints, drawings, animations, innumerable collaborations, etc.) and then some, over the arc of his career and there is nothing on the horizon line of his trajectory that indicates any notion of relenting any time 2017–18 SEASON VENUES soon. Royce Hall, UCLA Freud Playhouse, UCLA Over the years I have been asked to offer explanations and descriptions of the The Theatre at Ace Hotel Little Theater, UCLA works of William Kentridge while encountering it in numerous occasions around the Will Rogers State Historic Park world. As a curator, one is expected to possess the necessary expertise to rapidly summarize dimensional artistry. But in a gesture of truth, my attempts fail in UCLA’s Center for the Art of Performance (CAP UCLA) is dedicated to the advancement juxtaposition to the vastly better reality of experiencing his utter artistic singularity, of the contemporary performing arts in all disciplines—dance, music, spoken word and the staggering dimension of thoughtful care he takes in finding form. -
Refuse the Hour
#BAMNextWave #WilliamKentridge Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Executive Producer Refuse the Hour BAM Harvey Theater Oct 22—24 at 7:30pm; Oct 25 at 3pm Running time: one hour and 20 minutes, no intermission Conception and libretto by William Kentridge Music composed by Philip Miller Choreography by Dada Masilo Dramaturgy by Peter Galison Video design by Catherine Meyburgh and William Kentridge Scenic design by Sabine Theunissen Season Sponsor: Movement by Luc de Wit Costume design by Greta Goiris Machine design by Christoff Wolmarans, Louis Olivier, Jonas Lundquist Leadership support for opera at BAM provided Lighting design by Felice Ross by Aashish & Dinyar Devitre Sound design by Gavan Eckhart Video orchestration by Kim Gunning Endowment funding has been provided by The Andrew W. Mellon Foundation Fund for Opera Music direction by Adam Howard and Music-Theater Music arranged and orchestrated by Philip Miller and Adam Howard Major support for opera at BAM provided by The Francena T. Harrison Foundation Trust Major support for Refuse the Hour is provided by the Marian Goodman Gallery Refuse the Hour PERFORMERS William Kentridge Dancer Dada Masilo Vocalist Ann Masina Vocalist Joanna Dudley Actor Thato Motlhaolwa Musical conductor, co-orchestration, trumpet, flugel hornAdam Howard Percussion Tlale Makhene Violin Waldo Alexander Trombone Dan Selsick Piano Vincenzo Pasquariello Tuba Thobeka Thukane Technical director Richard Pierre Sound engineer Laurens Ingels Video manipulator Boris Theunissen Production manager Brendan Boyd, Boyd Design, Inc. -
STREWE NA 'N "VOLKSTAAT": DIE PREKOLONIALE POSISIE VAN DIE REHOBOTH-BASTERS in Namible, 1868-18841
NEW CONTREE 57 STREWE NA 'N "VOLKSTAAT": DIE PREKOLONIALE POSISIE VAN DIE REHOBOTH-BASTERS IN NAMIBle, 1868-18841 Gerhard Oosthuizen (Departement Geskiedenis, Potchefstroom Universiteit vir Christelike Hoer Onderwys) Summary The people of mixed ancestry who came into being in the North Western Cape in the course of the eighteenth century and later known as the Rehoboth Basters, left the Cape Colony in 1868 and in 1870 settled at Rehoboth and environment, in the area later to be known as German South West Africa. Their pre-colonial settlement (1868- 1884) was characterized by fruitless attempts to obtain the Rehoboth region as a permanent residential area and to maintain neutrality in the midst of the renewed Herero-Nama-Oorlam conflict. With the conclusion of the Baster-German Friendship and Protection Treaty of 15 September 1885, de jure recognition was at last granted to the ideal of a national state of the Rehoboth Basters, a settlement which, in terms of modern South African political jargon, may be called a "volkstaat" -this time not for white Afrikaners, but for their coloured kith and kin. 1. Die Basters voor 1868 Rassevermenging aan die Kaap het sedert die beginjare van blanke nedersetting vry algemeen plaasgevind. Huwelike en buite-egtelike verhoudings tussen blankes en gekleurde slavinne het veral tydens en selfs na afloop van die Kompanjiesbewind (1652-1795) op 'n gereelde basis aan die Kaap voorgekom.2 Huwelike en buite- egtelike verhoudings tussen die Khoikhoi en blankes was aanvanklik uiters seldsaam.3 Gedurende die agtiende eeu egter het geslagsverbintenisse tussen die twee groepe meer algemeen, veral in die trekboergebiede sacs die Noordwes-Kaap, plaasgevind.4 Nasate van blanke vaders en Khoikhoimoeders, van wie die meeste Rehoboth-Basters afstam, is mettertyd Basters genoem.5 J 'n Spesiale woord van dank kom prof. -
UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Apperception and Linguistic Contact between German and Afrikaans Permalink https://escholarship.org/uc/item/8sr6157f Author Bergerson, Jeremy Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Apperception and Linguistic Contact between German and Afrikaans By Jeremy Bergerson A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in German in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Irmengard Rauch, Co-Chair Professor Thomas Shannon, Co-Chair Professor John Lindow Assistant Professor Jeroen Dewulf Spring 2011 1 Abstract Apperception and Linguistic Contact between German and Afrikaans by Jeremy Bergerson Doctor of Philosophy in German University of California, Berkeley Proffs. Irmengard Rauch & Thomas Shannon, Co-Chairs Speakers of German and Afrikaans have been interacting with one another in Southern Africa for over three hundred and fifty years. In this study, the linguistic results of this intra- Germanic contact are addressed and divided into two sections: 1) the influence of German (both Low and High German) on Cape Dutch/Afrikaans in the years 1652–1810; and 2) the influence of Afrikaans on Namibian German in the years 1840–present. The focus here has been on the lexicon, since lexemes are the first items to be borrowed in contact situations, though other grammatical borrowings come under scrutiny as well. The guiding principle of this line of inquiry is how the cognitive phenonemon of Herbartian apperception, or, Peircean abduction, has driven the bulk of the borrowings between the languages. -
Johnny Fourie and His Influence on the Development of the Jazz Guitar in South Africa
Johnny Fourie and his influence on the development of the jazz guitar in South Africa. Jonathan Mark Crossley A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfillment of the degree of Master of Music in Performance. Course: Musc 709-M MUS RESEARCH REPORT Supervisor: Prof Mary Rörich Declaration I declare that this dissertation/thesis is my own unaided work. It is submitted for the degree of Master of Music in Performance in the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination in any other university. ---------------------------------- Jonathan Mark Crossley 27 Day of February, 2003 ii ‘Johnny is one of the greatest guitar players of our epoch’ (John McLaughlin). ‘He is one of the greatest musicians in South Africa and is highly regarded by many musicians around the world’ (Deepak Ram). ‘One of the great cosmic guitar players on planet earth today’ (Clive Stevens). ‘I always had the utmost respect for Johnny Fourie's musicianship, he was very passionate about music and above all, he was a person that was devoid of any ego’ (Hennie Bekker). ‘Playing with Johnny was for me among the most rewarding musical highs. He is truly a national treasure and deserves far, far wider recognition both here and internationally’ (Avzal Ismail). ‘To this day, I continue to think of Johnny, whose picture adorns my living room, alongside the piano. When I recently visited him and he picked up the guitar to play along with me, the musical bonds were as strong as ever, and there was still that element of the unknown lurking just beyond our horizon’ (Robbie Payne). -
Three Essays on Namibian History
Three essays on Namibian history by Neville Alexander The essays in this volume were first published in Namibian Review Publications No. 1, June 1983. © Copyright Neville Alexander All rights reserved. This digital edition published 2013 © Copyright The Estate of Neville Edward Alexander 2013 This edition is not for sale and is available for non-commercial use only. All enquiries relating to commercial use, distribution or storage should be addressed to the publisher: The Estate of Neville Edward Alexander, PO Box 1384, Sea Point 8060, South Africa 1 CONTENTS Preface to the first edition 3 Jakob Marengo and Namibian history 8 Responses to German rule in Namibia or The enigma of the Khowesin 24 The Namibian war of anti-colonial resistance 1904–1907 49 2 PREFACE TO THE FIRST EDITION THE Namibian Review: A Journal of Contemporary Namibian Affairs has been published since November 1976. Initially it was produced by the Namibian Review Group (known as the Swedish Namibian Association) and 14 editions were printed by the end of 1978. It did not appear in 1979 as in that period we translocated ourselves from Stockholm to Windhoek – i.e. we returned home after 15 years in exile and we wrote directly for a political party, now defunct in all but name. The Namibian Review resumed publication in 1980 and has been appearing ever since with the latest edition devoting its leading article to a survey of Namibia at the beginning of 1983 and the most recent round of talks between the Administrator General and the ‘internal parties’ on (another) possible interim constitution. -
417..Qoee FAX: (21 2) 9 79-1 0 ~ 3 S a #134 Angola 6 April 1993
E EPISCOPA1. CHURCHPEOPLE 10r a FREE SOUTHERN AFRICA 339 Lafayett. Stre.t. N.w Yori<, N.Y. 100'2·2725 C (2' 2) 417..Qoee FAX: (21 2) 9 79-1 0 ~ 3 S A #134 Angola 6 April 1993 The war in Angola goes on with unabated savagery. The government in Luanda rraintains its grip on nost of the cities while it appears that the UNITA organization of Jonas Savimbi dominates a great deal of the countryside and has recently won the country's second largest city of Huambo after almost "tw:) nonths of the most bitter fighting in the 16 years of war in Angola. The government has successfully retaken the enclave of Soyo, center of JIUlch of the nation's vital hard currency earning oil production, and has launched columns against UNITA in Huambo. Estimates of deaths in the renew ed fighting since UNITA reneged on accepting internationally observed elections last September total 20,000 - to be added onto the 350,000 casualties during the earlier war of 1975-1991. Angola with a population of just over 10,000,000 has nore than one million displaced persons. The potentially wealthy country has now·3 ,000 ,000 men, women and children threatened by hunger, disease and the myriads of land mines still in place. 'Ihe task of trying to feed and provide medical 'services for this huge number of people by re lief agencies and the United Nations is enorm:ms - and reaching the sufferers is of ten impossible There is no end in sight in this war, scantily reported and overshad owed by Somalia, Bosnia, Sudan and other local wars.