Mannenberg": Notes on the Making of an Icon and Anthem1
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Dancing to the Beat of the Diaspora: Musical Exchanges Between Africa and Its Diasporas
African and Black Diaspora: An International Journal ISSN: 1752-8631 (Print) 1752-864X (Online) Journal homepage: http://www.tandfonline.com/loi/rabd20 Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas Paul Tiyambe Zeleza To cite this article: Paul Tiyambe Zeleza (2010) Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas, African and Black Diaspora: An International Journal, 3:2, 211-236, DOI: 10.1080/17528631.2010.481976 To link to this article: http://dx.doi.org/10.1080/17528631.2010.481976 Published online: 23 Jun 2010. Submit your article to this journal Article views: 398 View related articles Citing articles: 1 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rabd20 Download by: [US International University - Africa] Date: 01 November 2016, At: 01:09 African and Black Diaspora: An International Journal Vol. 3, No. 2, July 2010, 211Á236 Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas Paul Tiyambe Zeleza* Loyola Marymount University of Los Angeles, Los Angeles, California, USA This essay examines the complex ebbs and flows of musical exchanges between Africa and its diasporas. Specifically, it focuses on musical engagements between, on the one hand, the Caribbean and West Africa and, on the other, the United States and Southern Africa. It argues that the influence of diasporan music on modern African music, especially popular music, has been immense. These influences and exchanges have created a complex tapestry of musical Afro- internationalism and Afro-modernism and music has been a critical site, a soundscape, in the construction of new diasporan and African identities. -
Vigilantism V. the State: a Case Study of the Rise and Fall of Pagad, 1996–2000
Vigilantism v. the State: A case study of the rise and fall of Pagad, 1996–2000 Keith Gottschalk ISS Paper 99 • February 2005 Price: R10.00 INTRODUCTION South African Local and Long-Distance Taxi Associa- Non-governmental armed organisations tion (SALDTA) and the Letlhabile Taxi Organisation admitted that they are among the rivals who hire hit To contextualise Pagad, it is essential to reflect on the squads to kill commuters and their competitors’ taxi scale of other quasi-military clashes between armed bosses on such a scale that they need to negotiate groups and examine other contemporary vigilante amnesty for their hit squads before they can renounce organisations in South Africa. These phenomena such illegal activities.6 peaked during the1990s as the authority of white su- 7 premacy collapsed, while state transfor- Petrol-bombing minibuses and shooting 8 mation and the construction of new drivers were routine. In Cape Town, kill- democratic authorities and institutions Quasi-military ings started in 1993 when seven drivers 9 took a good decade to be consolidated. were shot. There, the rival taxi associa- clashes tions (Cape Amalgamated Taxi Associa- The first category of such armed group- between tion, Cata, and the Cape Organisation of ings is feuding between clans (‘faction Democratic Taxi Associations, Codeta), fighting’ in settler jargon). This results in armed groups both appointed a ‘top ten’ to negotiate escalating death tolls once the rural com- peaked in the with the bus company, and a ‘bottom ten’ batants illegally buy firearms. For de- as a hit squad. The police were able to cades, feuding in Msinga1 has resulted in 1990s as the secure triple life sentences plus 70 years thousands of displaced persons. -
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. -
Music Outside? the Making of the British Jazz Avant-Garde 1968-1973
Banks, M. and Toynbee, J. (2014) Race, consecration and the music outside? The making of the British jazz avant-garde 1968-1973. In: Toynbee, J., Tackley, C. and Doffman, M. (eds.) Black British Jazz. Ashgate: Farnham, pp. 91-110. ISBN 9781472417565 There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/222646/ Deposited on 28 August 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Race, Consecration and the ‘Music Outside’? The making of the British Jazz Avant-Garde: 1968-1973 Introduction: Making British Jazz ... and Race In 1968 the Arts Council of Great Britain (ACGB), the quasi-governmental agency responsible for providing public support for the arts, formed its first ‘Jazz Sub-Committee’. Its main business was to allocate bursaries usually consisting of no more than a few hundred pounds to jazz composers and musicians. The principal stipulation was that awards be used to develop creative activity that might not otherwise attract commercial support. Bassist, composer and bandleader Graham Collier was the first recipient – he received £500 to support his work on what became the Workpoints composition. In the early years of the scheme, further beneficiaries included Ian Carr, Mike Gibbs, Tony Oxley, Keith Tippett, Mike Taylor, Evan Parker and Mike Westbrook – all prominent members of what was seen as a new, emergent and distinctively British avant-garde jazz scene. Our point of departure in this chapter is that what might otherwise be regarded as a bureaucratic footnote in the annals of the ACGB was actually a crucial moment in the history of British jazz. -
Abdullah Ibrahim and the Politics of Jazz in South Africa Nusra Khan Jazz Has Had an Especial Role in the Social and Cultural Politics of South Africa
Abdullah Ibrahim and the Politics of Jazz in South Africa Nusra Khan Jazz has had an especial role in the social and cultural politics of South Africa. This paper will trace its function in the political struggle waged by Black and Colored musicians against the apartheid regime, from the early 1950s until the 1990s, focusing on the work of one artist particularly. While Abdullah Ibrahim is by no means the only South African musician to use jazz for political goals, the development of his career provides an incredible example of the convergence of race, protest, and memory in the performance as well as study of jazz. Ibrahim’s musical career is entrenched in South Africa’s struggle against apartheid, and it is through this lens that I will examine his life and the role of jazz music in general. As early as the 1940s, jazz had emerged as the favored genre of the elite in South Africa. Professional musicians preferred American ‘international’ performance styles, and only a few African jazz musicians brought anything identifiably South African to their performances of American swing. The negative association between traditional African music and the ‘tribal’ past or rural present was begun by missionaries and had become entrenched in African society, most obviously under the Afrikaner’s government’s policy of “forcing Africans to develop along their own lines1”. Like the leaders of the American Harlem Renaissance, the African elite hoped that achievements in the artistic and intellectual fields would help break down the color bar2. Indeed the similar experience of Black Americans and Africans, of “two peoples under white domination,”3 may have increased the appeal of Black American style in amongst South African performers. -
Music of Politics and Religion Supporting Constitutional Values in South Africa
Article Music of Politics and Religion Supporting Constitutional Values in South Africa Morakeng E.K. Lebaka University of South Africa [email protected] Abstract The Constitution of South Africa has been taken as a model globally as it supports non-discrimination and human rights. The purpose of this study was to analyse the South African National Anthem and a secular political song to investigate how music supported the values enshrined in the Constitution, including religious freedom, during the transition from a history of apartheid towards 25 years of democracy. Politicians such as Nelson Mandela and religious leaders such as Archbishop Desmond Tutu, black African spiritual practitioners, Muslim ecclesiastics, rabbis and others played a prominent role in a peaceful transition to democracy. Although there have been a few violent episodes like service delivery protests, farm murders, xenophobia and the tragedy of Marikana since 1994, in general South Africa has been peaceful, despite its history. This study concluded that the music of politics and liberation can be related to value systems and lack of conflict between ethnic and religious factions in South Africa since 1994. Keywords: South African Constitution; South African Anthem; struggle songs; reconciliation Introduction and Literature Review In 1994 South Africa transformed itself into a peaceful democracy without a civil war. Our neighbours—Mozambique, Namibia, Zimbabwe and Angola—all went to war to achieve peace. South African Special Forces played a pivotal role in the South African Border War and were active alongside the Rhodesian Security forces during the Rhodesian Bush War (Scholtz 2013). Combat operations were also undertaken against FRELIMO militants in Mozambique (Harry 1996, 13-281). -
Goema's Refrain
Goema’s Refrain: Sonic Anticipation and the Musicking Cape by Valmont Layne Submitted for the Degree of Doctor of Philosophy in History, Faculty of Arts, University of the Western Cape Supervisor: Professor Premesh Lalu http://etd.uwc.ac.za/ http://etd.uwc.ac.za/ 3 Declaration I, Valmont Layne, declare that Goema’s Refrain: Sonic Anticipation and the Musicking Cape is my own work, that it has not been submitted for any degree or examination in any other university, and that all the sources I have used or quoted have been indicated and acknowledged by complete references. Valmont Layne August 2019 http://etd.uwc.ac.za/ 4 Acknowledgements I hereby acknowledge the support of the National Research Foundation (NRF) with an Early Career Fellowship and the Oppenheimer Memorial Trust. I also acknowledge the support of the following individuals (all remaining faults are my own): My supervisor, Premesh Lalu for his support, guidance and wisdom. Tanya Layne, for her love, support and companionship, and Ella Layne, because fatherhood inspires an examined life. Musicians Mike Perry for the lessons and conversations. Luis Giminez, Reza Khota, Dathini Mzayiya, Colin Miller, Rafiq Asmal, Alan Wilcox, Gerald Mac Mckenzie, Hilton Schilder, Alex van Heerden, Robbie Jansen and my fellow travellers with the Raakwys experience namely Andre Sampie, Bruce Kadalie, Ralton Praah, Wayne Dirk, Aki Khan, Wayne Dixon, Wayne Barthies. Also, carnival insiders Melvin Mathews, and Katje Davids, and musical activists Mansoor Jaffer, Adam Haupt, Thulani Nxumalo. Scholars and colleagues The History Department at the University of the Western Cape. The staff and fellows at the CHR – including Lamees Lalken, Micaela Felix, Leslie Witz, Ciraj Rassool, Suren Pillay, Paolo Israel, Nicky Rosseau, Jane Taylor, Aidan Erasmus, Lauren van der Rede, Kim Gurney, Thozama April, Kate Highman, Michelle Smith, Sam Longford, Luis Gimenez, Janne Juhana, Lee Walters, Ross Truscott, Emma Minckley, Reza Kota, and Kristy Stone. -
2(,.3 2(,.3 Anti-Apartheid Movement 13 Mandela Street
2(,.3 2(,.3 Anti-Apartheid Movement 13 Mandela Street, London NW1 ODW. Tel: 071 387 7966. Fax: 071 388 0173 NC/SEPT 93/2 MINUTES OF THE NATIONAL COMMITTEE 10TH JULY 1993UNISON, 1 MABLEDON PLACE, LONDON WC1. PRESENT Individuals: R Hughes (Chair), I Stuart, M Sparham, P Carroll, B Switzer, D Craine (& ELTSA), R Jewkes, D Kenvyn (& Redbridge AA), G Watson, C Gurney, R Harris, C Burford, A Kruthoffer, M Stacey (& Southwark AA), H Kimble (& Oxford AA), M Terry. Local Groups and Regional Committees: SW Region: D Starrs, Wandsworth A: M Sawyerr, Kingston & Sutton AA: N Laurence, Tyneside AA: S Allcroft, Lewisham AA: C Duah, Wessex Region: D Hoadley, Haringey AA: J Rudin, Southampton AA: A Ridehalgh, Birmingham AA: A Chaffer, Bristol AA: D Spurgeon, Swindon AA: A Kempshall. Voting Organisations: UNA: R Karesh, MAC: P Brayshaw, CRS London Political Cttee: R Dixon. Observer Organisations: LAAA: N Roy. Guest: Mandla Langa, ANC Acting Chief Representative. Staff in attendance: G Omasta-Milsom, J Hughes, R Dadoo. 1.00 APOLOGIES: Bishop Huddleston, Oldham and district AA, Huddersfield AA, Yorkshire and Humberside AA, Aberdeen AA, MSF, Bradford AA, P Blomfield, Sheffield AA, Canterbury AA, Merseyside AA, Blackburn and Darwin AA, Nottingham AA, Greater Manchester AA, UNISON, GMB, C Adkins, GPMU, M Malik, Sir David Steel, V Pillay, A Minty, M Ling, Colchester and District AA. 2.00 MINUTES OF NATIONAL COMMITTEE MEETING 24/4/93 fNC/JLY 93/2): The Minutes (NC/APR 93/2) were agreed as a correct record. Under this item Bob Hughes drew the meetings attention to the revised agenda and timetable. -
Nelson Mandela Y Mandla Langa, New York: Farrar, Straus and Giroux, 2017
RESEÑA DEL LIBRO DARE NOT LINGER. THE PRESIDENTIAL YEARS. AUTORES: NELSON MANDELA Y MANDLA LANGA, NEW YORK: FARRAR, STRAUS AND GIROUX, 2017 Samuel Rodríguez González Dare not linger. The Presidential Years1 es el último libro publicado bajo la autoría de Nelson Mandela, y en el cual Mandla Langa, un escritor sudafricano, ejerce de coautor. Esta obra fue pensada por Mandela como la autobiografía de sus años presidenciales, en la que con su puño y letra2, pretendía detallar de forma íntima los aspectos más relevantes durante su ascenso y posterior ejercicio del poder, desde las negociaciones con el gobierno de Frederik De Klerk, pasando por conflictos internos dentro del Congreso Nacional Africano (CNA) y demás movimientos afines a su lucha democrática, su inagotable trabajo para detener una posible guerra civil en Sudáfrica, hasta su esfuerzo día 1 El título en español que se le ha dado al libro es El Color de la Libertad. El autor de esta reseña ha leído la versión original del libro y las traducciones de las citas han sido hechas por él mismo. 2 Tal y como reseña el libro, los borradores que escribió Mandela para este libro siempre fueron hechos a mano. En el libro se aprecian fotografías de algunos borradores con la caligrafía de Mandela. Samuel Rodríguez González tras día en la búsqueda de la reconstrucción del país en términos sociales, raciales, políticos y económicos. Sin embargo, como lo reseña en el prólogo su viuda Graça Machel, la tarea quedó incompleta y Madiba3, por múltiples razones, no pudo terminar el trabajo, y fue esta una fuente de frustración en sus últimos años. -
24Th STANDARD BANK NATIONAL YOUTH JAZZ FESTIVAL 2016
24th STANDARD BANK NATIONAL YOUTH JAZZ FESTIVAL 2016 Welcome to Grahamstown, the National Arts Festival, and the biggest youth jazz festival in South Africa! There are five extremely full days for you to take advantage of and a host of excellent musicians and teachers to meet and hear, as well as a chance to assess yourself against your peers from around the country. The full programme for the Standard Bank National Youth Jazz Festival is outlined below. Thank you to the following institutions and people who have supported us by providing equipment: Paul Bothner Music, Les van der Veen, Eastern Cape Jazz Promotions, Stirling High School, DSG / St. Andrews Music School, UCT College of Music, Rondebosch Boys High, Len Cloete, Kingswood College, The Settlers High School, Little Giants, Bridge House School, Parel Vallei High School, Neville Hartzenberg The Festival Production Office (for performing artists) is in the Music School. The Artists’ Office is Music 2. The NYJF Student Office is Music 3. FESTIVAL RULES 1. Please be punctual for all aspects of the SBNYJF. Everyone must be there – on time – for band rehearsals. 2. We are guests of DSG – please treat the facilities accordingly. Please obey the rules of the hostels and show consideration for others. There is to be no noise after 22.00 and curfew for students in DSG hostels is 00.30. Don’t try to sneak friends in overnight, as you will need to pay in full for their accommodation. 3. Show respect for NYJF equipment. Most of it has been lent to us and needs to be returned in perfect condition. -
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant -
A Tribute to the Jazz Epistles
A Tribute to the Jazz Epistles Abdullah Ibrahim & Ekaya Abdullah Ibrahim / Piano Cleave Guyton / Alto Saxophone, Flute, Clarinet Lance Bryant / Tenor Saxophone Marshall McDonald / Baritone Saxophone Andrae Murchison / Trombone, Trumpet Noah Jackson / Cello, Bass Will Terrill / Drums featuring Freddie Hendrix / Trumpet, Flugelhorn Friday Evening, April 13, 2018 at 8:00 Michigan Theater Ann Arbor 84th Performance of the 139th Annual Season 24th Annual Jazz Series Traditions and Crosscurrents This evening’s performance is supported by Gary Boren and by Louise Taylor. Funded in part by the JazzNet Endowment Fund. Media partnership provided by Ann Arbor’s 107one, WDET 101.9 FM, and WEMU 89.1 FM. Abdullah Ibrahim & Ekaya appear by arrangement with Maurice Montoya Music Agency. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM A Tribute to the Jazz Epistles This evening’s concert is performed in memory of South African trumpeter Hugh Masekela, a founding member of The Jazz Epistles, who passed away in January. Tonight’s program will be announced by the artists from the stage and is performed without intermission. 3 ABOUT THE PROGRAM South African jazz legend Abdullah Ibrahim, previously known as Dollar Brand, first heard the call of modern jazz in the late 1950s, and along with saxophonist Kippie Moeketsi, trumpeter Hugh Masekela, trombonist Jonas Gwangwa, bassist Johnny Gertze, and Early Mabuza and Makaya Ntshoko on drums, founded the pioneering Jazz Epistles — a hard-bop ensemble modeled on Art Blakey’s Jazz Messengers that was the first black jazz combo to record in South Africa.