Statement in Solidarity with South African Student Protesters
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Reading the Post-Apartheid City. Durbanite and Capetonian Literary
Olivier Moreillon Reading the Post-Apartheid City Durbanite and Capetonian Literary Topographies in Selected Texts Beyond 2000 λογοςλογος Olivier Moreillon Reading the Post-Apartheid City Durbanite and Capetonian Literary Topographies in Selected Texts Beyond 2000 Logos Verlag Berlin λογος Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de c Logos Verlag Berlin GmbH 2019 Alle Rechte vorbehalten. ISBN 978-3-8325-4830-8 Logos Verlag Berlin GmbH Comeniushof, Gubener Str. 47, 10243 Berlin Tel.: +49 (0)30 / 42 85 10 90 Fax: +49 (0)30 / 42 85 10 92 http://www.logos-verlag.de Dedication For my parents, Hugo and Daniela Moreillon, whose love and guidance have made me the person I am. And for Helton, for being my home and for your patience and support all along this at times seemingly never-ending adventure. Acknowledgements But for the support, encouragement, and guidance of the many people I have had the pleasure to meet and collaborate with along the way, this book, which was submitted as my doctoral thesis in Anglophone Literary and Cultural Studies at the English Department of the University of Basel (Switzerland), would not exist. Most importantly, I owe a heartfelt, gargantuan thank you to the magnifi- cent Danyela Demir. Time and again you lent me a patient ear during one of our excessive (and more or less PhD-related) FaceTime conversations that left the Internet connection between Zürich and Augsburg, then Durban, and now Johannesburg temporarily overloaded. -
Muslim Portraits: the Anti-Apartheid Struggle
Muslim Portraits: The Anti-Apartheid Struggle Goolam Vahed Compiled for SAMNET Madiba Publishers 2012 Copyright © SAMNET 2012 Published by Madiba Publishers University of KwaZulu Natal [Howard College] King George V Avenue, Durban, 4001 No part of this book may be reproduced or transmitted in any form or by any means, electronic, electrostatic, magnetic tape, or mechanical, including photocopying, recording, or by any information storage or retrieval system, without written permission from the publisher. First Edition, First Printing 2012 Printed and bound by: Impress Printers 150 Intersite Avenue, Umgeni Business Park, Durban, South Africa ISBN: 1-874945-25-X Graphic Design by: NT Design 76 Clark Road, Glenwood, Durban, 4001 Contents Foreword 9 Yusuf Dadoo 83 Faried Ahmed Adams 17 Ayesha Dawood 89 Feroza Adams 19 Amina Desai 92 Ameen Akhalwaya 21 Barney Desai 97 Yusuf Akhalwaya 23 AKM Docrat 100 Cassim Amra 24 Cassim Docrat 106 Abdul Kader Asmal 30 Jessie Duarte 108 Mohamed Asmal 34 Ebrahim Ismail Ebrahim 109 Abu Baker Asvat 35 Gora Ebrahim 113 Zainab Asvat 40 Farid Esack 116 Saleem Badat 42 Suliman Esakjee 119 Omar Badsha 43 Karrim Essack 121 Cassim Bassa 47 Omar Essack 124 Ahmed Bhoola 49 Alie Fataar 126 Mphutlane Wa Bofelo 50 Cissie Gool 128 Amina Cachalia 51 Goolam Gool 131 Azhar Cachalia 54 Halima Gool 133 Firoz Cachalia 57 Jainub Gool 135 Moulvi Cachalia 58 Hoosen Haffejee 137 Yusuf Cachalia 60 Fatima Hajaig 140 Ameen Cajee 63 Imam Haron 142 Yunus Carrim 66 Enver Hassim 145 Achmat Cassiem 68 Kader Hassim 148 Fatima Chohan 71 Nina -
Voices Rising: an Essay on Gender, Justice, and Theater in South Africa
Seattle Journal for Social Justice Volume 3 Issue 2 Article 27 December 2004 Voices Rising: An Essay on Gender, Justice, and Theater in South Africa Carol M. Kaplan Follow this and additional works at: https://digitalcommons.law.seattleu.edu/sjsj Recommended Citation Kaplan, Carol M. (2004) "Voices Rising: An Essay on Gender, Justice, and Theater in South Africa," Seattle Journal for Social Justice: Vol. 3 : Iss. 2 , Article 27. Available at: https://digitalcommons.law.seattleu.edu/sjsj/vol3/iss2/27 This Article is brought to you for free and open access by the Student Publications and Programs at Seattle University School of Law Digital Commons. It has been accepted for inclusion in Seattle Journal for Social Justice by an authorized editor of Seattle University School of Law Digital Commons. For more information, please contact [email protected]. 711 Voices Rising: An Essay on Gender, Justice, and Theater in South Africa Carol M. Kaplan1 I. MEMORY I was twelve years old when I first saw Athol Fugard’s play Sizwe Bansi Is Dead and it changed me. I was there because my parents, white progressives, took every opportunity that they could to educate me and my three brothers about the iniquities of Apartheid. My mother was a member of the South African Institute of Race Relations (SAIRR), a national group committed to documenting the impact of Apartheid policies on the population of South Africa and dedicated to promoting engagement and understanding between racial groups.2 She had served on the committee of the regional chapter, the Natal branch, for many years, and would later serve as vice president of the national body. -
Inherited Memories FINAL
The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University INHERITED MEMORIES: PERFORMING THE ARCHIVE Town Cape of Universityby Nadia Davids (DVDNAD003) SUBMITTED TO THE UNIVERSITY OF CAPE TOWN In fulfillment of the requirements for the degree PhD Drama Drama Department, UNIVERSITY OF CAPE TOWN Date of Submission: 7 September 2007 Supervisor: Dr. Zimitri Erasmus, Sociology Department, University of Cape Town Co-supervisor: Yvonne Banning, Drama Department, University of Cape Town TABLE OF CONTENTS Dedications Page p 3 Acknowledgments p 4 Abstract p 6 A Note on the use of Terms p 7 Town Prescript p 8- 10 Cape Traces of p 12-35 Introduction p 36-46 Methodology University p 47-65 PART ONE: TRACES I Children of District Six p 66-89 II A House of Memories p 90-111 PART TWO: WALKING III The Cape Town Carnival p 112-134 IV Re-Imagining Carnival p 135-163 PART THREE: MOVING V Moving Theatre p 164-190 Town VI Performing the Past for the Future p 191-199 Cape List of Illustrations of p 200-203 Bibliography p 204-222 University 2 Dedicated to the memory of my grandfather Dr. M.A. Ebrahim. 1920-1988 Town Cape of University 3 ACKNOWLEDGMENTS This thesis was guided and supported by two wonderful and brilliant women, my supervisors, Yvonne Banning and Zimitri Erasmus, who were challenging, generous, and dear throughout the process. -
A Museum of Bootled Sentiments : The
A Museum of Bottled Sentiments: the ‘beautiful pain syndrome’ in twenty-first century Black South African theatre making. Alude Mahali Town Thesis submitted for the degree ofCape of Doctor of Philosophy In the Department of Drama, Faculty of Humanities, Univeristy UNIVERSITY OF CAPE TOWN July 2013 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University ABSTRACT A Museum of Bottled Sentiments: the ‘beautiful pain syndrome’ in twenty-first century Black South African theatre making. This study is about contemporary black theatre makers and theatre making in the ‘now moment’; this moment of recoVery and gradual transition after the fall of apartheid in South Africa. The ‘now moment’, for these theatre makers, is characterized by a deliberate journey inward, in a struggle towards self-determination. The ‘now moment’ is the impulse prompting the ‘beautiful pain syndrome’, and through performances of uncomfortable attachments and rites of passage, generates and dwells in the syndrome. Uncomfortable attachments are unsettlement and anxiety wrought by the difficulty of the ‘now moment’. These manifest in the work of Black South African-based contemporary theatre makers, Mandla Mbothwe, Awelani Moyo, Mamela Nyamza and Asanda Phewa, within the duality of the ‘beautiful pain syndrome’. The ‘beautiful pain syndrome’ is a cultural dis-ease reVealed by the indiVidual theatre makers through the aesthetic interpretation, or beautiful consideration of inherently painful material – a condition or predicament that best contains and yet attempts to unpack this shifting impulse of the ‘now’ moment.