The Reception of South Africa's Sangoma Practise and Spirituality By
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Magical Realism Beyond the Wall of Apartheid? Missing Persons by Ivan Vladislavic
Magical Realism Beyond the Wall of Apartheid? Missing Persons by Ivan Vladislavic Valeria Guidotti A boundary is not that at which something stops but [... ] from which something begins its presenang. (Martin Heidegger, Poetry, l.Ilnguage, TIwught)l OUTH AFRICAN LITERATURE, LIKE SHEHERAZADE, has repeatedly Sbeen threatened by death. Critics and intellectuals, mainly from out side Africa, formerly feared that the oppressive restriction of apart heid would kill creativity; more recently they have been afraid that its demise, with the collapse of that totalitarian system encompassing all fields, social, political, and cultural, would have the same result. How can South African literature survive? Where can it find new life and sustenance? I wish I could make a definite reply to these obsessive ques tions: magical realism, a major component of postmodernist fiction and an important feature of post-colonial writing, is also a well established literary practice in post-apartheid literature. However, the transition to freedom is a moment of "cultural uncertainty, and, most crucially, of significatory or representational undecidability."2 This paper will therefore simply attempt to trace the existence of a fictional mode identifiable as magical realism in South Africa; it will also attempt to uncover connections with and local 1 Martin Heidegger, "Building, Dwelling, Thinking" in Poetry, l.Ilnguage, TIwught; quoted by Homi K Bhabha in The Location of Culture (London: Routledge, 1994 ): 1 (author's emphasis). 2 Bhabha, The Location of Culture, -
Political Culture in the New South Africa
Political Culture in the New South Africa 7 September 2005 Sunnyside Park Hotel, Parktown, Johannesburg South Africa KONRAD-ADENAUER-STIFTUNG • SEMINAR REPORT • NO 16 • JOHANNESBURG • OCTOBER 2006 © KAS, 2006 All rights reserved While copyright in this publication as a whole is vested in the Konrad-Adenauer-Stiftung, copyright in the text rests with the individual authors, and no paper may be reproduced in whole or part without the express permission, in writing, of both authors and the publisher. It should be noted that any opinions expressed are the responsibility of the individual authors and that the Konrad-Adenauer-Stiftung does not necessarily subscribe to the opinions of contributors. ISBN: 0-620-37571-X Published by: Konrad-Adenauer-Stiftung 60 Hume Road Dunkeld 2196 Johannesburg Republic of South Africa PO Box 1383 Houghton 2041 Johannesburg Republic of South Africa Telephone: (+27 +11) 214-2900 Telefax: (+27 +11) 214-2913/4 E-mail: [email protected] www.kas.org.za Editing, DTP and production: Tyrus Text and Design Printing: Stups Printing Foreword THE AMERICAN POLITICAL SCIENTISTS GABRIEL ALMOND AND SIDNEY VERBA HAVE, MORE THAN anyone else, attempted to define the term political culture. According to them: Political culture is the pattern of individual attitudes and orientations towards politics among the members of a political system. It is the subjective realm that underlies and gives meaning to political actions.1 Although this definition captures succinctly what political culture is, it falls short in differentiating between the political culture that exists at an elite level and the political culture that exists among the citizens of a given system. -
“The Fold Behind the Knee” Survival International’S Stephen Corry Reflects on the Words of Yanomami Shaman, Davi Kopenawa Xhosa Mysticism
Issue 39 £2.50 Indie SSN 2050-568X (Online) Shaman for independent spirits “The fold behind the knee” Survival International’s Stephen Corry reflects on the words of Yanomami shaman, Davi Kopenawa Xhosa Mysticism The Desecration of Natural Power Sites Shamanism: Inviting a move towards an Earth Centred Consciousness? www.indieshaman.co.uk Indie Shaman Environmental and Accessibility WEBSITE https://indieshaman.co.uk/ POSTAL ADDRESS 18 Bradwell Grove Danesmoor Chesterfield Derbyshire S45 9TA EDITOR Indie Shaman is committed to minimize the effects of its June Kent activities on the environment. Indie Shaman Magazine is printed by Minuteman Press, Bristol, whose products are CONTACT Forestry Stewardship Council (FSC) www.fsc.org certificated [email protected] and meet the requirements of the Programme for the 01246 251768 Endorsement of Forest Certification Schemes (PEFC) Chain of Custody wwwpefc.org. All articles and images are © Indie Shaman 2009-2018 or to the artist, Indie Shaman is committed to aiming towards equality of photographer, writer where named accessibility. For this reason this magazine uses a book unless otherwise stated. All rights rather than traditional magazine layout, with clear print size reserved. and spacing. The views expressed in the articles We carried out research with the help of our subscribers to and advertisements in the Indie make sure we are providing the service you want and we Shaman Magazine are those of the value your feedback. If you have any comments or questions authors and are not necessarily those on any of the above please contact us: of the editor/Indie Shaman. by email to: [email protected] The editor/Indie Shaman takes no responsibility for errors, omissions or by post to: or the consequences thereof and or June Kent, Indie Shaman, for any actions taken in relation to 18 Bradwell Grove, Danesmoor any article herein or for any contract Chesterfield, Derbyshire, S45 9TA entered into with any third party. -
A Strategy for Realising the Potential of the Cultural Industries
CREATIVE SOUTH AFRICA A strategy for realising the potential of the Cultural Industries A REPORT TO THE DEPARTMENT OF ARTS, CULTURE, SCIENCE AND TECHNOLOGY BY THE CULTURAL STRATEGY GROUP NOVEMBER 1998 The report was commissioned by DACST to research the cultural industries and to propose strategies for their growth and development. The report does not necessarily reflect the views of the Department or the Ministry of Arts, Culture, Science and Technology but will be used to inform future policy formulation. Creative South Africa 1 TABLE OF CONTENTS FOREWORD 4 1 PROLOGUE 6 1.1 Objectives of the Cultural Industries Growth Strategy study 7 1.2 Objectives of “Creative South Africa” 8 1.3 The target audience for “Creative South Africa” 8 1.4 What are the cultural industries? 8 1.5 The link between cultural iIndustries and the information age 9 1.6 Cultural industries: drivers of the new economy 10 1.7 Why have the cultural industries not been taken seriously before? 10 1.8 What are the specific dynamics of the cultural industries? 11 1.9 How important are the cultural industries for South Africa? 12 1.10 Research undertaken into the South African cultural industries 14 1.11 Conclusion 15 2 FINDINGS FROM THE CULTURAL INDUSTRIES GROWTH STRATEGY RESEARCH 16 2.1 The Music Industry 16 2.2 The Film and Television Industry 21 2.3 The Publishing Industry 25 2.4 The Craft Industry 31 2.5 Cross cutting issues emerging from the CSG sectoral research 38 2.5.1 Training and skills development 38 2.5.2 Technology 38 2.5.3 Institutional structuring 39 2.5.4 -
F Ree Dow Nload from W W W .Hsrcpublishers.Ac.Za
Free download from www.hsrcpublishers.ac.za Free download from www.hsrcpublishers.ac.za Free download from www.hsrcpublishers.ac.za Compiled by the Social Cohesion and Integration Research Programme of the Human Sciences Research Council (HSRC) Published by HSRC Press Private Bag X9182, Cape Town, 8000, South Africa www.hsrcpublishers.ac.za © 2003 Human Sciences Research Council First published 2003 All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. ISBN 0 7969 2030 3 Design and typesetting by Christabel Hardacre Cover design by Fuel Cover photograph by Bruno Bossi Production by comPress Printed by Paarl Print Free download from www.hsrcpublishers.ac.za Distributed in Africa, by Blue Weaver Marketing and Distribution, PO Box 30370, Tokai, Cape Town 7966, South Africa. Tel: +27 +21-701-4477 Fax: +27 +21-701-7302 email: [email protected] Distributed worldwide, except Africa, by Independent Publishers Group, 814 North Franklin Street, Chicago, IL 60610, USA. www.ipgbook.com To order, call toll-free: 1-800-888-4741 All other inquiries, Tel: +1 +312-337-0747 Fax: +1 +312-337-5985 email: [email protected] Contents Preface vii Introduction 1 David Chidester, Phillip Dexter and Wilmot James Part I Order 21 1 Sovereignty, identity and the prospects for southern Africa’s people 23 Peter Vale 2 The importance -
Case Study of South Africa
UNITED NATIONS ENVIRONMENT PROGRAMME (UNEP) BIODIVERSITY PLANNING SUPPORT PROGRAMME (BPSP) Integrating Biodiversity into the Tourism Sector: Best Practice and Country Case Studies Case study of South Africa Anna Spenceley Institute of Natural Resources Private Bag X01 Scottsville Pietermaritzburg 3209 South Africa Tel: +27 33 3460796 Mobile: +27 82 3604475 Fax: + 27 33 3460895 [email protected] or [email protected] Final Report: February 2001 Acknowledgements This case study was made possible with the expertise and support of a number of people. At the Department of Environmental Affairs and Tourism I would like to thank Moeketsi Mosola and Khungeka Njobe for their assistance. Within South African National Parks information was gratefully received from Dirk Fourie, Chris Patton and Annatjie Pelser. Advice was also provided by Dr Maureen Wolfson of the National Botanical Institute; Vuyo Mahlati of the Community Public Private Partnership (CPPP); Clive Poultney of the Tourism and Hospitality Education and Training Authority (THETA); James Seymour of KwaZulu Natal Tourism Authority; and Penny Urquhart of Khanya-managing rural change cc. Thanks also to Trevor Sandwith, Brent Corcoran, and Cecelia Sibeko from the KwaZulu-Natal Nature Conservation Service (KZNNCS) for their assistance, and to both Justin Pooley and Margaret McKenzie at the Institute of Natural Resources. Background to the Case Study The United Nations Environment Programme’s (UNEP) Biodiversity Planning Support Programme (BPSP) has a mandate to provide assistance to national biodiversity planners as they develop and implement their national biodiversity strategy and action plans, or equivalent plans, programmes and policies. The integration of biodiversity into other sectors of the national economy and civil society has been identified as a critical indicator of successful implementation of sustainable development practices and objectives of the Convention on Biological Diversity (CBD). -
The Beauty & Rich Culture of South Africa
THE BEAUTY & RICH CULTURE OF SOUTH AFRICA August 17-27, 2014 Experience the beauty, history, and culture of South Africa. Join Penn Professor Marybeth Gasman, who has traveled the country extensively over the past nine years. Book Today! Call 800.556.7896 Overview THE BEAUTY & RICH CULTURE OF SOUTH AFRICA August 17-27, 2014 Experience the beauty, history, and culture of South Africa with Penn Professor Marybeth Gasman, who has traveled extensively throughout South Africa. Begin in Cape Town and travel the diverse countryside, visiting Table Mountain, Robben Island, Cape Point, and the wine country. Explore Johannesburg and Soweto with the people of South Af- rica, including a special visit with the residents of Kliptown, a shanty village near Soweto. Then, end the tour with a visit to Pilansburg National Park to enjoy the country’s wildlife on an exciting safari. This tour will focus on the rich history of the country as well as examine its difficult past with lectures and discussion groups led by Professor Gasman. beauty history & culture beauty history culture ITINERARY Sunday, August 17 Africa’s struggle for freedom. Afterwards, have lunch at a local winery. In the afternoon, visit the famed wine producing region of Stellenbosch, Depart the United States on our group flight from John F. Kennedy Air- and stop for a tasting at a well-known South African vineyard. Enjoy port in New York to Cape Town. dinner together tonight. (B,L,D) Commodore Hotel Monday, August 18 Cape Town Thursday, August 21 Day trip to Hermanus Arrive in Cape Town and transfer to the Commodore Hotel, selected for its central location near the Victoria and Albert Waterfront. -
Artists and Entertainers Against Apartheid: an Update
Artists and Entertainers Against Apartheid: An Update http://www.aluka.org/action/showMetadata?doi=10.5555/AL.SFF.DOCUMENT.nuun1991_05 Use of the Aluka digital library is subject to Aluka’s Terms and Conditions, available at http://www.aluka.org/page/about/termsConditions.jsp. By using Aluka, you agree that you have read and will abide by the Terms and Conditions. Among other things, the Terms and Conditions provide that the content in the Aluka digital library is only for personal, non-commercial use by authorized users of Aluka in connection with research, scholarship, and education. The content in the Aluka digital library is subject to copyright, with the exception of certain governmental works and very old materials that may be in the public domain under applicable law. Permission must be sought from Aluka and/or the applicable copyright holder in connection with any duplication or distribution of these materials where required by applicable law. Aluka is a not-for-profit initiative dedicated to creating and preserving a digital archive of materials about and from the developing world. For more information about Aluka, please see http://www.aluka.org Artists and Entertainers Against Apartheid: An Update Alternative title Notes and Documents - United Nations Centre Against ApartheidNo. 5/91 Author/Creator United Nations Centre against Apartheid Publisher United Nations, New York Date 1991-04-00 Resource type Reports Language English Subject Coverage (spatial) South Africa Coverage (temporal) 1991, 1965 - 1988 Source Northwestern University Libraries Description BACKGROUND. CULTURAL ISOLATION OF APARTHEID SOUTH AFRICA, 1965-1988. United Nations policy of cultural isolation. Activities by artists and cultural personalities. -
Study Guide South Africa
Study Guide World Music in the Schools • Living Room Learning: World Music & Dance South Africa: Music & Culture Teaching Artist: Nomsa Burkhardt • Nomsa’s Artist Profile Video link: https://video.link/w/Znmkb Sanibonani: “I see you!” Yebo: “Yes, I am here!” A greeting in Zulu, which is one of South Africa’s 11 official languages. There is so much to learn from what might seem like a simple exchange of pleasantries. South Africa, often referred to as the “Rainbow Nation,” is a country full of cultural diversity. During this interactive assembly students will be introduced to South African music and culture through singing along with a traditional song in Zulu (South Africa’s most widely spoken language), and learning clapping patterns to accompany the infectious rhythms of African percussion. Learning Objectives: Students will learn . ● How to greet one another in Zulu, and understand the cultural significance and meaning of this greeting ● To locate South Africa on the map ● To sing along with a song in Zulu ● The value of music in South African society ● To explore empathy through learning about a different culture Alignment with California Arts Standards for Public Schools: ● Music: .MU:Cn11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Preliminary Activities Geography: ● On a world map, locate the continent of Africa, and notice how it is more colorful than other continents: It contains 54 countries ● South Africa is located at the southernmost tip of the continent of Africa ● South Africa has three capital cities: Pretoria (executive), Bloemfontein (judicial), and Cape Town (legislative) ● South Africa is a multi-ethnic society, with 11 official languages History: ● South Africa is a multiracial country with a complex and troubled history of interactions between indigenous Africans, European settlers, Asians, and people of mixed race. -
Mind Your Colour the 'Coloured'
Mind Your Colour The 'Coloured' Stereotype in South African Literature Vernon February bron Vernon February, Mind Your Colour. The 'Coloured' Stereotype in South African Literature. Kegan Paul International, Londen / Boston 1981 Zie voor verantwoording: http://www.dbnl.org/tekst/febr002mind01_01/colofon.php © 2014 dbnl / erven Vernon February vi Preface This book is essentially about stereotypes as found in the literature and culture of South Africa. It deals specifically with those people referred to in the South African racial legislation as ‘coloureds’. The book is also an illustration of the way in which stereotypes function as a means of social control and repression. One of the direct consequences of colonialism and racism is that the colonized or the discriminated invariably become the dupe of a series of rationalizations whereby the power-holders (i.e., the whites) justify their dominant position in society. Balandier, the French scholar, has given ample demonstration of this phenomenon as it operated in the former French colonies in West Africa and the Antilles. Here, the major channels of imposing French values were the French administrative officials and expatriates in the colonies, the school system and the policy of assimilation. Such a policy led to a reverence for the metropolis, Paris, an over-evaluation of French customs and norms, and a rejection of their own culture. This illusion was soon dispelled the moment the colonized set foot in France. Most blacks discovered that they were still looked upon as le nègre, even by the lowest of Frenchmen. The Dutch economic historian, D. van Arkel, has, on the basis of his work on the Austrian Jews, come to the conclusion that stereotypes arise when the following conditions are fulfilled: (1) there must be stigmatization, (2) social distance and (3) terrorization. -
The Lone Leopard
BY J. H. BAKER THE LONE LEOParD CONVERSATIONS WITH JOHN LOCKLEY, XHOSA SANGOMA I had a dream: a man came to me dressed in skins, and I could smell the herbs around him, and he had the most shiny black eyes. On my right was another man, a black man about my age. We were both naked and lying down, which is the traditional way of starting a sangoma training. | IPHOTOSTOCK.COM | Y ALSBUR M ETER P 18 Issue 11 SACRED FIRE MAGAZINE 19 specialist and tells her his story, but during this lineage to survive, we had to go to a place connection to. In my case my ancestors on had closed in on the Bristol waterfront. sitting in a dockside build- consultations with Xhosa sangomas, the cli- where the dreams are respected. I feel that my mother’s side are Irish, on my father’s side ing once used by slave traders and now an upscale British pub, I was ent remains quiet and the sangoma describes this is why my mother was called to Africa. English and my adopted ancestors are from the THE EVENING talking with John Lockley. He had long reddish blonde hair tied back the illness. I sat with her as she described Through my own dreams and training in sha- Xhosa and the Tibetan peoples. into a ponytail. He had a thick, distinctive south African accent and my last seven years of illness and everything manism I carry my family’s tradition forward. an intent gaze. He was a taller man than I and had broad shoulders. -
Acts of Culture: Searching for a National South African Identity in the Context of Arts, Culture and Heritage Diversity
MISTRA WORKING PAPER ACTS OF CULTURE: SEARCHING FOR A NATIONAL SOUTH AFRICAN IDENTITY IN THE CONTEXT OF ARTS, CULTURE AND HERITAGE DIVERSITY Andries Walter Oliphant We see therefore, that, if imperialist domination has the vital need to practice cultural oppression, national liberation is necessarily an act of culture. (Cabral, 1980: 143) 07 December 2020 1 Introduction It would not be an exaggeration to say that most South Africans, after over three centuries of life under the heel of colonial domination and white minority, racist rule, are relieved that white minority rule is gone. However, everywhere in society, people continue to see the deep and enduring inequality resulting from colonialism and apartheid. These features are imprinted in the physical, social and cultural fabric of society, which a quarter century of inclusive, non-racial democracy has not been able to erase. Accordingly, this chapter explores the role of the arts, the diverse cultures and the multiple heritage traditions of South Africans in developing a shared, post-colonial national identity in which diversity is underpinned by equality. This requires the removal of the social and cultural barriers – institutionalised by colonialism and apartheid – between the diverse cultures of South Africa. These barriers were designed to maintain a hierarchical system that elevated minority colonial culture as the official culture of a racist state, while enlisting indigenous African cultures for the engineering of separate ethnic identities – the latter designed to divide the African majority in a system of segregation calculated to secure white minority rule. This chapter thus engages with some interrelated matters around ‘The National Question’, which circulated in liberation discourse during the 20th century and has remained an important topic in the two decades of post-apartheid, democratic rule.