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A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 84893 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Culture is a Weapon: Popular Music, Protest and Opposition to Apartheid in Britain David Toulson A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History University of Warwick Department of History January 2016 Table of Contents Acknowledgements………………………………………………………………...iv Declaration………………………………………………………………………….v Abstract…………………………………………………………………………….vi Introduction………………………………………………………………………..1 ‘A rock concert with a cause’……………………………………………………….1 Come Together……………………………………………………………………...7 Methodology………………………………………………………………………13 Research Questions and Structure…………………………………………………22 1)“Culture is a weapon that we can use against the apartheid regime”……...25 The Cultural Boycott and the Anti-Apartheid Movement…………………………25 ‘The Times They Are A Changing’………………………………………………..34 ‘Culture is a weapon of struggle’………………………………………………….47 Rock Against Racism……………………………………………………………...54 ‘We need less airy fairy freedom music and more action.’………………………..72 2) ‘The Myth -
Mirror, Mediator, and Prophet: the Music Indaba of Late-Apartheid South Africa
VOL. 42, NO. 1 ETHNOMUSICOLOGY WINTER 1998 Mirror, Mediator, and Prophet: The Music Indaba of Late-Apartheid South Africa INGRID BIANCA BYERLY DUKE UNIVERSITY his article explores a movement of creative initiative, from 1960 to T 1990, that greatly influenced the course of history in South Africa.1 It is a movement which holds a deep affiliation for me, not merely through an extended submersion and profound interest in it, but also because of the co-incidence of its timing with my life in South Africa. On the fateful day of the bloody Sharpeville march on 21 March 1960, I was celebrating my first birthday in a peaceful coastal town in the Cape Province. Three decades later, on the weekend of Nelson Mandela’s release from prison in February 1990, I was preparing to leave for the United States to further my studies in the social theories that lay at the base of the remarkable musical movement that had long engaged me. This musical phenomenon therefore spans exactly the three decades of my early life in South Africa. I feel privi- leged to have experienced its development—not only through growing up in the center of this musical moment, but particularly through a deepen- ing interest, and consequently, an active participation in its peak during the mid-1980s. I call this movement the Music Indaba, for it involved all sec- tors of the complex South African society, and provided a leading site within which the dilemmas of the late-apartheid era could be explored and re- solved, particularly issues concerning identity, communication and social change. -
Lead Singer - Mango Groove
PROGRAM DATE: 2019-02-28 PROGRAM NAME: WOMANITY – WOMEN IN UNITY GUEST NAME: CLAIRE JOHNSTON – LEAD SINGER - MANGO GROOVE SPEAKER TRANSCRIPTION DR. MALKA Hello, I’m Dr. Amaleya Goneos-Malka, welcome to ‘Womanity – Women in Unity’. The show that celebrates prominent and ordinary African Women’s milestone achievements in their struggles for liberation, self-emancipation, human rights, democracy, racism, socio-economic class division and gender based violence. DR. MALKA Joining us in studio today in Johannesburg is Claire Johnston who is the lead singer of iconic South African music group Mango Groove. Welcome to the show! CLAIRE Thanks for that lovely introduction; it’s great to be with you! JOHNSTON DR. MALKA We’re so glad you’re here especially with the whole celebration of your 30th anniversary, which is imminent. CLAIRE Yes it is and very exciting times for us; celebrating the release of the very JOHNSTON first album which made an impact that we just weren’t anticipating, so it’s lovely to go back and feel all those feelings again. DR. MALKA To start with, reflecting back in history, Mango Groove began in 1984;.... CLAIRE ...that’s right... JOHNSTON DR. MALKA ...you joined in 1985 at the tender age of 17.... CLAIRE ...I know; crazy.... JOHNSTON DR. MALKA ...now after more than 30 years in the music industry I think that you’ve really as a group traversed South Africa’s timeline, from being in the apartheid regime, which was a dark period for all of us, traversing through to liberation, the first democratic election which was infused with such hope and change for a politically free country;... -
South African Film Music Representation of Racial, Cultural and National Identities, 1931-1969
South African film music Representation of racial, cultural and national identities, 1931-1969 Christopher Jeffery Town Thesis presented in partial fulfilment of the requirements forCape the degree of DOCTOR OF MUSICof (COMPOSITION) in the South African College of Music UNIVERSITY OF CAPE TOWN October 2017 University Supervisors: Assoc. Prof. Morné Bezuidenhout Assoc. Prof. Adam Haupt The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Plagiarism Declaration “This thesis/dissertation has been submitted to the Turnitin module (or equivalent similarity and originality checking software) and I confirm that my supervisor has seen my report and any concerns revealed by such have been resolved with my supervisor.” Name: Christopher Jeffery Student number: JFFCHR002 Signature: Signature Removed Date: 28 February 2017 i Contents Abstract ............................................................................................................................. vi Acknowledgements ......................................................................................................... vii Introduction ...................................................................................................................... -
Donovan Marsh • David Jammy • Atandwa Kani • Janine Eser
DONOVAN MARSH • DAVID JAMMY • ATANDWA KANI • JANINE ESER The magaine for ALUMNI and friends of the University of the Witwatersrand April 2020, Volume 43 CO-STARRING: NICK BORAINE (ACTOR) • GARY BARBER (FORMER CHAIR & CEO MGM, CURRENT CEO OF SPYGLASS MEDIA GROUP) • JOHNATHAN DORFMAN (PRODUCER, FOUNDER, ATO PICTURES) • GAVIN HOOD (DIRECTOR, PRODUCER, ACTOR, SCREENWRITER) • LOUISE BARNES-BORAINE (ACTOR) • PB APRIL 2020 / NADINE ZYLSTRA (DIRECTOR) • GIDEON EMERY (ACTOR) • JASON KENNETT (ACTOR) • ALAN LAZAR (COMPOSER,Wits Review, DIRECTOR) 1 Vice-Chancellor's Note Tumultuous times if we act decisively, we will overcome it.” As Wits, we are doing just that and ensuring the safety of our students and staff during this critical time. Orde Eliason I also need to announce with great sadness that I Image: will be leaving Wits at the end of 2020. By the end of the year, I will have served most of my second, and final, term of office as Vice-Chancellor at Wits. I have decided to take up the position as Director of Build lives. the School of Oriental and African Studies in London with effect from January 2021. Change futures It has been an honour and privilege to serve as Vice-Chancellor of Wits University for eight years. We have lived through some tumultuous times during my term of office and we would not have survived these times without the collective voice of all constituencies – including that of our alumni WITS – being heard at crucial moments. Throughout my tenure, various Wits constituencies have provided wise counsel and support without which we would ANNUAL FUND not have been able to survive institutionally and I thank you for that. -
Vicky Sampson “License to Sing”
VICKY SAMPSON “LICENSE TO SING” AN INTRODUCTION Vicky Sampson is South African born, bred and often construed as an overseas artist. The irony is that her "AFRICAN DREAM" penned by Mango Groove’s keyboardist -Alan Lazar-is one that is heartfelt by this Capetonian. Some two decades ago, her fan base and career were set on course by her debut television appearance on the "Soft Shoes" special -even though she wasn’t catego- rised as a winner, the organizers of "Follow That Star" recognized her talent and the die was cast. What followed was the inevitable attention of the media and record companies: She left the Mother City and her first band and entered the pell-mell world of cabaret, corporate cabaret, music, extravaganzas, radio and TV jingles-taking her to Bophuthatswana, Swaziland, Lesotho, Botswana even Mmabatho and finally the "City Of Gold" where Tusk Record Company snapped her up on a four album deal in 1992. Ms Sampson decided to decline the privilege of Richard O’Brien’s offer to the role of Magenta in his "Rocky Horror Picture Show" in Johannes- burg and record instead. More recently to huge critical acclaim she performed the lead role as the Killer Queen. in .We Will Rock You. Which toured all major cities countrywide in 2006? The then Radio 5, accolade Vicky Sampson’s first release off her debut album “Shine” with the popularity it deserved, she rammed Whitney Houston off the charts with her emotive “Love will shine on you” for 22 days! No sooner was the nation singing along to this melody, than "Walk On By" arrived-also with a sterling video production directed by the countries finest. -
Beyond Memories Text Final LS.Indd
BEYOND MEMORY RECORDING THE HISTORY, MOMENTS AND MEMORIES OF SOUTH AFRICAN MUSIC From the diary of Max Mojapelo Edited by Sello Galane AFRICAN MINDS Published in 2008 by African Minds 4 Eccleston Place Somerset West 7130 South Africa www.africanminds.co.za Originated by KAMR – Kgapana African Music Records 12 Rio Grande Street, Westenburg, 1699, Polokwane, SA [email protected] P.O. Box 968 Oliefantsfontein, 1665 Copyright © 2008 by Thamagana Maxwell Mojapelo All rights are reserved. No part of this book may be used or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. ISBN 978-1-920299-28-6 Produced by COMPRESS.dsl www.compressdsl.com Proofread by Karen van Eden Cover images: 2 1 3 1. Chris Ledochowski / South (africanpictures.net) 2. Motlhalefi Mahlabe / South (africanpictures.net) 4 3. Paul Weinberg / South (africanpictures.net) 4. Rodney Barnett / South (africanpictures.net) Great care has been taken to acknowledge all sources used in this book. If, through an inadvertent oversight on our part, any information has been used without acknowledgement thereof, we undertake to correct the matter as soon as it is brought to our attention. Equal care has been taken to spell correctly the names of bands, their members and other people who appear in this book. However, should you note any incorrect spelling(s), please e-mail the publisher on [email protected] and we shall make the necessary corrections to future editions. -
We Need New Names
Begin Reading Table of Contents Newsletters Copyright Page In accordance with the U.S. Copyright Act of 1976, the scanning, uploading, and electronic sharing of any part of this book without the permission of the publisher constitute unlawful piracy and theft of the author’s intellectual property. If you would like to use material from the book (other than for review purposes), prior written permission must be obtained by contacting the publisher at [email protected]. Thank you for your support of the author’s rights. For Za Contents Title Page Welcome Page Dedication Hitting Budapest Darling on the Mountain Country-Game Real Change How They Appeared We Need New Names Shhhh Blak Power For Real How They Left Destroyedmichygen Wedding Angel This Film Contains Some Disturbing Images Hitting Crossroads How They Lived My America Writing on the Wall Acknowledgments About the Author Newsletters Copyright Page Hitting Budapest We are on our way to Budapest: Bastard and Chipo and Godknows and Sbho and Stina and me. We are going even though we are not allowed to cross Mzilikazi Road, even though Bastard is supposed to be watching his little sister Fraction, even though Mother would kill me dead if she found out; we are just going. There are guavas to steal in Budapest, and right now I’d rather die for guavas. We didn’t eat this morning and my stomach feels like somebody just took a shovel and dug everything out. Getting out of Paradise is not so hard since the mothers are busy with hair and talk, which is the only thing they ever do.