A Design of a South African Popular Music Degree Curriculum
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Publication No. 201619 Notice No. 48 B
CIPC PUBLICATION 16 December 2016 Publication No. 201619 Notice No. 48 B (AR DEREGISTRATIONS – Non Profit Companies) COMPANIES AND CLOSE CORPORATIONS CIPC PUBLICATION NOTICE 19 OF 2016 COMPANIES AND INTELLECTUAL PROPERTY COMMISSION NOTICE IN TERMS OF THE COMPANIES ACT, 2008 (ACT 71 OF 2008) THE FOLLOWING NOTICE RELATING TO THE DEREGISTRATION OF ENTITIES IN TERMS OF SECTION 82 OF THE COMPANIES ACT ARE PUBLISHED FOR GENERAL INFORMATION. THE CIPC WEBSITE AT WWW.CIPC.CO.ZA CAN BE VISITED FOR MORE INFORMATION. NO GUARANTEE IS GIVEN IN RESPECT OF THE ACCURACY OF THE PARTICULARS FURNISHED AND NO RESPONSIBILITY IS ACCEPTED FOR ERRORS AND OMISSIONS OR THE CONSEQUENCES THEREOF. Adv. Rory Voller COMMISSIONER: CIPC NOTICE 19 OF 2016 NOTICE IN TERMS OF SECTION 82 OF THE COMPANIES ACT, 2008 RELATING TO ANNUAL RETURN DEREGISTRATIONS OF COMPANIES AND CLOSE CORPORATIONS K2011100425 SOWETO CITY INVESTMENT AND DEVELOPMENT AGENCY K2011100458 K2011100458 K2011105301 VOICE OF SOLUTION GOSPEL CHURCH K2011105344 BOYES HELPING HANDS K2011105653 RACE 4 CHARITY K2011105678 OYISA FOUNDATION K2011101248 ONE FUTURE DEVELOPMENT 53 K2011101288 EXTRA TIME FOOTBALL SKILLS DEVELOPMENT ORGANISATION K2011108390 HALCYVISION K2011112257 YERUSHALYIM CHRISTIAN CHURCH K2011112598 HOLINERS CHURCH OF CHRIST K2011106676 AMSTIZONE K2011101559 MOLEPO LONG DISTANCE TAXI ASSOCIATION K2011103327 CASHAN X25 HUISEIENAARSVERENIGING K2011118128 JESUS CHRIST HEALS MINISTRY K2011104065 ZWELIHLE MICRO FINANCE COMPANY K2011111623 COVENANT HOUSE MIRACLE CENTRE K2011119146 TSHIAWELO PATRONS COMMUNITY -
Timeonon Thethe
SOUTH COAST TOURISM SUMMER MELT-DOWN MARGATE STUDENT RAVE > DECEMBER 2010 PARTY timeonon thethe SASHA MARTINENGO ROGER GOODE JACK PAROW DIE HEUWELS FANTASTIES LOCNVILLE GOLDFISH Discover Africas South Coast: Scenic Tours of our Cultural Hinterland 2 of the Worlds Top 10 Dive Sites 6 Magnificent Blue Flag Beaches 11 conveniently situated Golf Courses 14 inspirational Guided Birding Routes and the most perfect Winter Climate! SUMMER 2010 South Coast Tourism has preprared an awesome Programme for you this Summer! DATE: 10 December DATE: 18 December VENUE: SAB Party Zone VENUE: Margate Middle Beach DATE: 18 December GOLDFISH VENUE: Margate Middle Beach DIE HEUWELS FANTASTIES ROGER GOODEOODE DATE: 17 December VENUE: Backline SASHA MARTINENGOARTINENGO It might be hard to imagine that one of the most The success of Die Heuwels Fantasties (Hills exciting live electronica acts in the world right Fantastic) may appear to be overnight, but these now originates from South Africa, but the success talented Bellville musos have certainly paid their story behind Cape Towns electronica dues. Hunter Kennedy and Pierre Greeff wrote phenomenon, Goldfish, has been nothing short their first song together when they were 15 and of extraordinary. From their beginnings as Jazz 16 years old respectively. Hunter was in students, these funky multi-instrumentalists are Fokofpolisiekar and Pierre in Lukraaketaar, when seriously onto something. That something both their bands took a break last year and they includes a live mix of hypnotic vocals, screaming started hanging out together. So here they are synths, and more saxophones, double bass and - Die Heuwels Fantasties - and theyre doing it keyboards than a second-hand music shop. -
Gender Dimensions in Emerging African Music Genres: a Case of Kenyan Local Hip Hop
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 24, Issue 5, Ser. 9 (May. 2019) 54-61 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Gender Dimensions in Emerging African Music Genres: A Case of Kenyan Local Hip Hop Pamela N.Wanjala Shamberere Technical Training Institute P.o Box 1316, Kakamega, Kenya Abstract: The question of gender bias is now seen as a major challenge in almost every discipline that deals with human behavior, cognition, institutions, society and culture. Therefore, this paper was an attempt to investigate gender dimensions in the emerging African genres; a case study of local hip hop songs in Kenya. It discussed the extent to which hip hop language is gender biased. It focused on the popular local hip hop songs and video images that occur with the songs. The study used the Social Semiotic Theory in the theoretical framework. Ten hip hop songs and ten video excerpts were purposively selected for analysis. The hip hop songs were coded according to the name of the artist and year of production. The data was analyzed under three sections: Linguistic analysis, Image analysis and Gender analysis. The study revealed that indeed there is gender bias in the language of the favourite youth culture. This was revealed in the lexis that distinguishes gender, in the syntactic analysis and also in the image analysis. It was found that in hip hop music, men tend to be regarded higher in terms of roles, occupation and general human traits like strength and control than women. The study therefore recommends that radio and television stations, and other advertising agencies should join the battle for women liberation by using gender sensitive language and focusing on positive and constructive societal changes in terms of gender roles. -
Table of Contents
South African tabloid newspapers’ representation of black celebrities: A social constructionism perspective Emmanuel Mogoboya Matsebatlela Dissertation presented in partial fulfilment of the requirements for the degree of Master of Philosophy (Journalism) at Stellenbosch University Supervisor: Josh Ogada September 2009 DECLARATION I, the undersigned, hereby declare that the work contained in this dissertation is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature: Date: (Emmanuel Mogoboya Matsebatlela) Copyright © 2009 Stellenbosch University All rights reserved 1 ACKNOWLEDGEMENTS I would like to thank the following people: . My supervisor, Josh Ogada, for his expert and invaluable guidance throughout the course of my studies. Professor Alet Kruger for helping me with the translations. The University of South Africa for providing me unrestricted access to their library facilities. My parents, John and Paulina Matsebatlela, for their unwavering support and constant encouragement. My wife, Molebogeng, for her patience, motivation and support. 2 DEDICATION I would like to dedicate this study to my late Uncles, Rangwane M’phalaborwa ‘Mamodila Selemantwa’ Matsebatlela and Malome Thomas Mahlo. Though their life journeys have ended, they will forever remain etched in our memories. May their souls rest in peace. 3 ABSTRACT This study examines how positively or negatively as well as how subjectively or objectively the South African tabloid newspapers represent black celebrities. This examination was primarily conducted by using the content analysis research technique. The researcher selected a total of 85 newspapers spread across four different South African daily and weekend tabloid newspapers that were published during the period February to September 2008. -
The Concert Hall As a Medium of Musical Culture: the Technical Mediation of Listening in the 19Th Century
The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century by Darryl Mark Cressman M.A. (Communication), University of Windsor, 2004 B.A (Hons.), University of Windsor, 2002 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the School of Communication Faculty of Communication, Art and Technology © Darryl Mark Cressman 2012 SIMON FRASER UNIVERSITY Fall 2012 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for “Fair Dealing.” Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Darryl Mark Cressman Degree: Doctor of Philosophy (Communication) Title of Thesis: The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century Examining Committee: Chair: Martin Laba, Associate Professor Andrew Feenberg Senior Supervisor Professor Gary McCarron Supervisor Associate Professor Shane Gunster Supervisor Associate Professor Barry Truax Internal Examiner Professor School of Communication, Simon Fraser Universty Hans-Joachim Braun External Examiner Professor of Modern Social, Economic and Technical History Helmut-Schmidt University, Hamburg Date Defended: September 19, 2012 ii Partial Copyright License iii Abstract Taking the relationship -
Global Hip-Hop Class
AAAS 135b: GLOBAL HIP-HOP Wed 6:30-9:20 pm Mandel G03 Spring 2012 Wayne Marshall [email protected] office hours: by appointment DESCRIPTION Examining how hip-hop travels and is embraced, represented, and transformed in various locales around the world, this course approaches hip-hop as itself constituted by international flows and as a product and set of practices that circulate globally in complex ways, cast variously as American, African-American, and/or black, and recast through the cultural logics of the new spaces it enters, the soundscapes it permeates. A host of questions arise when we consider hip-hopʼs global scope and significance: What does the genre in its various forms (audio, video, sartorial, gestural) carry beyond the US? What do people bring to it in new local contexts? How are US notions of race and nation mediated by hip-hop's global reach? Why do some global (which is to say, local) hip-hop scenes fasten onto the genre's well-rehearsed focus on place, community, and righteous opposition to structural and representational forms of violence, while others appear more enamored with slick portrayals of hustler archetypes, cool machismo, and ruggedly individualist, conspicuous consumption? How can hip-hop circulate in such contradictory forms? In what ways do hip-hop scenes differ from North to South America, West to East Africa, Europe to Asia? What threads unite them? In pursuit of such questions, we will read across the emerging literature on global hip- hop as we explore the growing resources available via the internet, where websites and blogs, MySpace and YouTube and the like have facilitated a further efflorescence of international (and peer-to-peer) exchanges around hip-hop. -
A Crash of Drums Durban By
LAT / LONG: 29.53° S, 31.03° E DURBAN ‘It’s the sound that gets to you A CRASH first,’ says David ‘Qadashi’ Jenkins. ‘A loud crashing of drums before OF DRUMS you even see the dancers. We heard it while we were still on the street, walking towards the hostel. It was 2012 and I’d just moved to Durban from Empangeni. My mentor, Maqhinga Radebe, took me to the Dalton Hostels on Sydney Road to see them dancing. But, of course, you hear it first. That tumultuous crash, a tremendous sound produced on huge marching band drums. You can hear it as far away as Davenport Centre, which is a few blocks up – you’ll hear it on a Sunday if you listen out for it.’ Jenkins grew up in northern KwaZulu-Natal, where he fell in love with Zulu culture. He’s never looked back; his boyhood obsession with maskandi has evolved into a thriving music career. Yet, even after years spent studying Zulu music traditions, he says witnessing Umzansi war dancing left him breathless. ‘The closer we got, the louder those crashing drums grew and eventually we were in the presence of these potent, DURBAN powerful dancers – workers who stay at the hostels and who dance on Sundays. The drumming is the heart of the music, but with harmonies sung over that, incredible war songs running over this loud drum beat. There are up to 20 singers who stand in a semi-circle, and up to ten men dancing at a time. And they move back and forth, swapping out all the time. -
Afp-Services Selected to Provide Coverage of The
10.21.2016 AFP -SERVICES SELECTED TO PROVIDE COVERAGE OF THE MTV AFRICA MUSIC AWARDS AFP-SERVICES IS PROUD TO HAVE BEEN SELECTED AS THE EXCLUSIVE PHOTO PROVIDER FOR COVERAGE OF THE MTV AFRICA MUSIC AWARDS JOHANNESBURG 2016 AS WELL AS THE PROVIDER FOR VIDEO HIGHLIGHTS FOR THE INTERNATIONAL BROADCAST MARKET. The MTV Africa Music Awards (MAMA), Africa’s biggest celebration of contemporary music, culture and achievement, kicks off at the Ticketpro Dome, Johannesburg, South Africa on 22 October 2016. The annual awards show, now in its sixth edition, is taking place in the city of Johannesburg for the first time ever. The MAMA, as it is affectionately known, highlights the “gold standard” in contemporary music, creativity and achievement across the continent. The MAMA will air live on MTV and MTV Base across Africa at 21:00 CAT on 22 October. Lighting up the MAMA stage on 22 October will be African stars Davido (Nigeria), C4 Pedro (Angola), Sauti Sol (Kenya), Diamond (Tanzania), Emtee (South Africa), Kwesta (South Africa), Patoranking (Nigeria); Alikiba (Tanzania), Babes Wodumo (South Africa), Cassper Nyovest (South Africa), Nasty C(South Africa), Ycee (Nigeria) and Yemi Alade (Nigeria), while US hip hop star Future (nominee for Best International) will also be on site. Many more African artists remain to be announced. The definitive annual celebration of African and international talent and achievement, MAMA 2016 recognises and rewards musicians and achievers in 18 categories who have made the most impact on African contemporary music and culture over the previous year. The ceremony will feature stunning performances from African and international artists along with the show’s signature cross-genre and cross-border collaborations. -
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. -
Hip-Hop & the Global Imprint of a Black Cultural Form
Hip-Hop & the Global Imprint of a Black Cultural Form Marcyliena Morgan & Dionne Bennett To me, hip-hop says, “Come as you are.” We are a family. Hip-hop is the voice of this generation. It has become a powerful force. Hip-hop binds all of these people, all of these nationalities, all over the world together. Hip-hop is a family so everybody has got to pitch in. East, west, north or south–we come MARCYLIENA MORGAN is from one coast and that coast was Africa. Professor of African and African –dj Kool Herc American Studies at Harvard Uni- versity. Her publications include Through hip-hop, we are trying to ½nd out who we Language, Discourse and Power in are, what we are. That’s what black people in Amer- African American Culture (2002), ica did. The Real Hiphop: Battling for Knowl- –mc Yan1 edge, Power, and Respect in the LA Underground (2009), and “Hip- hop and Race: Blackness, Lan- It is nearly impossible to travel the world without guage, and Creativity” (with encountering instances of hip-hop music and cul- Dawn-Elissa Fischer), in Doing Race: 21 Essays for the 21st Century ture. Hip-hop is the distinctive graf½ti lettering (ed. Hazel Rose Markus and styles that have materialized on walls worldwide. Paula M.L. Moya, 2010). It is the latest dance moves that young people per- form on streets and dirt roads. It is the bass beats DIONNE BENNETT is an Assis- mc tant Professor of African Ameri- and styles of dress at dance clubs. It is local s can Studies at Loyola Marymount on microphones with hands raised and moving to University. -
Imagination and the Practice of Rapping in Dar Es Salaam
David Kerr THUGS AND GANGSTERS: IMAGINAtiON AND THE PRACtiCE OF RAppiNG IN DAR ES SALAAM abstract Since the arrival of hip hop in Tanzania in the 1980s, a diverse and vibrant range of musical genres has developed in Tanzania’s commercial capital, Dar es Salaam. Incorporating rapping, these new musical genres and their associated practices have produced new imaginative spaces, social practices, and identities. In this paper, I argue that rappers have appropriated signs and symbols from the transnational image of hip hop to cast themselves as ‘thugs’ or ‘gangsters’, simultaneously imbuing these symbols with distinctly Tanzanian political conceptions of hard work (kazi ya jasho), justice (haki) and self-reliance (kujitegemea). This article examines how the persona of the rapper acts as a nexus for transnational and local moral and ethical conceptions such as self-reliance, strength, and struggle. Exploring the complicated, ambiguous, and contradictory nature of cultural production in contemporary Tanzania, I argue that rappers use the practice of rapping to negotiate both the socialist past and neo-liberal present. Drawing on the work of De Certeau and Graeber, I argue that rappers use these circulating signs, symbols, and concepts both tactically and strategically to generate value, shape social reality and inscribe themselves into the social and political fabric of everyday life. Keywords: hip hop, popular music, Tanzania, Ujamaa, value INTRODUCTION as well as our individual hopes and ambitions. Octavian and Richard, who as rappers adopt It is mid-morning in June 2011 and I am sat with the names O-Key and Kizito, are both students two ‘underground’ rappers, Octavian Thomas and live close to where we meet. -
Redalyc.Kwaito, Hip-Hop and Television in South Africa: a Case
Interin E-ISSN: 1980-5276 [email protected] Universidade Tuiuti do Paraná Brasil Ndlovu, Musa; Smith, René Kwaito, hip-hop and television in South Africa: a case study of the Yizo Yizo 3 series and soundtrack Interin, vol. 11, núm. 1, enero-junio, 2011, pp. 1-18 Universidade Tuiuti do Paraná Curitiba, Brasil Available in: http://www.redalyc.org/articulo.oa?id=504450764003 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Kwaito, hip-hop and television in South Africa: a case study of the Yizo Yizo 3 series and soundtrack Musa Ndlovu and René Smith Abstract This paper presents an analysis of kwaito and hip-hop on television in South Africa. It employs the locally produced Yizo Yizo as a case study to explore the intertextual relationship between music and television. Yizo Yizo, a reality-based drama series, was groundbreaking in propelling the experiences of black youth onto the national agenda. In representing what can be described as ‘authentic township experiences’, the series utilizes kwaito, and to a lesser degree, hip-hop, as signifiers of township and ‘essentially’ black youth experiences. Soundtracks to the series utilize both genres and local kwaito and hip-hop artists feature as themselves. The paper adopts a discursive approach to exploring intertextuality and the ways in which meanings embedded in a television series are related to music and other secondary texts and vice versa.