By Mike Linden Where and When Did It All Begin?
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Educated. Empowered. Unleashed
YOUNG AFRICA: Educated. Empowered. Unleashed. 6th -14th July 2019 tents About United World Colleges 3 About Waterford Kamhlaba United World College of Southern Africa 4 Welcome to UWC Africa week 2019 5 Past UWC Africa Week Speakers 7 Schedule of events 9 Tin Bucket Drum – The Musical 11 Past UWC Africa Week events in pictures 16 Con 2 About United World Colleges 3 About United World Colleges About Waterford Kamhlaba United World College of Southern Africa 4 nited World Colleges (UWC), is a global Today, over 9,500 students from over 150 countries Welcome to UWC Africa week 2019 5 education movement that makes education are studying on one of the UWC campuses. Over Past UWC Africa Week Speakers 7 Ua force to unite people, nations and cultures 65% of UWC students in their final two years receive Schedule of events 9 for peace and a sustainable future. It comprises a a full or partial scholarship, enabling admission to a network of 18 international schools and colleges UWC school to be independent of socio-economic Tin Bucket Drum – The Musical 11 on four continents, short courses and a system means. of volunteer-run national committees in 159 Past UWC Africa Week events in pictures 16 Since the foundation of the first UWC college in countries. 1962, UWC has inspired a network of more than UWC offers a challenging educational experience 60,000 alumni worldwide, who remain engaged to a deliberately diverse group of students and with the UWC movement and committed to places a high value on experiential learning, contribute to a more equitable and peaceful world. -
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 -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproductioiL In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each orignal is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 AMBIGUITY AND DECEPTION IN THE COVERT TEXTS OF SOUTH AFRICAN THEATRE: 1976-1996 DISSERTATION Presented in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Allan John Munro, M.A., H.D.E. -
Mannenberg": Notes on the Making of an Icon and Anthem1
African Studies Quarterly | Volume 9, Issue 4 | Fall 2007 "Mannenberg": Notes on the Making of an Icon and Anthem1 JOHN EDWIN MASON Abstract: Abdullah Ibrahim's [Dollar Brand] composition "Mannenberg" was an instant hit, when it was released on the 1974 album, Mannenberg is Where It's Happening. This paper shows that the song is a product of Ibrahim's efforts to find an authentically South African mode of expression within the jazz tradition, blending South African musical forms -- marabi, mbaqanga, and langarm--with American jazz-rock fusion. It quickly became an icon of South African jazz, defining the genre both within the country and overseas. At the same time, the South African coloured community invested the song with their own meaning, transforming it into an an icon of their culture and of themselves. In the 1980s, "Mannenberg" had a second life as an anthem of the struggle against apartheid. Some called it South Africa's "unofficial national anthem." Once again, the song acquired a new meaning, this time through the efforts of musicians, especially Basil Coetzee and Robbie Jansen, who made it the musical centerpiece of countless anti- apartheid rallies and concerts. As the paper traces this narrative, it is constantly aware of the profound influence of African-American culture and political thought on Ibrahim and the coloured community as a whole. Introduction On a winter's day in 1974, a group of musicians led by Abdullah Ibrahim (or Dollar Brand, as most still knew him) entered a recording studio on Bloem Street, in the heart of Cape Town, and emerged, hours later, having changed South African music, forever. -
Remembering Hugh Masekela: the Horn Player with a Shrewd Ear for Music of the Day
1/24/2018 Remembering Hugh Masekela: the horn player with a shrewd ear for music of the day Academic rigour, journalistic flair Remembering Hugh Masekela: the horn player with a shrewd ear for music of the day October 29, 2017 1.12pm SAST •Updated January 23, 2018 10.13am SAST Hugh Masekela performing during the 16th Cape Town International Jazz Festival. Esa Alexander/The Times Trumpeter, flugelhorn-player, singer, composer and activist Hugh Ramapolo Masekela Author has passed away after a long battle with prostate cancer. When he cancelled his appearance last year at the Johannesburg Joy of Jazz Festival, taking time out to deal with his serious health issues, fans were forced to return to his recorded opus for reminders of his unique work. Listening through that half-century of Gwen Ansell Associate of the Gordon Institute for disks, the nature and scope of the trumpeter’s achievement becomes clear. Business Science, University of Pretoria Masekela had two early horn heroes. The first was part-mythical: the life of jazz great Bix Biederbecke filtered through Kirk Douglas’s acting and Harry James’s trumpet, in the 1950 movie “Young Man With A Horn”. Masekela saw the film as a schoolboy at the Harlem Bioscope in Johannesburg’s Sophiatown. The erstwhile chorister resolved “then and there to become a trumpet player”. The second horn hero, unsurprisingly, was Miles Davis. And while Masekela’s accessible, storytelling style and lyrical instrumental tone are very different, he shared one important characteristic with the American: his life and music were marked by constant reinvention. -
The Jazz Epistles
2018 Winter/Spring Season Brooklyn Academy of Music Adam E. Max, Chairman of the Board William I. Campbell, Vice Chairman of the Board Katy Clark, President BAM and World Music Institute present Joseph V. Melillo, Executive Producer The Jazz Epistles BAM Howard Gilman Opera House Apr 18 & 19 at 8pm Running time: approx. one hour & 30 mins, no intermission Featuring Abdullah Ibrahim & Ekaya With special guests Ravi Coltrane (Apr 19) & Freddie Hendrix Season Sponsor: Leadership support for music programs at BAM provided by the Baisley Powell Elebash Fund. Viacom is the major sponsor of Music Programming at BAM Support for the Signature Artist Series provided by the Howard Gilman Foundation The Jazz Epistles EKAYA Abdullah Ibrahim piano Noah Jackson cello, bass Will Terrill drums Cleave Guyton alto saxophone, flute, clarinet Lance Bryant tenor saxophone Andrae Murchison trombone, trumpet Marshall McDonald baritone saxophone GUESTS Freddie Hendrix trumpet, flugelhorn Ravi Coltrane tenor saxophone (Apr 19) South African jazz legend Abdullah Ibrahim, then known as Dollar Brand, first heard the call of modern jazz in the late 1950s, and along with saxophonist Kippie Moeketsi, trumpeter Hugh Masekela, Jonas Gwangwa, Johnny Gertze on bass, and Early Mabuza and/or 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. On June 15 & 16, 2016 at the Emperors Palace in Johannesburg, for the first time in over 50 years, Abdullah Ibrahim and Hugh Masekela reunited for two sold-out concerts honoring the Jazz Epistles, making a profound impact on the audiences and the artists themselves. -
The Legacy of the Jazz Epistles, South Africa's Short-Lived but Historic Group : NPR
1/24/2018 The Legacy Of The Jazz Epistles, South Africa's Short-Lived But Historic Group : NPR ON AIR NOW ALL SONGS 24/7 RADIO The Legacy Of The Jazz Epistles, South Africa's Short-Lived But Historic Group April 26, 2017 · 12:46 PM ET SIMON RENTNER FROM Jonas Gwangwa with Hugh Masekela and Kippie Moeketsi. Halim's Photographic Service, Cape Town BAHA/Drum Social Histories / Baileys African History Archive / Africa Media Online Hugh Masekela was an up-and-coming trumpeter, all of 20, when he took an overnight train from Johannesburg to Cape Town to meet a pianist everyone was talking about in South Africa: Abdullah Ibrahim, then known as Dollar Brand. Ibrahim, 25 at the time, was the forward-thinking figure needed to complete South Africa's greatest bebop band of all time, The Jazz Epistles. On the morning that https://www.npr.org/2017/04/26/525696698/the-legacy-of-the-jazz-epistles-south-africas-short-lived-but-historic-group?utm_campaign=storyshare&ut… 1/13 1/24/2018 The Legacy Of The Jazz Epistles, South Africa's Short-Lived But Historic Group : NPR Masekela arrived at the Ambassadors club in Cape Town with two other formidable South African jazz players — Kippie Moeketsi on alto saxophone and Jonas Gwangwa on trombone — there were no arrangements for accommodation. Rehearsals started anyway, and for the first few nights, the three musicians slept on mattresses on the floor in the back of the club. https://www.npr.org/2017/04/26/525696698/the-legacy-of-the-jazz-epistles-south-africas-short-lived-but-historic-group?utm_campaign=storyshare&ut… 2/13 1/24/2018 The Legacy Of The Jazz Epistles, South Africa's Short-Lived But Historic Group : NPR Abdullah Ibrahim (formerly known as Dollar Brand) before he left South Africa in 1959. -
River Conversations-Press Release4
Press Release Tony Cedras and Maciek Schejbal – River Conversations None of us get to choose where we are born. We arrive in this existence, naked and vulnerable, surrounded by our family, and ensconced in the music and culture, the sights, sounds and smells, (and the politics) of wherever we are born. These forces leave their mark on our true selves, even before we are aware of their influence. As vibrant and beautiful as some of them are, there are also forces at play in life that are difficult and challenging. We often have to struggle to be the person we desire to be, sometimes having to go against the grains of nationalism, ethnicity, and class to find our place in this world. In fact, many of us, despite our love of home and what we know, end up having to leave our home and become citizens of the world in order to find our balance. For Tony and Maciek this is certainly true. Both of these musicians left their respective homelands of South Africa and Poland for a larger global existence, crossing not just borders but cultures in their quest for richer lives as artists. They have absorbed new sights and sounds, collaborated with musicians from around the world and infused these influences into their music. For seekers like Tony and Maciek it was an inevitable path. As I listen to their interplay and spirit in this music, I can’t help but feel that I am a fly on the wall of some pub in the middle of anywhere or nowhere, seeing the reunion of two old friends lost in a conversation that has waited a long time to happen. -
George Carey, "The Growth and Future of African Christianity: a Personal View,"
147 GEORGE CAREY The Growth and Future of African Christianity: A Personal View Although Africa is regarded as the ailing continent, representing only 4% of the world’s GDP, it is a place of beauty and heroic faith. George Carey explores the contribution of Anglicanism in five countries he knows well, tracing the development of Anglicanism from the end of the colonial period and reflecting on the successes and failures of its mission. He shows that, without intending it to be so, the legacy of colonial Christianity, for all its well-meaning intentions in South Africa – and to a lesser degree in Sudan – placed a burden on the emerging African leadership. Nonetheless, the Anglican tradition in Africa is now strong, resilient and growing. It reminds European Christians of the great truths of apostolic faith that growth arises not from ease and costless believing, but from sacrificial following and living the way of the cross. It is difficult for Western Christians to grasp the expansion of world Christianity. Situated as we are in secular cultures that combine strong networks of folk religion with large swathes of indifference towards institutional Christianity, we find triumphant and assertive faith puzzling and challenging. However, wherever we look outside western Europe the picture is very different. There is growth that ranges from steady to startling and then spectacular increase of congregations.1 If we took South America as an example, in 1900 there were barely a million Christians on this continent. Today there are reckoned to be in the region of 460 million, and there is no sign that the growth is slowing down. -
Complements to Kazi Leaders: Female Activists in Kawaida- Influenced Cultural-Nationalist Organizations, 1965-1987
Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History 5-10-2017 Complements to Kazi Leaders: Female Activists in Kawaida- Influenced Cultural-Nationalist Organizations, 1965-1987 Kenja McCray Atlanta Metropolitan College Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Recommended Citation McCray, Kenja, "Complements to Kazi Leaders: Female Activists in Kawaida-Influenced Cultural- Nationalist Organizations, 1965-1987." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/history_diss/57 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. COMPLEMENTS TO KAZI LEADERS: FEMALE ACTIVISTS IN KAWAIDA-INFLUENCED CULTURAL-NATIONALIST ORGANIZATIONS, 1965-1987 KENJA MCCRAY Under the Direction of John McMillian, PhD ABSTRACT This dissertation explores the memories and motivations of women who helped mold Pan-African cultural nationalism through challenging, refining, and reshaping organizations influenced by Kawaida, the black liberation philosophy that gave rise to Kwanzaa. This study focuses on female advocates in the Us Organization, Committee for a Unified Newark and the Congress of African People, the East, and Ahidiana. Emphasizing the years 1965 through the mid-to-late 1980s, the work delves into the women’s developing sense of racial and gender consciousness against the backdrop of the Black Power Movement. The study contextualizes recollections of women within the groups’ growth and development, ultimately tracing the organizations’ weakening, demise, and influence on subsequent generations. It examines female advocates within the larger milieu of the Civil Rights Movement’s retrenchment and the rise of Black Power. -
Anti-Apartheid Movement Annual Report on Activities and Developments
Anti-Apartheid Movement Annual Report on Activities and Developments http://www.aluka.org/action/showMetadata?doi=10.5555/AL.SFF.DOCUMENT.aam00059 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 Anti-Apartheid Movement Annual Report on Activities and Developments Author/Creator Anti-Apartheid Movement Publisher Anti-Apartheid Movement Date 1981-09-00 Resource type Reports Language English Subject Coverage (spatial) South Africa, Southern Africa (region), United Kingdom Coverage (temporal) 1980 - 1981 Source AAM Archive Rights By kind permission of the AAM Archives -
Richard Ambrose Reeves: Bishop of Johannesburg, 1949 to 1961
RICHARD AMBROSE REEVES: BISHOP OF JOHANNESBURG, 1949 TO 1961 by FRANK DONALD PHILLIPS submitted in fulfilment of the requirements for the degree of MASTER OF ARTS in the subject HISTORY at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: DR G C CUTHBERTSON JOINT SUPERVISOR: PROF A L HARINGTON JUNE 1995 Student number: 436-180-6 I declare that * .. ii.ICHA ?..D AI-I:BkWS~ REEVES:. BISHO] _QF .. _JOI'L'il-:H~S::::-URJ, 1949 . ..TO. I9.6I...................... is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. ... :~ ..r:J/ 1.Y. /1.9.~. sZP.fa(~.{+. · DATE (REV F D PHILLIPS) * The exact wording of the title as it appears on the copies of your dissertation, submitted for examination purposes, should be indicated in the open space. TABLE OF CONTENTS Acknowledgements i summary ii INTRODUCTION 1 CHAPTER 1 BEFORE JOHANNESBURG 22 CHAPTER 2 THE GOD-PERSON RELATIONSHIP 51 CHAPTER 3 SOCIAL AND POLITICAL RECONCILIATION 74 CHAPTER 4 THE OPPONENT OF APARTHEID 97 CHAPTER 5 BANTU EDUCATION DEFIED 126 CHAPTER 6 SOCIAL ACTION: HOUSING AND THE TREASON TRIAL 147 CHAPTER 7 REEVES AND SHARPEVILLE 175 CONCLUSION 209 SOURCE LIST 216 Acknowledgements I wish to acknowledge the untiring help given me by Anna Cunningham, Michele Pickover, and the staff at the Church of the Province Archives housed in the William Cullen Library of the University of the Witwatersrand. Joy Leslie-Smith of the Alan Paton Centre of the University of Natal, Pietermaritzburg has been wonderfully supportive in my project.