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ISSN 0258-7211 Vol. 9 No. 2,1990 R5,95 (Excl. GST) in This Issue ISSN 0258-7211 Vol.9No.2,1990 R5,95(excl.GST) ISSN 0258-7211 Vol.9No.2,1990 R5,95(excl.GST) In this issue: Martin Trump: Debates in Southern African Literature of Liberation AchmatDangor: A Writing and Change in South Africa Mass Defiance and Rallies: Photographs New Stories, Poetry and P Reviews R 1 v i e 00 0 ______ __I,LA ________rj Fred Khumalo is a journalist working for UmAfrika in Natal. Maureen Isaacson is a freelance journalist and researcher living in Johannesburg. Liz Gunner is a literary scholar living in England. Steve Jacobs has published short stories and a novel and lives in Cape Town. Martin Trump teaches in the Department of English at Unisa. Kaizer Nyatsumba is a journalist and literary critic working for the Star in Johannesburg. Regina Maphela is a teacher living in Soweto. Sally-Anne Murray lectures English at the University of Natal. Walt oyi-Sipho ka Mtetwa lives in Johannesburg. Senzo Malinga is a -eultural activist living in Johannesburg. Chris Zithulele Mann works for the Valley Trust in Botha's Hill and has published several collections of poetry. Wessel Pretorius has published several collections of Afrikaans poetry and lives in Swaziland. Kelwyn Sole teaches English at the University of Cape Town. Peter Horn is Dean of Arts at the University of Cape Town. Themba Mhambi is the recipient of the 1989 Benjamin Moloise Scholarship and is currently in New York doing research in literature. Nicolette Thesen lives in Cape Town. Staffrider magazine is published by Ravan Press (Pty) Ltd P.O. Box 31134 Braamfontein 2017 South Africa Editor Andries Walter Oliphant. Assistant Editor Ivan Vladislavi6. Editorial Advisors Njabulo S Ndebele, Nadine Gordimer, Kelwyn Sole, Paul Weinberg, David Koloane, Gary Rathbone, Christopher van Wyk, Gcina Mhlope, Luli Callinicos. Designer Jeff Lok. Staffrider is published quarterly by Ravan Press, 40 De Korte Street, 3rd Floor, Standard House, Braamfontein. Copyright is held by the individual contributors of all material, including all visual and graphic material published in the magazine. Anyone wishing to reproduce material from the magazine should approach the individual contributors c/o the publishers. Contributions and correspondence should be sent to The Editor, Staffrider Magazine, PO Box 31134, Braamfontein 2017. Manuscripts should be accompanied by a stamped, self-addressed envelope. A short, two-line biography should accompany all contributions. Photographs of Namibia by Dawn Norton. All others courtesy AFRAPIX. CONTENTS Comment .......................................... STORIES Grandpa's Rooster .............................. W hose Triomf? ................................... Leaf-Mould ........................................ W ater Money ..................................... INTERVIEW Achmat Dangor: Writing and Change .... ESSAY Serote's To Every Birth Its Blood within Southern Africa's Literature of Liberation ........................ POETRY The Pied Piper ................................... Varsity Dance .................................... Soldier Calling ................................... Drakensberg ...................................... The Mystery of Children W ho Revert to Flowers ........................ S k o ol 2 ............................................. Observatory by Dusk .......................... Seeking Salvation ............................... In an Exiled Alphabet ......................... The Only House with a Gate ............... Rainy Nightin Soweto ........................ D issen t ............................................. Ever Forward Comrades ..................... My Street ......................................... The Khoikhoi .................................... The Blood of Poetry ........................... Boy in a Ghetto ................................. The Neighbours This Summer ....... Mzilikazi, Return Home ...................... Now I Know ..................................... No More Martyrs ............................... Reflections ......................................... I Think I Know You ............................ R u m b a .............................................. Sewe Dae .......................................... Ntombenhle ......................... T reason ............................................. Khanna Butle ..................................... Saf' Afika .......................................... Shacklands ........................................ Jen n y ................................................ Dust Rites ......................................... Letter to a Friend ............................... LETTERS/REVIEWS Letter to the Editor ............................. Resistance Art by Sue W illiamson ......... Abduraghiem Johnstone ...................... A. W. Oliphant .................................. 2 Fred Khumalo ........ .......................... 5 Maureen Isaacson ............................. 12 Liz Gunner .................. .. ............ 19 Steve Jacobs .................................. 21 A. W. Oliphant ................................ 31 Martin Trump ................................ 37 Tania Spencer .................................. 60 Sandra Braude ................................. 60 Steven Brimelow .............................. 62 George Candy .................................... 62 Marc Glaser ...................................... 63 Marius Crous .................................... 64 Etienne de la Harpe .......................... 65 E.J. Holtzhausen .............................. 65 Laurie Rose Innes ............................. 66 Senzo Malinga ................................. 69 Mabuse A. Letlhage .......................... 70 Etienne de la Harpe .......................... 70 Barry Levinrad ................................. 70 Regina Maphela ............................... 71 Themba Mhambi .............................. 71 Seitlhamo Motsapi ............................ 72 Mlungisi Mkhize .............................. 72 Sally-Anne Murray .......................... 73 Sipho Nakasa ................................... 74 Walt oyi-Sipho ka Mtetwa ................... 74 Kaizer Nyatsumba ............................ 75 Bongani Ndlovu .................. ....... 76 Kaizer Nyatsumba ............................ 76 Bongani Ndlovu ............................... 77 Wessel Pretorius ............................... 78 Thokozani Nxumalo .......................... 78 Peter Rule ..................................... 78 Wessel Pretorius ............................... 79 Siram o ........................................... 79 Chris Zithulele Mann ........................ 80 Kelwyn Sole ...................................... 84 Michael Titlestad .............................. 85 Nicolette Thesen ............................... 86 Lionel Abrahams .............................. 88 A. W. Oliphant ................................ 89 Peter Horn ..................................... 92 COMMENT In the recent past, especially since the unbanning of the liberation organizations and the release of Nelson Mandela along with a number of other political prisoners, South Africa has embarked on a new phase in its history. However, apart from the legalization of political groups which have for long been perceived as the legitimate representatives of the vast majority of people in South Africa, the fundamental structure of South African society is still intact. The movement towards the full democratization of this society, which involves the redistribution of power and resources, the unification of South Africa and all its people in a unitary democratic state with universal and unqualified franchise for all, still has to be accomplished. The present climate signals clearly that these tasks now confront the South African people as a whole. In this changing context, the place and role of culture in the transition from racial domination to democracy in a post-apartheid society is being hotly debated by writers, artists and cultural groups in South Africa as well as in the liberation movements. In this regard Albie Sachs's paper 'Preparing Ourselves for Freedom' presented at an ANC seminar in which he called for a re-adjustment of the organization's cultural policy has unsettled the crude and mechanical distinction which has for so long been drawn between politics and art in the liberation movement and in certain sectors of South African society. For decades creativity was subordinated to the politics of liberation. While this subordination was seen as necessary in order to advance the struggle for political, economic and cultural liberation, its rigid orthodoxy served to narrow the scope and freedom of some artists committed to the democratic struggle. Now this is changing. With regard to advocating change from a socially sensitive point of view, Staffrider has been a forerunner. It has called for and encouraged literature and art free from political dogma and rigidity. In this respect Njabulo Ndebele's critical input with regard to some South African fiction made in 1984 is of great significance. Before that, in 1981 Dikobe Martins, now a political prisoner, spoke about the need to develop a rich and complex art which embodies the full range of human experiences. The new Staffrider is committed to these tasks. By providing a forum for all South African culture ranging from the cultural production of workers to that of salaried intelligentsia it aims to draw on the diversity of local culture. In Staffrider Volume 8 Number 1 I wrote, in reference to Salman Rushdie, about the importance of artistic
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