Register of Entertainers, Actors and Others Who Have Performed in Apartheid South Africa

Register of Entertainers, Actors And Others Who Have Performed in Apartheid South Africa http://www.aluka.org/action/showMetadata?doi=10.5555/AL.SFF.DOCUMENT.nuun1983_20 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. 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For more information about Aluka, please see http://www.aluka.org Register of Entertainers, Actors And Others Who Have Performed in Apartheid South Africa Alternative title Notes and Documents - United Nations Centre Against ApartheidNo. 20/83 Author/Creator United Nations Centre against Apartheid Publisher United Nations, New York Date 1983-10-00 Resource type Reports Language English Subject Coverage (spatial) South Africa Coverage (temporal) 1981 - 1983 Source Northwestern University Libraries Description This first register of entertainers, actors and others who have performed in apartheid South Africa since the beginning of 1981 is published at the request of the United Nations Special Committee against Apartheid - as part of the Campaign for a cultural boycott against South Africa called for in a number of resolutions of the General Assembly. The register contains an introduction, a preliminary list of persons who have performed in South Africa, and other relevant information. The list, compiled mainly from South African press reports, is not exhaustive. The Special Committee intends to keep the register up-to-date and to publish supplements periodically. Names of persons who undertake not to engage in further cultural contacts with South Africa will be deleted from future lists. Format extent 20 page(s) (length/size) http://www.aluka.org/action/showMetadata?doi=10.5555/AL.SFF.DOCUMENT.nuun1983_20 http://www.aluka.org UNITED NATIONS UNITED NATIONS CENTRE AGAINST APARTHEID 20/83 October 1983 REGISTER OF ENTERAINERS, ACIORS AND OTHERS WHO HAVE PERFORMED IN APARTHEID SOUTH AFRICA 1 98.j /Fte: This first register of entertainers, actors and others who have performed in apartheid South Africa since the beginning of 1981, is published at the request of the United Nations Special Conmittee against Apartheid - as part of the Campaign for a cultural boycott against South Africa called for in a number of resolutions of the General Assembly. The register contains an introduction, a preliminary list of persons who have performed in South Africa, and other relevant information. The list, ompiled mainly fron South African press reports, is not exhaustive. The Special Committee intends to keep the register up-to-date and to publish supplements periodically. Names of persons who undertake not to engage in further cultural contacts with South Africa will be deleted fram future lists.7 83-28527 *dNatjon.t New York 10017 CONTENTS Page INTRODUCTION. ... .. LIST OF EN7ERC1!NEPS AND OTHER CULTIURAL PERSONALITIES WHO HAVE PERFORMED IN APARFHEID SOUTH AFRICA SINCE 1 JANUARY 1981 .. 9 SOME IMPORTANT DEVELOPMETS IN THE IvVE= FOR A CULIURAL BOYC(TT AGAINST SOUTH AFRICA Background note by the Centre against Apartheid............. 16 INTRODUCTION Writers, artists, playwrights, musicians, entertainers and other cultural personalities have always played a prominent role in the international campaign for the elimination of apartheid in South Africa and in support of the struggle of the oppressed people of that country for freedom and equality. For more than two decades, many prominent entertainers have boycotted South Africa in protest against racial discrimination and segregation. They have often lent their services for the benefit of the oppressed people of South Africa and for anti-apaheid movements in their country. Trade unions of musicians, actors and others have taken action bo persuade their members not to perform in South Africa. Many playwrights have prohibited the staging of their plays in South Africa. The cultural boycott thus became an important component of the international campaign against apartheid. In the past few years, however, the apartheid rdgime and its supporters undertook a massive effort, through deceit[u propaganda about "reforms" in South Africa and offers of exhorbitant fees, to lure prominent artist to South Africa. A key role in these efforts has been played by the management of "Sun City", a gambling and entertaiment omplex in the bantustan of Bophuthatswana. (The apartheid rdgime granted so-called "independence" to this territory in its plan todispossess and denationalize the African majority of South Africa. The "independence" is denounced by the international crmrunity and no Government in the world recognizes it). hile there is legally no racial segregation in the cuiplex, the high admission fees are beyond the means of most Africans. Moreover, the "Sun City" is a symbol of the diabolic plans of the apartheid rdgime to entrench apartheid by relegating Africans to barren reserves. Even the Human Rights Research Council of South Africa,an apartheid institution, found that the establishment of "Sun City" has led to an increase in crime, prostitution and other evils among the indigenous African population of the area. The Special Committee has, therefore, decided to devote special attention to the cultural boycott in its intensified efforts for a total boycott of apartheid. It has decided to publish this register of entertainers, actors, and others who have performed in South Africa in order to facilitate appropriate action by all Governments, organizations and individuals committed to freedom in South Africa. United Nations efforts for a cultural boycott of South Africa The movement for a cultural boycott against South Africa, as a demonstration of opposition to apartheid, began many years ago. Father Trevor Huddleston, in an article in The Observer, London, in October 1954, wrote: "I am pleading for a cultural boycott of South Africa. I am asking those who believe racialism to be sinful or wrong should refuse to encourage it by accepting any engagement to act, to perform as a nusical artist or as a ballet dancer - in short, engage in any contracts which would provide entertainment for any one section of the ommunity. Over the years, many musicians, entertainers, artists ,writers and others joined the boycott of South Africa. Many of them joined anti-apartheid xvennts and campaigns and lent their services for the benefit of the oppressed people of South Africa and their national liberation mveTnt, as well as anti-apartheid movenents. The movement for a cultural boycott against South Africa gathered renewed nurentuin in 1965 when the a2Erteid rdgime in South Africa enacted stringent regulations prohibiting multi-racial performances or audiences. The Special Committee against Apartheid held consultations with a number of anti-apartheid movements and cultural personalities and decided that the United Nations should promote and encourage the cultural boycott of South Africa. On its recommendation, the General Assembly - in resolution 2396 (XXIII) of 2 December 1968 - requested "all States and organizations to suspend cultural, educational sports and other exchanges with the racist regime and with organizations and institutions in South Africa which practise apartheid". The e d regine defied international demands for an end to racial discrimination and segregation in the cultural field. In recent years, however, it became concerned over increasing isolation and tried to restore international cultural and sporting contacts. It relaxed some regulations so as to allow some mixed performances and mixed audiences in some theatres, under permit. S-gregation in theatres is still the rule, and exceptions are allowed mainly to attract foreign performers. The cinema theatres are totally segregated). The Pretoria rdgime and its supporters tried to persuade artists that since multiracial performances and audiences were now possible, they should no more boycott South Africa. They also used secret funds and improper activities to break the boycott. Many entertainers rejected South African offers, soe at considerable sacrifice, because of their opposition to racism. They appreciated the position of the black people of South Africa and of anti-apartheid mov'ennts that the so-called "reforms" were only a cover to divert attention from the entrenchment of apartheid, particularly through the bantustan policy designed to deprive the Arican majority even of its citizenship, fran forced rerovals of millions of African people frun their homes and from brutal repression of opponents of apartheid, including the indiscriminate killing of schoolchilidren protesting against racial discrimination. Sane entertainers, however, were enticed by the propaganda and the tempting financial offers of apartheid to defy the boycott

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