Programmvorschau 21

Total Page:16

File Type:pdf, Size:1020Kb

Programmvorschau 21 Programmvorschau 21. bis 27. Oktober 2019 43. Mitschnitt Die mit gekennzeichneten Sendungen sind für private Zwecke ausschließlich gegen Rechnung, unter Angabe von Name und Adresse für 10,– Euro erhältlich bei: Deutschlandradio Service GmbH, Hörerservice Raderberggürtel 40, 50968 Köln Weitere Informationen erhalten Sie unter Telefon 0221 345-1847 deutschlandradio.de Hörerservice Telefon 0221 345-1831 Telefax 0221 345-1839 [email protected] 1 Programmerläuterungen siehe Anhang Mo 21. Okt 0.00 Nachrichten 9.00 Nachrichten 20.00 Nachrichten 0.05 Deutschlandfunk Radionacht 9.05 Kalenderblatt 20.10 Musikjournal 0.05 Fazit Vor 50 Jahren: Das Klassik-Magazin Kultur vom Tage Willy Brandt wird Bundeskanzler 21.00 Nachrichten (Wdh.) 9.10 Europa heute 21.05 Musik-Panorama 1.00 Nachrichten 9.30 Nachrichten Rendez-vouz chez Offenbach 1.05 Kalenderblatt 9.35 Tag für Tag Kammermusik zum 200. Geburtstag 1.10 Interview der Woche Aus Religion und Gesellschaft des Kölner Komponisten (Wdh.) 10.00 Nachrichten 1.35 Hintergrund 10.10 Kontrovers JACQUES OFFENBACH (Wdh.) Politisches Streitgespräch mit ,Nathalie, Schottisch.’ Décaméron 2.00 Nachrichten Studiogästen und Hörern dramatique. Album du Théâtre 2.05 Sternzeit Hörertel.: 0 08 00 44 64 44 64 Francais, Nr. 9 für Klavier solo 2.07 Kulturfragen [email protected] FERDINAND HILLER Debatten und Dokumente 10.30 Nachrichten Trio für Violine, Violoncello und (Wdh.) 11.00 Nachrichten Klavier Nr. 5 E-Dur, op. 74 anschließend ca. 11.30 Nachrichten ,Zur Guitarre’, Impromptu für 2.30 Zwischentöne 11.35 Umwelt und Verbraucher Klavier E-Dur, op. 97 Musik und Fragen zur Person 11.55 Verbrauchertipp CAMILLO SIVORI und (Wdh.) 12.00 Nachrichten HIPPOLYTE PROSPER SELIGMANN 3.00 Nachrichten 12.10 Informationen am Mittag Duo pour violon und violoncelle avec 4.00 Nachrichten Berichte, Interviews, Musik accompagnement de piano sur le 4.05 Radionacht Information 12.30 Nachrichten Chœur des Sirènes de l’opéra ,Oberon’ 4.30 Nachrichten 12.50 Internationale Presseschau de Weber, op. 28 (Sivori) und op. 91 5.00 Nachrichten 13.00 Nachrichten (Seligmann) 5.05 Informationen am Morgen 13.30 Nachrichten Berichte, Interviews, Reportagen 13.35 Wirtschaft am Mittag JULES und JACQUES OFFENBACH 5.30 Nachrichten 13.56 Wirtschafts-Presseschau ,Duo par les frères Offenbach’ über 5.35 Presseschau 14.00 Nachrichten Themen von ,Wilhelm Tell’ von Rossini Aus deutschen Zeitungen 14.10 Deutschland heute für Violine und Violoncello 6.00 Nachrichten 14.30 Nachrichten FRIEDRICH VON FLOTOW und 6.30 Nachrichten 14.35 Campus & Karriere JAQUES OFFENBACH 6.35 Morgenandacht Das Bildungsmagazin ,La ballade du Pâtre’, Chants du soir, Wolfgang Drießen, Saarbrücken [email protected] Nr. 5 für Violoncello und Klavier Katholische Kirche 15.00 Nachrichten FELIX MENDELSSOHN BARTHOLDY 6.50 Interview 15.05 Corso – Kunst & Pop Trio für Violine, Violoncello und 7.00 Nachrichten 15.30 Nachrichten Klavier Nr. 1 d-Moll, op. 49 7.05 Presseschau 15.35 @mediasres Evgeny Sviridov, Violine Aus deutschen Zeitungen Das Medienmagazin Davit Melkonyan, Violoncello 7.15 Interview 16.00 Nachrichten Tobias Koch, Hammerflügel 7.30 Nachrichten 16.10 Büchermarkt Aufnahme vom 11.4.2019 aus der 7.35 Börse 16.30 Nachrichten Synagoge, Köln 7.56 Sport 16.35 Forschung aktuell Am Mikrofon: Maria Gnann 8.00 Nachrichten 17.00 Nachrichten 8.10 Interview 17.05 Wirtschaft und Gesellschaft 22.00 Nachrichten 8.30 Nachrichten 17.30 Nachrichten 22.50 Sport aktuell 8.35 Wirtschaftsgespräch 17.35 Kultur heute 23.00 Nachrichten 8.47 Sport Berichte, Meinungen, Rezensionen 23.10 Das war der Tag 8.50 Presseschau 18.00 Nachrichten Journal vor Mitternacht Aus deutschen und 18.10 Informationen am Abend 23.57 National- und Europahymne ausländischen Zeitungen 18.40 Hintergrund 19.00 Nachrichten 19.05 Kommentar 19.15 Andruck – Das Magazin für Politische Literatur Seewetterbericht inkl. Wasserstandsvorhersage täglich 1.05 Uhr • 6.40 Uhr • 18.10 Uhr im Livestream unter ,Dokumente und Debatten‘ auf deutschlandradio.de sowie im Digitalradio DAB+ und über Satellit auf DVB-S ZDFvision 2 Di 22. Okt 0.00 Nachrichten 9.00 Nachrichten 16.00 Nachrichten 0.05 Deutschlandfunk Radionacht 9.05 Kalenderblatt 16.10 Büchermarkt 0.05 Fazit Vor 100 Jahren: 16.30 Nachrichten Kultur vom Tage Die britische Schriftstellerin 16.35 Forschung aktuell (Wdh.) Doris Lessing geboren 17.00 Nachrichten 1.00 Nachrichten 9.10 Europa heute 17.05 Wirtschaft und Gesellschaft 1.05 Kalenderblatt 9.30 Nachrichten 17.30 Nachrichten anschließend ca. 9.35 Tag für Tag 17.35 Kultur heute 1.10 Hintergrund Aus Religion und Gesellschaft Berichte, Meinungen, Rezensionen (Wdh.) 10.00 Nachrichten 18.00 Nachrichten anschließend ca. 10.10 Sprechstunde 18.10 Informationen am Abend 1.30 Tag für Tag Nach einem Schlaganfall 18.40 Hintergrund Aus Religion und Gesellschaft Der lange Weg zurück ins Leben 19.00 Nachrichten (Wdh.) Am Mikrofon: Christian Floto 19.05 Kommentar 2.00 Nachrichten Hörertel.: 0 08 00 44 64 44 64 19.15 Das Feature 2.05 Kommentar [email protected] Die Freiheit der anderen (Wdh.) 10.30 Nachrichten Libanesische Frauen und ihre anschließend ca. 11.00 Nachrichten Dienerinnen 2.10 Andruck – Das Magazin 11.30 Nachrichten Von Charlotte Bruneau und für Politische Literatur 11.35 Umwelt und Verbraucher Stephanie Rohde (Wdh.) 11.55 Verbrauchertipp Regie: Hüseyin Michael Cirpici 2.57 Sternzeit 12.00 Nachrichten Deutschlandfunk 2019 3.00 Nachrichten 12.10 Informationen am Mittag 20.00 Nachrichten 3.05 Weltzeit Berichte, Interviews, Musik 20.10 Hörspiel anschließend ca. 12.30 Nachrichten Der Schlaf der Erynnien 3.30 Forschung aktuell 12.50 Internationale Presseschau Von Branko Janack (Wdh.) 13.00 Nachrichten Regie: der Autor anschließend ca. 13.30 Nachrichten Mit Birgit Unterweger 3.52 Kalenderblatt 13.35 Wirtschaft am Mittag Mentorin: Elisabeth Panknin 4.00 Nachrichten 13.56 Wirtschafts-Presseschau Deutschlandfunk in Kooperation 4.05 Radionacht Information 14.00 Nachrichten mit der Schauspielschule 4.30 Nachrichten 14.10 Deutschland heute Ernst Busch 2019/31’20 5.00 Nachrichten 14.30 Nachrichten (Ursendung) 5.05 Informationen am Morgen 14.35 Campus & Karriere 21.00 Nachrichten Berichte, Interviews, Reportagen Das Bildungsmagazin 21.05 Jazz Live 5.30 Nachrichten [email protected] Marcin Wasilewski Trio 5.35 Presseschau 15.00 Nachrichten Marcin Wasilewski, Piano Aus deutschen Zeitungen 15.05 Corso – Kunst & Pop Slawomir Kurkiewicz, Bass 6.00 Nachrichten 15.30 Nachrichten Michal Miskiewicz, Schlagzeug 6.30 Nachrichten 15.35 @mediasres Aufnahme vom 22.6.2019 bei 6.35 Morgenandacht Das Medienmagazin JazzBaltica, Timmendorfer Strand Wolfgang Drießen, Saarbrücken Am Mikrofon: Karsten Mützelfeldt Katholische Kirche 6.50 Interview 22.00 Nachrichten 7.00 Nachrichten 22.05 Musikszene 7.05 Presseschau Raumschiff, Muschel, Klanggewölbe Aus deutschen Zeitungen Das Konzerthaus Sage in Gateshead 7.15 Interview Von Marie König 7.30 Nachrichten 22.50 Sport aktuell 7.35 Börse 23.00 Nachrichten 7.56 Sport 23.10 Das war der Tag 8.00 Nachrichten Journal vor Mitternacht 8.10 Interview 23.57 National- und Europahymne 8.30 Nachrichten 8.35 Wirtschaftsgespräch 8.47 Sport 8.50 Presseschau Aus deutschen und ausländischen Zeitungen Programmerläuterungen siehe AnhangProgrammerläuterungen Täglich aktualisierte Programminformationen im ARD- und PHOENIX-Text ab Tafel 480, im ZDF-Text ab Tafel 740 3 Mi 23. Okt 0.00 Nachrichten 7.00 Nachrichten 16.00 Nachrichten 0.05 Deutschlandfunk Radionacht 7.05 Presseschau 16.10 Büchermarkt 0.05 Fazit Aus deutschen Zeitungen 16.30 Nachrichten Kultur vom Tage 7.15 Interview 16.35 Forschung aktuell (Wdh.) 7.30 Nachrichten 17.00 Nachrichten 1.00 Nachrichten 7.35 Börse 17.05 Wirtschaft und Gesellschaft 1.05 Kalenderblatt 7.56 Sport 17.30 Nachrichten anschließend ca. 8.00 Nachrichten 17.35 Kultur heute 1.10 Hintergrund 8.10 Interview Berichte, Meinungen, Rezensionen (Wdh.) 8.30 Nachrichten 18.00 Nachrichten anschließend ca. 8.35 Wirtschaftsgespräch 18.10 Informationen am Abend 1.30 Tag für Tag 8.47 Sport 18.40 Hintergrund Aus Religion und Gesellschaft 8.50 Presseschau 19.00 Nachrichten (Wdh.) Aus deutschen und 19.05 Kommentar 2.00 Nachrichten ausländischen Zeitungen 19.15 Zur Diskussion 2.05 Kommentar 9.00 Nachrichten 20.00 Nachrichten (Wdh.) 9.05 Kalenderblatt 20.10 Aus Religion und Gesellschaft anschließend ca. Vor 175 Jahren: Von der Weide ins Heiligtum 2.10 Aus Religion Die französische Schauspielerin Das Bild des biblischen Hirten und Gesellschaft Sarah Bernhardt geboren Von Tobias Kühn Thema siehe 20.10 Uhr 9.10 Europa heute 20.30 Lesezeit 2.30 Lesezeit 9.30 Nachrichten Judith Kuckart liest aus ihrem Roman Mit Judith Kuckart, 9.35 Tag für Tag ,Kein Sturm, nur Wetter’ (2/2) siehe 20.30 Uhr Aus Religion und Gesellschaft 21.00 Nachrichten 2.57 Sternzeit 10.00 Nachrichten 21.05 Querköpfe 3.00 Nachrichten 10.10 Länderzeit Kabarett, Comedy & schräge Lieder 3.05 Weltzeit Die Debatte über den Hausbesuch bei Thomas Pigor (Wdh.) Rundfunkbeitrag Bei dem, der singt anschließend ca. Der öffentlich-rechtliche Rundfunk Von Sabine Fringes 3.30 Forschung aktuell unter Veränderungsdruck 22.00 Nachrichten (Wdh.) Am Mikrofon: Michael Roehl 22.05 Spielweisen anschließend ca. Hörertel.: 0 08 00 44 64 44 64 Auswärtsspiel – Konzerte aus Europa 3.52 Kalenderblatt [email protected] 4.00 Nachrichten 10.30 Nachrichten JOHANN SEBASTIAN BACH 4.05 Radionacht Information 11.00 Nachrichten ,Wer weiß, wie nahe mir mein Ende’, 4.30 Nachrichten 11.30 Nachrichten BWV 27 | ,Ach wie flüchtig, ach wie 5.00
Recommended publications
  • Dancing to the Beat of the Diaspora: Musical Exchanges Between Africa and Its Diasporas
    African and Black Diaspora: An International Journal ISSN: 1752-8631 (Print) 1752-864X (Online) Journal homepage: http://www.tandfonline.com/loi/rabd20 Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas Paul Tiyambe Zeleza To cite this article: Paul Tiyambe Zeleza (2010) Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas, African and Black Diaspora: An International Journal, 3:2, 211-236, DOI: 10.1080/17528631.2010.481976 To link to this article: http://dx.doi.org/10.1080/17528631.2010.481976 Published online: 23 Jun 2010. Submit your article to this journal Article views: 398 View related articles Citing articles: 1 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rabd20 Download by: [US International University - Africa] Date: 01 November 2016, At: 01:09 African and Black Diaspora: An International Journal Vol. 3, No. 2, July 2010, 211Á236 Dancing to the beat of the diaspora: musical exchanges between Africa and its diasporas Paul Tiyambe Zeleza* Loyola Marymount University of Los Angeles, Los Angeles, California, USA This essay examines the complex ebbs and flows of musical exchanges between Africa and its diasporas. Specifically, it focuses on musical engagements between, on the one hand, the Caribbean and West Africa and, on the other, the United States and Southern Africa. It argues that the influence of diasporan music on modern African music, especially popular music, has been immense. These influences and exchanges have created a complex tapestry of musical Afro- internationalism and Afro-modernism and music has been a critical site, a soundscape, in the construction of new diasporan and African identities.
    [Show full text]
  • UNSUNG: South African Jazz Musicians Under Apartheidunsung
    UNSUNG: South African Jazz Musicians under Apartheid outh African jazz under apartheid has in recent years been the subject of numerous studies. The main focus, however, has hitherto been on the musicians who went into exile. Here, for the first time, those who stayed behind are allowed to tell their stories: the stories of musicians from across the colour spectrum who helped to keep their art alive in South Africa during the years of state oppression. CHATRADARI DEVROOP &CHRIS WALTON CHATRADARI Unsung South African Jazz Musicians under Apartheid EDITORS Chatradari Devroop & Chris Walton UNSUNG: South African Jazz Musicians under Apartheid Published by SUN PReSS, an imprint of AFRICAN SUN MeDIA (Pty) Ltd., Stellenbosch 7600 www.africansunmedia.co.za www.sun-e-shop.co.za All rights reserved. Copyright © 2007 Chatradari Devroop & Chris Walton No part of this book may be reproduced or transmitted in any form or by any electronic, photographic or mechanical means, including photocopying and recording on record, tape or laser disk, on microfilm, via the Internet, by e-mail, or by any other information storage and retrieval system, without prior written permission by the publisher. First edition 2007 ISBN: 978-1-920109-66-9 e-ISBN: 978-1-920109-67-7 DOI: 10.18820/9781920109677 Set in 11/13 Sylfaen Cover design by Ilse Roelofse Typesetting by SUN MeDIA Stellenbosch SUN PReSS is an imprint of AFRICAN SUN MeDIA (Pty) Ltd. Academic, professional and reference works are published under this imprint in print and electronic format. This publication may be ordered directly from www.sun-e-shop.co.za Printed and bound by ASM/USD, Ryneveld Street, Stellenbosch, 7600.
    [Show full text]
  • 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.
    [Show full text]
  • Western Cape Jazz Legends
    Western Cape Jazz Legends Foreword The Western Cape Jazz legends which unveiled on 17 March 2011 pays homage to the rich jazz heritage of the Western Cape. The publishing of the Western Cape Jazz Legends Booklet gives a wider audience access to an appreciation of the contribution of these musicians who often plied their trade under the most difficult circumstances and with very little material reward. The short biographies are informed by existing literature and interviews conducted with family members. The list is by no means comprehensive but it does indicate our resolve to give homage, to acknowledge, to preserve and to promote the rich musical heritage of the Western Cape. Documenting our musical history not only ensures that the impact of the role of these legends on the musical landscape of the Western Cape is captured for posterity, but also that their stories serve as a source of inspiration to aspiring musicians. This booklet represents an important step towards the building of a socially inclusive Western Cape. These Jazz Legends united us around our common love for music and the unique sounds of Cape Town Jazz. Let’s celebrate their achievement and resolve that we will continue to build on this initiative to acknowledge our musicians who created musical melodies which filled us with joy, often leaving us in awe of their amazing talent and with a deep sense of self-worth and cultural warmth. Dr IH Meyer Minister of Cultural Affairs and Sport Western cape Government. Western Cape Jazz Legends 1 2 Western Cape Jazz Legends IntroductIon The Department of Cultural Affairs and Sport has embedded in its vision, “… A socially cohesive and creative Western Cape.” The arts and culture component of the department has embraced this vision and the Western Cape Jazz Legends project is reflective thereof.
    [Show full text]
  • 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.
    [Show full text]
  • Redefining Ghanaian Highlife Music in Modern Times
    American Journal of Humanities and Social Sciences Research (AJHSSR) 2020 American Journal of Humanities and Social Sciences Research (AJHSSR) e-ISSN :2378-703X Volume-4, Issue-1, pp-18-29 www.ajhssr.com Research Paper Open Access Redefining Ghanaian Highlife Music in Modern Times Mark Millas Coffie (Department of Music Education/ University of Education, Winneba, Ghana) ABSTRACT: Highlife, Ghana's first and foremost acculturated popular dance music has been overstretched by practitioners and patrons to the extent that, presently, it is almost impossible to identify one distinctive trait in most of the modern-day recorded songs categorised as highlife. This paper examines the distinctive character traits of Ghana's highlife music, and also stimulates a discourse towards its redefinition for easy recognition and a better understanding in modern times. Employing document review, audio review, interviews, and descriptive analysis, the paper reveals that the instrumental structure, such as percussion, guitar, bass, and keyboard patterns, is key in categorising highlife songs. The paper, however, argues that categorising modern-day recorded highlife songs based on timeline rhythms and drum patterns alone can be confusing and deceptive. The paper, therefore, concludes that indigenous guitar styles such as the mainline, yaa amponsah, dagomba, sikyi, kwaw, ᴐdᴐnson among others should be the chief criterion in recognising and categorising modern-day recorded highlife songs. KEYWORDS: Category, Highlife, Modern-day, Recognition, Timeline rhythm, Indigenous guitar styles I. INTRODUCTION Highlife music, one of the oldest African popular music forms originated from the Anglophone West African countries such as Ghana, Nigeria, Sierra Leone, and Liberia. However, the term highlife was coined in Ghana around the 1920s (Collins, 1994).
    [Show full text]
  • " African Blues": the Sound and History of a Transatlantic Discourse
    “African Blues”: The Sound and History of a Transatlantic Discourse A thesis submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Saul Meyerson-Knox BA, Guilford College, 2007 Committee Chair: Stefan Fiol, PhD Abstract This thesis explores the musical style known as “African Blues” in terms of its historical and social implications. Contemporary West African music sold as “African Blues” has become commercially successful in the West in part because of popular notions of the connection between American blues and African music. Significant scholarship has attempted to cite the “home of the blues” in Africa and prove the retention of African music traits in the blues; however much of this is based on problematic assumptions and preconceived notions of “the blues.” Since the earliest studies, “the blues” has been grounded in discourse of racial difference, authenticity, and origin-seeking, which have characterized the blues narrative and the conceptualization of the music. This study shows how the bi-directional movement of music has been used by scholars, record companies, and performing artist for different reasons without full consideration of its historical implications. i Copyright © 2013 by Saul Meyerson-Knox All rights reserved. ii Acknowledgements I would like to express my utmost gratitude to my advisor, Dr. Stefan Fiol for his support, inspiration, and enthusiasm. Dr. Fiol introduced me to the field of ethnomusicology, and his courses and performance labs have changed the way I think about music.
    [Show full text]
  • Play and Irony in the Kwaito Music of Post-Apartheid South Africa
    Play and Irony in the Kwaito Music of Post-Apartheid South Africa Tuulikki Pietilä “Kwaito” is a form of South African youth music that emerged at the time when the oppressive apartheid regime was coming to an end in the early 1990s. While both popular press and academic critics, as well as older generations, were morally concerned by the apparent hedonism and lack of socio-political awareness inherent in kwaito, township youth embraced it as an expressive mode of popular music that reflected their life and aspirations. This chapter investigates the humorous, comedic, and ironic aspects of early kwaito, arguing that they were central factors in young people’s passionate attachment to it. The subsequent evolution of kwaito and changes in society led some fans to lose their interest in kwaito; for them, contemporary kwaito is not a source of enjoyment anymore, but rather a source of parody. “Kwaito” is a popular music genre that emerged in South Africa in the early 1990s. It combined foreign musical elements from hip hop, house, and ragamuffin with earlier South African music styles, such as kwela, mbaqanga, marabi, and bubblegum music (Boloka 98-99; Coplan 12; Steingo, “South African” 336). Even though a musical hybrid, kwaito fast became accepted as a distinctive expressive mode of youth in the black townships of South Africa. It is foremost a dance music with an ambience of fun and enjoyment. Its uninhibited indulgence in sparsely clad beautiful bodies, flamboyant fashions, and sensual and skillful dancing was suddenly and widely visible, as controls over media were loosened in the post-apartheid era.
    [Show full text]
  • Soweto, the S“ Torybook Place”: Tourism and Feeling in a South African Township Sarah Marie Kgagudi University of Pennsylvania, [email protected]
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Soweto, The s“ torybook Place”: Tourism And Feeling In A South African Township Sarah Marie Kgagudi University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Linguistics Commons, Music Commons, and the Social and Cultural Anthropology Commons Recommended Citation Kgagudi, Sarah Marie, "Soweto, The s“ torybook Place”: Tourism And Feeling In A South African Township" (2019). Publicly Accessible Penn Dissertations. 3320. https://repository.upenn.edu/edissertations/3320 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3320 For more information, please contact [email protected]. Soweto, The s“ torybook Place”: Tourism And Feeling In A South African Township Abstract This dissertation deals with the role of tour guides in creating and telling the story of Soweto – a township southwest of Johannesburg, South Africa. The ts ory speaks of a place afflicted by poverty because of its history of segregation during apartheid but emerging out of these struggles to lead its nation in a post-apartheid culture. I argue that Soweto’s story was created out of a governmental mandate for the township to become one of Gauteng’s tourism locations, and out of a knowledge that the transformation story from apartheid to a ‘rainbow nation’ would not sell in this context. After being created, Soweto’s story was affirmed through urban branding strategies and distributed to tourism markets across the world. It is a storybook – a narrative with a beginning, a climax, and an ending; it is easily packaged, marketed and sold to individuals from across the world, and this is done through the senses and emotions.
    [Show full text]
  • South African Music in Global Context
    South African Music in Global Perspective Gavin Steingo Assistant Professor of Music University of Pittsburgh South African Music * South African music is a music of interaction, encounter, and circulation * South African music is constituted or formed through its relations to other parts of the world * South African music is a global music (although not evenly global – it has connected to different parts of the world at different times and in different ways) Pre-Colonial South African Music * Mainly vocal * Very little drumming * Antiphonal (call-and-response) with parts overlapping * Few obvious cadential points * Partially improvisatory * “Highly organized unaccompanied dance song” (Coplan) * Instruments: single-string bowed or struck instruments, reed pipes * Usually tied to social function, such as wedding or conflict resolution Example 1: Zulu Vocal Music Listen for: * Call-and-Response texture * Staggered entrance of voices * Ending of phrases (they never seem very “complete”) * Subtle improvisatory variations Example 2: Musical Bow (ugubhu) South African History * 1652 – Dutch settle in Cape Town * 1806 – British annex Cape Colony * 1830s – Great Trek * 1867 – Discovery of diamonds * 1886 –Discovery of gold * 1910 – Union of South Africa * 1913 – Natives’ Land Act (“natives” could only own certain parts of the country) * 1948 – Apartheid formed * Grand apartheid (political) * Petty apartheid (social) * 1990 – Mandela released * 1994 – Democratic elections Early Colonial History: The Cape of Good Hope Cape Town * Dutch East India Company
    [Show full text]
  • Ladysmith Black Mambazo Study Guide 0809.Indd
    2008-2009 Season SchoolTime Study Guide Ladysmith Black Mambazo Friday, March 13, 2009 at 11 a.m. Zellerbach Hall, University of California, Berkeley Welcome to SchoolTime! On Friday, March 13, 2009, at 11 am, your class will attend a performance of South Africa’s most renowned vocal group, Ladysmith Black Mambazo. Founded in the early 1960s by South African visionary singer and activist Joseph Shabalala, Ladysmith Black Mambazo is considered a national treasure in their native country. The group has revolutionized traditional South African choral-group singing with their distinctive version of isicathamiya (Is-cot-a-MEE-ya), which comes from the powerfully uplifting songs of Zulu mine workers popularized during the apartheid era. Using This Study Guide This study guide will help engage your students with the performance and enrich their fi eld trip to Zellerbach Hall. Before coming to the performance, we encourage you to: • Copy the student resource sheet on page 2 & 3 and hand it out to your students several days before the show. • Discuss the information on pages 4- 5 about the performance and the artists with your students. • Read to your students from the About the Art Form on page 6 and About South Africa sections on page 8. • Engage your students in two or more of the activities on pages 11-12. • Refl ect with your students by asking them guiding questions, which you can fi nd on pages 2, 4, 6 & 8. • Immerse students further into the art form by using the glossary and resource sections on pages 12-13. At the performance: Your students
    [Show full text]
  • Assessing the Aftermath Area Retailers, Venues, Labels Feel Impact
    $4.95 (U.S.), $5.95 (CAN.), £3.75 (U.K.) á IN THIS ISSUE DK 63.50, DM22, 12,000 Lire Qa o) w Z PRflikJ dHF *** *** ************** 3-DIGIT 908 BI GEE4E M740M099 90 OdF 0331 MAR26941 03 MONTY GREENLYGRE APT A 3740 ELM 4°i? LONG BEAC H, CA 90807 ® flUE S TRO .%iwv FOLLOWS PAGE 24 THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO AND HOME ENTERTAINMENT MAY 16, 1992 ADVERTISEMENTS L.A. Riots: Assessing The Aftermath Video Buying Area Retailers, Venues, Labels Feel Impact Groups, Distribs This story was prepared by Craig shaw district of the city. well as five mom -and-pop stores: De- Rosen, Chris Morris, Deborah Rus- Record stores that were complete- licious Records on Vermont Avenue, Butting Heads sell, Jim McCullaugh, and Earl ly destroyed included at least two Discoteca Bernal on Vermont, a Mid - Paige. chain outlets, Wherehouse Entertain- City Records outlet on Manchester BY EARL PAIGE ment's store at La Brea Avenue and Boulevard, Ruby's Records on Cren- and PAUL SWEETING LOS ANGELES-The rioting and ar- Rodeo Road and Tempo Records and shaw, and Just for the Records on son that destroyed portions of Los Tapes' Crenshaw Boulevard store, as (Continued on page 25) LOS ANGELES -The uneasy Angeles after the April 29 acquittal partnerships between video retail- of four L.A. police officers in the vid- er buying groups and distributors LIDELL TOWNSELL & M.T.F. eotaped beating of motorist Rodney have become more strained as HARMONY King rocked the music and home vid- Dion's Language Is Universal competition between the buying Lidell Townsell and M.T.F.
    [Show full text]