Beyond Memory: Recording the History and Memories of South
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“Too Late for Mama” Lyrics by Brenda Fassie (South Africa)
“Too Late For Mama” Lyrics By Brenda Fassie (South Africa) Verse 1 Ten kilometers barefooted in the bush Started raining on the way to fetch some water Poor woman had a baby on her back Was struck by lightning on her way To fetch some water... She tried hiding under a tree to save her child Poor woman had no place to go Lightning caught her with her baby on her back Friends, relatives ran for her Ten kilometres barefooted in But it was too late the bush It was too late... too late for mama Husband came running to the scene yeah, Started raining Poor man held his dead wife in his arms, on the way to fetch some Eyes full of tears not believing the nightmare, Knelt down and prayed for this was a painful loss water Chorus Too late... too late for mama Oh mama mama, poor mama, It was too late... too late Verse 2 She tried hiding under a tree to save her child Poor woman had no place to hide Lightning caught her with her baby on her back Friends, relatives ran for her Chorus But it was too late (mama) Too late for mama (mama) Too late (mama) Too late for mama (mama) Oh mama mama (mama) Oh poor mama (mama) It was too late (mama) Too late for mama (mama) Oh mama (mama) Mama with her little baby (mama) She’s gone (mama) It was too late (mama) She’s gone (mama) Oh poor mama (mama) Too late for mama Too late! Too late! Too late! (mama) (mama) Too late for mama Oh mama (mama) Too late for mama Too late! Too late! Oh mama mama My poor mama It was too late It was too late Mama with her little baby (mama) She’s gone (mama) She’s gone (mama) My mama mama My poor mama .. -
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. -
Music to Move the Masses: Protest Music Of
The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Music to Move the Masses: Protest Music of the 1980s as a Facilitator for Social Change in South Africa. Town Cape of Claudia Mohr University Dissertation submitted in partial fulfilment of the requirements for the degree of Masters of Music, University of Cape Town. P a g e | 1 A project such as this is a singular undertaking, not for the faint hearted, and would surely not be achieved without help. Having said this I must express my sincere gratitude to those that have helped me. To the University of Cape Town and the National Research Foundation, as Benjamin Franklin would say ‘time is money’, and indeed I would not have been able to spend the time writing this had I not been able to pay for it, so thank you for your contribution. To my supervisor, Sylvia Bruinders. Thank you for your patience and guidance, without which I would not have been able to curb my lyrical writing style into the semblance of academic writing. To Dr. Michael Drewett and Dr. Ingrid Byerly: although I haven’t met you personally, your work has served as an inspiration to me, and ITown thank you. -
SA Yearbook 10/11: Chapter 4
ARTS AND CULTURE SOUTH AFRICA YEARBOOK 2010/11 2010/11 ARTS AND CULTURE 4 The Department of Arts and Culture is tasked Arts and culture organisa- with creating an environment conducive to the tions and institutions growth, development and flowering of South National Heritage Council Africa’s arts, culture and heritage land- (NHC) scape. The NHC, a statutory body that aims to The department leads and coordinates bring equity to heritage promotion and efforts to promote national identity and conserva tion, was officially constituted on social cohesion. 26 February 2004 in terms of the NHC Act, The 2010 FIFA World CupTM provided a 1999 (Act 11 of 1999). The council creates unique opportunity for the diverse South an environment for preserving and promot- African heritage, arts, crafts and cultural ing South African heritage. sectors to come to the fore. In July 2010, the NHC and Freedom A substantial investment was made by the Park held the Intergenerational Dialogues department to integrate these elements into for the celebration of Nelson Mandela Day the World Cup, as well as to amplify them as at the Freedom Park in Pretoria. The part of the South African experience offered Department of Arts and Culture and the to the world. NHC have embarked on the development The Department of Arts and Culture of the National Liberation Heritage Route, funded 21 World Cup Arts and Culture- which will highlight the contribution of related projects totalling R59 million and set national heroes to the struggle for freedom. aside R127 million for infrastructure devel- opment projects, which were regarded as South African Heritage 2010 legacy projects. -
2015-Fringe-Programme 2.Pdf
Dance 153 Physical Theatre 160 Poetry 168 Illusion 171 Drama 173 Comedy 198 Family Fare 226 Cabaret /Music Theatre 231 The Festival organisers have made every effort to ensure that Classical/Recital 235 everything printed in this publication is accurate. However, mistakes and changes do occur, and we do not accept any responsibility for Contemporary Music 236 them or for any inaccuracies or misinformation within advertisements. Artists provide images, logos, text and advertisements and we accept Film 241 no responsibility for the quality of reproduction in this publication. Visual Art 243 Pick up the FESTIVAL POCKET PLANNER for up-to-date info on all Festival events – cancellations, new shows, additional performances, changes and amendments. Spiritfest 254 Key to Fringe Listings Title of Presenting production company Indicates a première ~ Age recommendation ALL = All ages PG = Parental guidance INTERPLAY P 16/13+ etc. = Ages 16/13 & above Thetha Group ~ ALL Production and reason for recommendation: image Fafa’s husband has recently passed away leaving her S = Sex; V = Violence; hundreds of pieces of his artwork. Happy-go-lucky L = Language; P = Prejudice; Webster can’t find a job and makes his living stealing. M = Mature themes Interplay follows the story of Fafa and Webster as they Ad = Adults only discover how the Internet can create opportunities for them. Interplay features a bright young cast and director NFC = Not for very young children from Joza Township, including multi award winning Xolela Tsili. Credits Director: Thozi Ngeju -
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 -
University of Zululand Master of Music
UNIVERSITY OF ZULULAND INDIGENOUS FEATURES INHERENT IN AFRICAN POPULAR MUSIC OF SOUTH AFRICA A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF MUSIC in the department of Music at the University of Zululand by THULASIZWE NKABINDE DECEMBER 1997 INDIGENOUS FEATURES INHERENT IN POPULAR MUSIC OF SOUTH AFRICA SUPERVISOR: PROF MK XULU DECLARATION The whole of this work is a product of my original thought and research. Where the contrary is found that willl always be acknowledged in full. THULASIZWE NKABINDE ACKNOWLEDGMENTS I would like to express my gratitude to Professor Musa ~IU for his patience, advice and guidance, without which this project would have been all the more difficult. My deepest appreciate goes to my father, Mr. Gibson Siyabonga Nkabinde, my wife Beauty and all my children, Khayelihle, Phelelani and Banele for all their support and encouragement, and to Ms Brenda Trimmel for her endless hours of typing and perfectionist care in the format of this project. I would also like to thank all those people who, in one way or another, made this project reach completion. They are: Professor Joseph Bhekizizwe Shabalala of the Ladysmith Black Mambazo, Marks Mankwane of the Makgona Tsohle Band, Mahlathini and the Mahotella Queens, Yvonne Chaka Chaka, Simon Buthelezi, Bongani Hlatshwayo, Print and Electronic Media, the entire SABC staff and the SABC Choristers, not forgetting the enormous support from the audience, the music lovers. DEDICATION This thesis is dedicated to my late mother Mrs Thembakuye Nkabinde who gave me all the support to pursue my career. ABSTRACT The central aim of this study is to identify those features in the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens that derive from Indigenous African music and show how they have been transformed to become part of popular idioms. -
National Archives of Namibia Findaid 2/237
National Archives of Namibia Findaid 2/237 Preliminary Findaid 2/237 A.1051 Simon Wilkie Collection Compiled by Werner Hillebrecht 2015 National Archives of Namibia Preliminary Findaid 2/237: A.1051 Simon Wilkie Collection Compiled by Werner Hillebrecht Windhoek, 2015 © National Archives of Namibia Attribution-NonCommercial-ShareAlike CC BY-NC-SA Republic of Namibia Ministry of Education, Arts and Culture National Archives of Namibia P/Bag 13250 Windhoek Namibia Tel. +264–61–2935211 (switchboard), 2935210 or 2935208 (reading room) Fax +264–61–2935207 [email protected] ii Findaid 2/237 Simon Wilkie Collection A.1051 Private Accession A.1051 Simon Wilkie Collection Introduction Simon Wilkie, a Namibian film producer, donated a large part of his private audiovisual archives to the National Archives in August 2015. The collection consisted of 1342 data carriers (including redundant duplicates) of audiovisual recordings, in part published videos by Simon Wilkie and other filmmakers, and in part raw footage by Simon Wilkie and his production company Mubasen. Due to the unavailability of adequate replay equipment and inadequate labelling of the material, it has so far only been possible to catalogue the published videos and a few labelled unpublished VHS videos and copies (the latter only by provided title without further detail). These videos were shelved with the audiovisual collection in the ADV, MV and SV series. Not more than 2 copies of the same video were taken into the collection; third and further copies were take to the surplus for exchange. The remainder of uncatalogued raw footage was taken into safe storage for future processing. -
Joy of Jazz Festival, Grahamstown 2004
Standard Bank Jazz Festival, Grahamstown 2015 (Incorporating the Standard Bank National Youth Jazz Festival) Support funding from: The Austrian Embassy Brian Meese Dutch Fund of the Performing Arts The French Institute of South Africa Paul Bothner Music ProHelvetia Johannesburg The Royal Netherlands Embassy SAfm SAMRO Spedidam Swedish Arts Council / Swedish Jazz Federation / Mary Lou Meese Youth Jazz Fund Swiss Arts Council The US Embassy Thursday 2 July Bokani Dyer Quintet Contemporary South African Jazz meets Swiss precision Bokani Dyer has had a meteoric rise in the jazz world, winning the Standard Bank Young Artist Award at age 25 and garnering invitations to international festivals such as the London Jazz Festival. As part of his extensive 2014 European tour he performed with four gifted representatives of the Swiss jazz scene whom he had met during his residency at the Bird’s Eye Jazz Club in Basel, and the vitality of contemporary South African Jazz meets Swiss precision and musicianship in this outstanding collaboration. Dyer’s music is all-encompassing, embracing his roots as well as the contemporary musical landscape of South Africa. Bokani Dyer (piano), Donat Fisch (sax - CH), Matthias Spillmann (trumpet – CH), Stephan Kurrman (bass - CH), Norbert Pfammatter (drums - CH) DSG Hall Thursday 2 July 17:00 R80 Carlo Mombelli & the Storytellers Manipulated bass and sound design “Disconcertingly beautiful” was the comment on Carlo Mombelli’s playing from The Jazz Times – the world’s leading jazz periodical. The US Bass Player Magazine’s view was that “Avant-garde bass-focused jazz composition has rarely sounded so gorgeous....Once in a while an artist comes along who produces music unlike anything you’ve heard.” Having played sold out concerts over the past year to much critical acclaim, this ensemble features the unique composer/bassist Carlo Mombelli, known in South Africa for his cutting-edge voice-like playing style. -
Hugh Masekela
Elijah Star Hugh Masekela with Hugh Masekela Flugelhorn and Lead Vocals Abednigo Sibongiseni Zulu Bass Guitar Francis Manneh Edward Fuster Percussion and Backing Vocals Cameron John Ward Lead Guitar and Backing Vocals Randal Skippers Keyboards and Backing Vocals Lee-Roy Sauls Drums and Backing Vocals Garrick Quentin Van Der Tuin Sound Engineer Andrew Georgiou Senior Manager Rapelang Eugene Leeuw Band Manager PROGRAM. Set list will be announced from stage. Saturday, April 14 at 7 PM* Zellerbach Theatre *INSIGHT Event: Stay after the performance for a chat with Hugh Masekela. 24 | ABOUT THE ARTISTS Hugh Masekela (Trumpet) Legendary South African trumpeter Hugh Masekela is an innovator in the world music and jazz scene and continues to tour the world as a performer, composer, producer and activist. This iconic artist is best known for his Grammy®-nominated hit single “Grazing in the Grass,” which sold over 4 million copies in 1968 and made him an international star. He later played an integral role in Paul Simon’s tour behind the classic album Graceland, which was one of the first pop records to introduce African music to a broader public. Masekela was born on April 4, 1939 in Witbank, near Johannesburg. Masekela showed musical ability from a young age and began playing piano as a child. Inspired by the movie Young Man with a Horn (in which Kirk Douglas plays a character modeled after American jazz trumpeter Bix Beiderbecke), Masekela began to play the trumpet. He was encouraged by anti-apartheid activist Father Trevor Huddleston, who helped him acquire an instrument. As Apartheid tensions rose in 1960, Masekela escaped South Africa and enrolled in London's Guildhall School of Music. -
The Use of Personal Names in Respect of the Living-Dead Within Traditional Polygynous Families in Kwamambulu, Kranskop. Evangeli
UNIVERSITY OF KWAZULU NATAL PIETERMARITZBURG THE USE OF PERSONAL NAMES IN RESPECT OF THE LIVING-DEAD WITHIN TRADITIONAL POLYGYNOUS FAMILIES IN KWAMAMBULU, KRANSKOP. EVANGELINE BONISIWE NGIDI i THE USE OF PERSONAL NAMES IN RESPECT OF THE LIVING-DEAD WITHIN TRADITIONAL POLYGYNOUS FAMILIES IN KWAMAMBULU, KRANSKOP. By Evangeline Bonisiwe Ngidi (BA Hons, MA (UNP), HDE (TUT) Submitted in fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the School of Arts College of Humanities University of KwaZulu Natal Pietermaritzburg. Supervisor: Prof A. Koopman December 2012 ii DECLARATION I, Evangeline Bonisiwe Ngidi, student number 942405624, declare that this thesis is my own work except where otherwise indicated. It has not been submitted in part or as a whole for a degree at any University. ……………………… ………………………… Signature Date iii ACKNOWLEDGEMENTS I wish to extend my words of appreciation and my gratefulness to the following people who supported me through this endeavour. My supervisor, Prof. A. Koopman, for his criticisms, valuable insights and enduring support in making this thesis what it is. My late grandmother Fikisiwe Thembeni Ngidi (MaChamane) who was a mother, a best friend, an inspiration to me and contributed a great deal in the collection of the data involved in this study. Unfortunately she could not see the completion. My lovely daughter Thokola Zungu for her steadfast love and wonderful support which kept me going throughout this study. My little sister Buhle, cousin Sphelele, my mother Jabu and the Ngidi family for their enduring support. My friends at the Durban University of Technology (ML Sultan Campus) and my colleagues at UKZN School Arts – Pietermaritzburg and Howard College Campuses. -
Collins Chabane
TRIBUTE EDITION May 2010 New Copyright Laws Owen Dean & others explain Kippie Moeketsi Remembered Nkosi sikelel’ iAfrika Unleashing the Power of Song Collins Chabane His Musical Journey Message from the CEO to ensure that the juristic form of simply: we propose a separate law companies limited by guarantee, an that is designed, from start to finish, to old but important form of a not-for- protect traditional knowledge. profit public company, is appropriately Furthermore, it is our contention that translated and/or accommodated in copyright legislation is fast becoming the new Companies Act. The effect of a “suitcase” of things that are loosely not having that done would have been related but are not necessarily a complete paralysis of entities such as coherent. Needless to say, that this kind eadership as a concept is SAMRO in that they would not have a of approach is dangerous in that the one of the most debated and legal mechanism to distribute income law, by its nature, has to be interpreted probably one of the most by way of royalties and other forms to as a whole and not as a conglomeration written-about subjects. Since their members. That would have gone Ltimewis for that reason that we have of stand-alone concepts and principles. to the heart of collective administration Forcing the protection of traditional dedicated this issue of SAMRO Notes as we know it. to celebrate the leadership success of knowledge into the existing copyright one of our own, the Minister in the Other examples of such active legislation, disjointed as it already is, is Presidency, Collins Chabane.