Legendary DRUM Photogra- Pher Jürgen Schadeberg, Who Now Lives in Spain, Talks to Us About His Memories of Madiba and Taking Ic

Total Page:16

File Type:pdf, Size:1020Kb

Legendary DRUM Photogra- Pher Jürgen Schadeberg, Who Now Lives in Spain, Talks to Us About His Memories of Madiba and Taking Ic News THROUGH HIS LENS Legendary DRUM photogra- pher Jürgen Schadeberg, who now lives in Spain, talks to us about his memories of Madiba and taking iconic anti-apartheid photographs – a major part of the magazine’s legacy BY S’THEMBISO HLONGWANE PICTURES: ALEXANDER SNELLING CLAUDIA SCHADEBERG DRIVE through vast groves of infection and we wander down Jürgen’s fragrant olive and orange trees that memory lane of Madiba moments. seem to stretch to the horizon of “Whenever we met after he was released this beautiful part of Spain’s west from prison he would say to me, ‘How coast. I’d flown to the coastal city are you? Haven’t you retired yet?’ of Valencia and driven into the “Whenever Claudia and I went to Iinterior to the tiny village of Barx where Madiba for lunch he always asked me DRUM’s iconic former photographer why I wanted to visit an old man when Jürgen Schadeberg, who exposed the I probably had other more important iniquities of the apartheid regime through things to do.” the lens of his camera, lives with his wife Jürgen and Claudia smile at each Claudia. The searing 37 degree heat is a other. “Another memorable time was sharp contrast to the icy Joburg winter I’d when Claudia and I were invited to left behind 12 hours previously. Madiba’s Soweto house for a New Year’s I park the car on the steep driveway Eve party in 1991, his first since his of their comfortable two-storey villa, release,” Jürgen continues. which nestles among the foothills of an “We arrived early and sat on the imposing mountain range, and Jürgen terrace with Madiba chatting about the (82) comes out to welcome me. ’50s and recalling memories of Henry I’m here to talk to him about the Nxumalo, the courageous DRUM years he spent fearlessly chronicling the writer with whom I worked. We also injustices of the apartheid system along reminisced about Sophiatown and some with crusading journalists such as Henry of the people of that period. Nxumalo, William “Bloke” Modisane, “We then went into the lounge, Can Themba, Es’kia Mphahlele, Lewis which was now filled with a host of Nkosi, Todd Matshikiza, Robert Resha, former Robben Island prisoners such Arthur Maimane, Alf Kumalo, Ernest as Walter Sisulu, Andrew Mlangeni MAIN PICTURE: Former DRUM photo- journalist Jürgen Schadeberg at home Cole and Bob Gosani, each of whom and Bishop Tutu. Winnie made a very in Barx, Spain, with his portrait of molded journalism in the ’50s into an good buffet dinner and we sat at a table Nelson Mandela, taken a few months investigative tool to expose the hei- opposite Madiba and Winnie as we after his release from prison. nous atrocities of South Africa under toasted in the New Year.” LEFT: Jürgen having coffee at a Barx National Party rule. These are the treasured memories village restaurant with DRUM journalist S’thembiso Hlongwane. A newscast on the radio gives an Jürgen and Claudia took with them when INSET and BELOW LEFT: A ‘50s DRUM update on the health of Nelson Man- they left South Africa many years ago. cover and Jürgen’s pic of Trevor dela who is still in hospital with a lung (Turn over) Huddleston. 20 22 AUGUST 2013 www.drum.co.za www.drum.co.za 22 AUGUST 2013 21 | | News (From previous page) Johannesburg on the RIGHT: Jürgen’s wife JÜRGEN and Claudia moved to Spain six first floor behind a Claudia handles his months ago, leaving behind his home town of door with a sign that international gallery Berlin, Germany. “I like the Mediterranean life- read ‘The African shows and sales of style and climate and the Spanish people are Drum, Africa’s Lead- his archival prints. They met in London friendly,” he says in answer to my question why ing Magazine’. in the ‘70s and got they had moved from his homeland. “In a room furnish- married in 1984. “I’ve been globe-trotting quite a bit. I lived ed with two desks and Their son Charlie in France for four years, in London for 20 a number of filing was born in Joburg years, in New York for a year and in Berlin cabinets, was the edi- in 1986. BELOW: Jürgen shows DRUM most recently for two years. City life is nice but tor, Bob Crisp, a well- journalist S’thembiso I need time to reflect on my life’s journey and known and celebrated Hlongwane some of Barx offers me that.” South African crick- his archival prints Claudia, who handles all Jürgen’s international eter. Bob was a large from the heydays gallery shows and sales of his photographs – a man, a bit overweight of apartheid. lucrative form of income – says they’ve been and red faced,” Jür- swamped by media interview requests ever since gen continues. “I introduced Mandela was admitted to hospital. myself to him and his imme- “In a few days’ time a German TV crew is diate reply was, ‘When can coming,” she says. “After that we have to go to you start? We pay 10 shillings Baden in Germany where Jürgen will appear on per picture published’. a live chat show. Just a few days ago there was “Bob went over to one of another film crew here to do a magazine show the desks where a black man on Jürgen’s time with Mandela. It’s been busy.” was sitting behind a type- writer. ‘Come and meet BORN in Berlin, Germany, in 1931, Jürgen Henry Nxumalo, our chief worked as an apprentice photographer while journalist,’ he said. Henry, still in his teens. “My first job was to carry and who was wearing a bow tie, hold the photographic lights for Eric Krueger got up and greeted me with a who was a respected profes- big smile. ” An amusing memory is photographing singer sional photographer,” he says. Dolly Rathebe on a Johannesburg mine dump In 1950 Jürgen moved to THROUGH the years at clad only in a bikini.The two were arrested for Kensington, Johannesburg, It’s wonderful DRUM, Jürgen became a contravening the Immorality Act, which forbade to join his mother, Rosemarie, teacher and mentor to some interracial relationships. who had emigrated to SA. to have such of the most creative South In 1959 Jürgen left DRUM to become a free- The following year he memories African photographers such lance photographer. Five years later he felt he heard a “native” magazine as Bob Gosani, Ernest Cole could no longer live in apartheid South Africa called The African Drum was looking for a and, later, Peter Magubane. and left for London where he taught photo- photographer. “I was told they had no money, During these years he photographed many graphy and held photographic exhibitions. it would be an unsatisfactory position because historic and pivotal events, among them the they wrote about natives, the job would not be Defiance Campaign of 1952, the 1956 Treason JÜRGEN says he will always remember his time good for my future career and I would have to Trial, the Sophiatown removals of 1955, the at DRUM as special years. “DRUM’s crusad- work with natives,” Jürgen recalls with a chuckle. Sophiatown jazz and social scene, the Sharp- ing journalists shaped popular consciousness at “So perversely I thought to myself this was eville mass funerals in 1960 and took pictures a time when black voices in the media were sup- a good idea and I went to the offices to offer of Robben Island inmates. pressed,” he says. my services. The offices were in the centre of Some of the famous people he photographed He leans forward conspiratorially and adds, included Nelson Mandela, Walter Sisulu, Oliver “After the 1994 first non-racial elections many Tambo, Trevor Huddleston and Govan Mbeki. whites in South Africa, including the liberals, He also documented ’50s jazz legends such as said they had nothing to do with apartheid but Dolly Rathebe, Kippie when we had an office in the same building as Moeketsi, Thandi Klaas- the SA Associated Newspapers (the crusading en and Miriam Makeba. daily newspaper The Rand Daily Mail’s home) in downtown Joburg we were not allowed to use the main entrance. They deemed us unsavoury LEFT: Alexander Snelling, scum because we worked for DRUM, a black Jürgen’s new student, takes a picture on the publication,” he says with a hearty laugh. stone steps leading to the Finally, with a wink, he says: “Pass my hum- couple’s swimming pool. ble regards to all the DRUM journalists and the BOTTOM LEFT: Jürgen activists back home. It’s wonderful to have such and Claudia Schadeberg’s incredible memories,” he adds, looking wistfully home in the small village of Barx in southern Spain at the distant mountains. ■ is called El Oasis. [email protected] 22 | 22 AUGUST 2013 www.drum.co.za.
Recommended publications
  • Global Photographies
    Sissy Helff, Stefanie Michels (eds.) Global Photographies Image | Volume 76 Sissy Helff, Stefanie Michels (eds.) Global Photographies Memory – History – Archives An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-3006-4. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. This work is licensed under the Creative Commons Attribution-NonCommer- cial-NoDerivs 4.0 (BY-NC-ND) which means that the text may be used for non- commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contac- ting [email protected] © 2018 transcript Verlag, Bielefeld Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de Cover concept: Kordula Röckenhaus, Bielefeld Cover illustration: Sally Waterman, PastPresent No. 6, 2005, courtesy of the artist Proofread and typeset by Yagmur Karakis Printed by docupoint GmbH, Magdeburg Print-ISBN 978-3-8376-3006-0 PDF-ISBN
    [Show full text]
  • Thabiso Sekgala, HOMELAND 2018
    Repositorium für die Medienwissenschaft Marie-Hélène Gutberlet Presentness, Memory and History: Thabiso Sekgala, HOMELAND 2018 https://doi.org/10.25969/mediarep/1647 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Gutberlet, Marie-Hélène: Presentness, Memory and History: Thabiso Sekgala, HOMELAND. In: Sissy Helff, Stefanie Michels (Hg.): Global Photographies. Memory - History - Archives. Bielefeld: transcript 2018, S. 69– 88. DOI: https://doi.org/10.25969/mediarep/1647. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0 Attribution - Non Commercial - No Derivatives 4.0 License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0 Presentness, Memory and History: Thabiso Sekgala, “Homeland” MARIE-HÉLÈNE GUTBERLET South African photography has developed out of the relationship between both the socio-political history and the culture of remembrance of South Af- rica and the history of documentary photography. The photographs that have emerged in this geo-political context have been disseminated throughout the world and have become a part of the collective global memory in an unpar- alleled way, giving us reason to believe that it is these pictures, and not his-
    [Show full text]
  • Utopia As a Perspective: Reading Historical Strata in Guy Tillim’S Documentary Photo Essay Jo’Burg Series
    Utopia as a perspective: Reading historical strata in Guy Tillim’s documentary photo essay Jo’burg series Intern of Tokyo Metropolitan Museum of Photography Miki Kurisu Utopia as a perspective: Reading historical strata in Guy Tillim’s documentary photo essay Jo’burg series Miki Kurisu 1. Introduction This essay examines the Jo’burg series by Guy Tillim (1962-) which represents a post-apartheid cityscape between 2003 and 2007. Born in Johannesburg in 1962, Guy Tillim started his professional career in 1986 and joined Afrapix, a collective photo agency strongly engaged with the anti-apartheid movement in South Africa. He also worked for Reuters from 1986 to 1988 and then for Agence France Presse from 1993 to 1994. He has received numerous awards including Prix SCAM (2002), Higashikawa Overseas Photographer Award (2003), Daimler Chrysler Award for South African photography (2004) and Leica Oskar Barnack Award for his Jo’burg series. In addition, his works were ❖1 For Guy Tillim’s biography refer to ❖1 http://www.africansuccess.org/visuFiche. exhibited in both South Africa and Europe. The Jo’burg series highlights php?id=201&lang=en (Viewed on December 1st, 2013) Tillim’s critical approach to documentary photography in terms of subject matter, format and the portrayal of people. This series was chosen as an object of analysis out of other important works by equally significant South African photographers, such as Ernest Cole (1940-1990), Omar Badsha (1945-), David Goldblatt (1930-) and Santu Mofokeng (1956-) since the Jo’burg series enables us to follow the historical development of South African photography.
    [Show full text]
  • Umass Fine Arts Center Concert Hall
    umassumass finefine artsarts center center CENTERCENTER SERIESSERIES 2008–20092008–2009 1 1 2 3 2 3 playbill playbill 1 Paul Taylor Dance Company 11/13/08 2 Avery Sharpe Trio 11/21/08 3 Soweto Gospel Choir 12/03/08 1 Paul Taylor Dance Company 11/13/08 2 Avery Sharpe Trio 11/21/08 3 Soweto Gospel Choir 12/03/08 UMA021-PlaybillCover.indd 3 8/6/08 11:03:54 PM UMA021-PlaybillCover.indd 3 8/6/08 11:03:54 PM DtCokeYoga8.5x11.qxp 5/17/07 11:30 AM Page 1 DC-07-M-3214 Yoga Class 8.5” x 11” YOGA CLASS ©2007The Coca-Cola Company. Diet Coke and the Dynamic Ribbon are registered trademarks The of Coca-Cola Company. 2 We’ve mastered the fine art of health care. Whether you need a family doctor or a physician specialist, in our region it’s Baystate Medical Practices that takes center stage in providing quality and excellence. From Greenfield to East Longmeadow, from young children to seniors, from coughs and colds to highly sophisticated surgery — we’ve got the talent and experience it takes to be the best. Visit us at www.baystatehealth.com/bmp 3 &ALLON¬#OMMUNITY¬(EALTH¬0LAN IS¬PROUD¬TO¬SPONSOR¬THE 5-ASS¬&RIENDS¬OF¬THE¬&INE¬!RTS¬#ENTER 4 5 Supporting The Community We Live In Helps Create a Better World For All Of Us Allen Davis, CFP® and The Davis Group Are Proud Supporters of the Fine Arts Center! The work we do with our clients enables them to share their assets with their families, loved ones, and the causes they support.
    [Show full text]
  • ARCHIV-VERSION Dokserver Des Zentrums Für Zeithistorische Forschung Potsdam E.V
    ARCHIV-VERSION Dokserver des Zentrums für Zeithistorische Forschung Potsdam e.V. http://zeitgeschichte-digital.de/Doks Katharina Fink Jürgen Schadeberg: Something you don’t see https://doi.org/10.14765/zzf.dok.5.1212 Archiv-Version des ursprünglich auf dem Portal Visual-History am 03.07.2016 mit der URL: https://www.visual-history.de/2016/07/03/juergen-schadeberg-something-you-dont-see/ erschienenen Textes Copyright © 2018 Clio-online – Historisches Fachinformationssystem e.V. und Autor/in, alle Rechte vorbehalten. Dieses Werk ist zum Download und zur Vervielfältigung für nicht-kommerzielle Zwecke freigegeben. Es darf jedoch nur erneut veröffentlicht werden, sofern die Einwilligung der o.g. Rechteinhaber vorliegt. Dies betrifft auch die Übersetzungsrechte. Bitte kontaktieren Sie: <[email protected]> Für die Neuveröffentlichung von Bild-, Ton- und Filmmaterial, das in den Beiträgen enthalten ist, sind die dort jeweils genannten Lizenzbedingungen bzw. Rechteinhaber zu beachten. 1 von 6 Online-Nachschlagewerk für VISUALHISTORY die historische Bildforschung 3. Juli 2016 Katharina Fink Thema: Fotografen Rubrik: Akteure JÜRGEN SCHADEBERG: SOMETHING YOU DON’T SEE Jürgen Schadeberg: Nelson Mandela’s return to his cell on Robben Island IV, 1994 © Jürgen Schadeberg mit freundlicher Genehmigung Eines seiner wohl berühmtesten Bilder ist zur Ikone geworden – zu einem jener Bilder, in denen Vergangenheit und Zukunft ineinander fallen: der gealterte Nelson Rolihlahla Mandela, der mit tiefen Falten und ergrautem Haar aus dem mit massiven Gitterstäben versehenen Fenster schaut. Den rechten Ellenbogen hat Mandela auf die Fensterbank gelegt, auf seiner linken Brusttasche fällt ein Emblem ins Auge. Das Bild ist 1994 entstanden. Offiziell ist Südafrika ein freies Land, und Mandela ist für das Foto in die Zelle auf Robben Island zurückgekehrt, in der er 18 seiner insgesamt 27 Jahre in Haft verbrachte.
    [Show full text]
  • Still Beating the Drum R O S S Readings in the Post / Colonial C U L T U R E S Literatures in English 81 Series Editors
    Still Beating the Drum r o s s Readings in the Post / Colonial C u l t u r e s Literatures in English 81 Series Editors Gordon Collier Hena Maes–Jelinek Geoffrey Davis (Giessen) (Liège) (Aachen) Still Beating the Drum Critical Perspectives on Lewis Nkosi Edited by Lindy Stiebel and Liz Gunner Amsterdam - New York, NY 2005 The paper on which this book is printed meets the requirements of “ISO 9706:1994, Information and documentation - Paper for documents - Requirements for permanence”. ISBN: 90-420-1807-0 ©Editions Rodopi B.V., Amsterdam – New York, NY 2005 Printed in The Netherlands Contents Acknowledgements ix Illustrations xi Preface xiii Introduction: Lewis Nkosi – Inscriptions xv PART ONE: WRITING ON LEWIS NKOSI THE LITERARY CRITIC 1 Lewis Nkosi as Literary Critic ANNIE GAGIANO 5 2 Lewis Nkosi’s Early Literary Criticism CHRIS WANJALA 27 3 Lewis Nkosi: A Commentary Piece OYEKAN OWOMOYELA 39 THE DRAMATIST AND POET 4 Contaminations: BBC Radio and the Black Artist – Lewis Nkosi’s “The Trial” and “We Can’t All be Martin Luther King” LIZ GUNNER 51 5 Hostage Drama: The Rhythm of Violence and Some Comments on “The Black Psychiatrist” SIKHUMBUZO MNGADI 67 6 Psychoanalysis and Apartheid: The Image and Role of the Psychiatrist in Selected Works of Lewis Nkosi ASTRID STARCK–ADLER 93 7 The Desire of Knowledge, or, the Body in Excess: Lewis Nkosi’s Play “The Black Psychiatrist” THERESE STEFFEN 103 8 An Introduction to the Poetry of Lewis Nkosi LITZI LOMBARDOZZI 127 THE NOVELIST 9 “Bathing Area – For Whites Only”: Reading Prohibitive Signs and ‘Black
    [Show full text]
  • Echoes of an African Drum: the Lost Literary Journalism of 1950S South Africa
    DRUM 7 Writer/philosopher Can Themba, 1952. Photo by Jürgen Schadeberg, www.jurgenshadeberg.com. Themba studied at Fort Hare University and then moved to the Johannesburg suburb of Sophiatown. He joined the staff of Drum magazine after winning a short-story competition and quickly became the most admired of all Drum writers. 8 Literary Journalism Studies, Vol. 8, No. 1, Spring 2016 The Drum office, 1954. Photo by Jürgen Schadeberg, www.jurgenshadeberg.com. The overcrowded Johannesburg office housed most of Drum’s journalists and photographers. Schadeberg took the picture while Anthony Sampson directed it, showing (from left to right) Henry Nxumalo, Casey Motsitsi, Ezekiel Mphalele, Can Themba, Jerry Ntsipe, Arthur Maimane (wearing hat, drooping cigerette), Kenneth Mtetwa (on floor), Victor Xashimba, Dan Chocho (with hat), Benson Dyanti (with stick) and Robert Gosani (right with camera). Todd Matshikiza was away. 9 Echoes of an African Drum: The Lost Literary Journalism of 1950s South Africa Lesley Cowling University of the Witwatersrand, South Africa (or Johannesburg) Abstract: In post-apartheid South Africa, the 1950s era has been romanti- cized through posters, photographs, a feature film, and television commer- cials. Much of the visual iconography and the stories come from the pages of Drum, a black readership magazine that became the largest circulation publication in South Africa, and reached readers in many other parts of the continent. Despite the visibility of the magazine as a cultural icon and an extensive scholarly literature on Drum of the 1950s, the lively journalism of the magazine’s writers is unfamiliar to most South Africans. Writers rather than journalists, the early Drum generation employed writing strategies and literary tactics that drew from popular fiction rather than from reporterly or literary essay styles.
    [Show full text]
  • South African Crime Fiction and the Narration of the Post-Apartheid. Elizabeth Fletcher a Thesis Submitted in Fulfilment Of
    South African Crime Fiction and the Narration of the Post-apartheid. Elizabeth Fletcher A thesis submitted in fulfilment of the requirements for the degree of Magister Artium, in the Department of English Studies, University of the Western Cape. Supervisor Professor Duncan Brown October 2013 Key words South African Crime Fiction and the Narration of the Post-apartheid. Crime fiction South Africa Post-apartheid Narrative Genre Status quo Disruption Resolution Catharsis Representation Popular culture Abstract South African Crime Fiction and the Narration of the Post-apartheid. Elizabeth Fletcher Master’s Thesis, Department of English Studies, University of the Western Cape. In this dissertation, I consider how South African crime fiction, which draws on a long international literary history, engages with the conventions and boundaries of the genre, and how it has adapted to the specific geographical, social, political and historical settings of South Africa. A key aspect of this research is the work’s temporal setting. I will focus on local crime fiction which is set in contemporary South Africa as this enables me to engage with current perceptions of South Africa, depicted by contemporary local writers. My concern is to explore how contemporary South African crime fiction narrates post-apartheid South Africa. Discussing Margie Orford’s Daddy’s Girl and the possibilities of South African feminist crime fiction, my argument shoes how Orford narrates post-apartheid through the lens of the oppression and abuse of women. The next chapter looks at Roger Smith’s thriller Mixed Blood. Smith presents the bleakest outlook for South Africa and I show how, even though much of his approach may appear to be ‘radical’, the nihilism in his novel shows a deep conservatism.
    [Show full text]
  • Eastern Cape Kwazulu-Natal Indian Ocean Mpumalanga Limpopo North West Free State Northern Cape 19 21 23 22 01 02 04 Atlantic
    GAUTENG @NelsonMandela Nelson Mandela Centre of Memory of Centre Mandela Nelson 08 16 05 10 12 15 Chancellor Nelson Mandela House Square www.southafrica.net | www.nelsonmandela.org The Nelson Mandela Memory of Centre Foundation’s Mandela Nelson the and Mandela House Liliesleaf Constitution Foundation’s Centre Museum Hill Tourism African South between effort joint a is initiative This of Memory 09 17 Hector Pieterson Sharpeville Human Museum Rights Precinct 06 11 13 07 14 18 Nelson Mandela Vilakazi Street Kliptown Apartheid Alexandra Nelson Mandela Statue at the Open-Air Museum Museum Heritage Precinct Bridge Union Buildings 18 JULY 1918 - Born Rolihlahla Mandela at MARCH 21 - Sharpeville Massacre Establishes the Nelson Mandela Children’s Mvezo in the Transkei Fund and donates one third of his 1918 1960 MARCH 30 - A State of Emergency is imposed 1995 presidential salary to it 1925 - Attends primary school near Qunu and Mandela is among thousands detained (receives the name ‘Nelson’ from a teacher) 1999 - Steps down after one term as APRIL 8 - The ANC is banned president, establishes the Nelson Mandela 1930 - Entrusted to Thembu Regent Foundation as his post-presidential office Jongintaba Dalindyebo 1961 - Goes underground; Umkhonto weSizwe (MK) is formed 2003 - Donates his prison number 46664 Africa. South 1934 - Undergoes initiation. Attends to a campaign to highlight the HIV/AIDS LIMPOPO Clarkebury Boarding Institute in Engcobo 1962, JANUARY 11 - Leaves the country for epidemic across Mandela Nelson about military training and to garner
    [Show full text]
  • African Writers Meet in Uganda
    African Writers meet in Uganda by BERNARD FONLON The Conference of African Writers of English Expression which was held in Makerere, Kampala, Uganda, from the 8th to 18th of June, 1962, brought together makers of creative literature from the East, from the West and the South of the continent. Chinua Achebe, novelist, John Pepper Clark, poet and dramatist, Gabriel Okara, poet, and short-story writer, Christopher Okigbo, poet, Wole Soyinka, poet and dramatist, Donatus Nwoga, critic — came from Nigeria. George Awooner-Williams, poet, Elizabeth Spio-Garbrah, poet, Cameron Duodu — were Ghana's representatives. To speak for South Africa, came the exiles, Ezekiel Mphahlele, Bloke Modisane, Arthur Maimane — all short-story writers. East Africa was represented by, Grace Ogot, short-story writer, John Nagenda, poet and short-story writer, Rebecca Njau, dramatist. There were envoys from Africa across the Seas : Langston Hughes, famous American Negro poet, Saunders Redding, writer, critic and Professor of Litera- ture at Hampton Institute, Virginia, Arthur Drayton of Trinidad, critic, and Barry Reckord of Jamaica, dramatist. 39 A B B I A As observers from French speaking Africa came Amadou Samb of Senegal and Paulin Joachim of Dahomey, editor of the magazine, Bingo. I was there to represent the bilingual Republic of Cameroon. The need for African programmes in radio and television services is stimulating a good deal of writing in some African countries. To enlighten the conference on writing for these media were : Yemi Lijadu of Broadcasting House, Lagos, Frances Ademola of Broadcasting House, lbadan, Segun Olusola of Western Nigeria Television, Ibadan, Lewis Nkosi of South Africa, and Denis Duerdin of the Transcription Centre, London.
    [Show full text]
  • Between States of Emergency
    BETWEEN STATES OF EMERGENCY PHOTOGRAPH © PAUL VELASCO WE SALUTE THEM The apartheid regime responded to soaring opposition in the and to unban anti-apartheid organisations. mid-1980s by imposing on South Africa a series of States of The 1985 Emergency was imposed less than two years after the United Emergency – in effect martial law. Democratic Front was launched, drawing scores of organisations under Ultimately the Emergency regulations prohibited photographers and one huge umbrella. Intending to stifle opposition to apartheid, the journalists from even being present when police acted against Emergency was first declared in 36 magisterial districts and less than a protesters and other activists. Those who dared to expose the daily year later, extended to the entire country. nationwide brutality by security forces risked being jailed. Many Thousands of men, women and children were detained without trial, photographers, journalists and activists nevertheless felt duty-bound some for years. Activists were killed, tortured and made to disappear. to show the world just how the iron fist of apartheid dealt with The country was on a knife’s edge and while the state wanted to keep opposition. the world ignorant of its crimes against humanity, many dedicated The Nelson Mandela Foundation conceived this exhibition, Between journalists shone the spotlight on its actions. States of Emergency, to honour the photographers who took a stand On 28 August 1985, when thousands of activists embarked on a march against the atrocities of the apartheid regime. Their work contributed to the prison to demand Mandela’s release, the regime reacted swiftly to increased international pressure against the South African and brutally.
    [Show full text]
  • Nadine Gordimer: Farewell to a Great Spirit
    Nadine Gordimer: Farewell to a great spirit Nadine and Ngugi arrested in Amherst! No, no, it was not the case, but that’s how my wife, Njeeri, imagined the headlines in Kenya and South Africa in response to the picture of Gordimer and me entering a police car under the shadow of a heavily armed officer. It was in 1991. Both of us were visiting the prestigious college in Massachusetts, United States, at the same time. The visits had been scheduled long before, but Gordimer’s presence coincided with the news of her winning the Nobel prize in literature. Now she was not just another visiting writer but a Nobel laureate. The crowds were curious. Amherst College arranged a police escort, more for her than me, but at joint events we travelled together. Gordimer was struck by the irony of the situation and remarked, with a wry smile, at the fact that she and I had entered a police car voluntarily. I was shining in the reflected glory of her Nobel, I told her, and she deftly deflected the focus by saying it was not yet in her hands. It was our first one-on-one encounter, but it was as though we had known each other all our lives. Through books, of course, yes, but some of our books had shared a similar fate in being banned in apartheid South Africa at various times. There was a difference in our literary ages: by the time I wrote my first two books, The River Between and Weep Not Child, she had already published at least two major fictions, The Lying Days and A World of Strangers, in addition to a significant body of short fiction.
    [Show full text]