• Joe ALFERS • Peter AUF DER HEYDE • Omar BADSHA • Rodger
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University of the Witwatersrand
UNIVERSITY OF THE WITWATERSRAND AFRICAN STUDIES INSTITUTE African Studies Seminar Paper to be presented in RW 4.00pm MARCH 1984 Title: The Case Against the Mfecane. by: Julian Cobbing No. 144 UNIVERSITY OF THE WITWATERSRAND AFRICAN STUDIES INSTITUTE African studies Seminar Paper to be presented at Seminar in RW 319 at 4,00 pm on Monday, 5 March 1984 THE CASE AGAINST THE MFECANE by. QuJJjun Cobbing. By the 1970s the mfecane had become one of the most widely abused terms in southern African historical literature. Let the reader attempt a simple definition of the mfecane, for instance. This is not such an easy task. From one angle the mfecane was the Nguni diaspora which from the early 1820s took Nguni raiding communities such as the Ndebele, the Ngoni and the Gaza over a huge region of south-central Africa reaching as far north as Lake Tanzania. Africanists stress the positive features of the movement. As Ajayi observed in 1968: 'When we consider all the implications of the expansions of Bantu-speaking peoples there can he no doubt that the theory of stagnation has no basis whatsoever.' A closely related, though different, mfecane centres on Zululand and the figure of Shaka. It has become a revolutionary process internal to Nguni society which leads to the development of the ibutho and the tributary mode of production. Shaka is a heroic figure providing a positive historical example and some self-respect for black South Africans today. But inside these wider definitions another mfecane more specific- ally referring to the impact of Nguni raiders (the Nedbele, Hlubi and Ngwane) on the Sotho west of the Drakensberg. -
Fstate Scientist: Omond Mckillop Solandt and Government Science
fState Scientist: Omond McKillop Solandt and Government Science in War and Hostile Peace, 1939-1956/ Scientifique.de l'Etat: Omond McKillop Solandt et la Science du Gouvernement lors de la Guerre et de la Paix Hostile, 1939-1956 A Thesis Submitted to the Division of Graduate Studies of the Royal Military College of Canada by Jason Sean Ridler, MA Royal Military College of Canada, 2001 BA (Hons.) York University, 1999 In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2008 ©This thesis may be used within the Department of National Defence but copyright for open publication remains the property of the author. Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-47901-8 Our file Notre reference ISBN: 978-0-494-47901-8 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. -
2013 Annual Report
Our evolution 1990 Mr Nelson Mandela is released after over 27 years in prison. 1994 Mr Mandela becomes South Africa’s first democratically elected president. 1999 Mr Mandela steps down as president. The Nelson Mandela Foundation is established and houses Mr Mandela’s personal office. It implements a wide range of development projects, including education and health infrastructure. 2002 The Nelson Mandela Foundation moves to its current premises. 2004 Mr Mandela retires and famously says, “Don’t call me, I’ll call you.” He inaugurates the Nelson Mandela Centre of Memory project. The Nelson Mandela Foundation begins process of consolidation from project implementer to enabler and facilitator. 2008 Mr Mandela says at his 90th birthday concert in London, “It is time for new hands to lift the burdens. It is in your hands now.’’ 2009 The first Nelson Mandela Day is launched. The United Nations General Assembly declares, by unanimous resolution, 18 July as Nelson Mandela International Day. 2011 The Nelson Mandela Foundation enters the final phase of its transition; the Nelson Mandela Centre of Memory becomes the Foundation’s physical home. Our vision Our core work Our spiral A society which remembers its pasts, listens The Nelson Mandela Foundation delivers The spiral, which in many ancient to all its voices, and pursues social justice. to the world an integrated and dynamic societies symbolised constant renewal, information resource on the life and times simultaneously represents the centring of of Nelson Mandela, and promotes the memory, disseminating of information and Our mission finding of sustainable solutions to critical widening impact in the world, which is at To contribute to the making of a just society social problems through memory-based the heart of our work. -
Cradock Four
Saif Pardawala 12/7/2012 TRC Cradock Four Amnesty Hearings Abstract: The Amnesty Hearing of the Truth and Reconciliation show the connection between the South African Apartheid state and the mysterious disappearances of four Cradock political activists. The testimonies of members of the security police highlight the lengths the apartheid state was willing to go to suppress opposition. The fall of Apartheid and the numerous examples of state mandated human rights abuses against its opponents raised a number of critical questions for South Africans at the time. Among the many issues to be addressed, was the need to create an institution for the restoration of the justice that had been denied to the many victims of apartheid’s crimes. Much like the numerous truth commissions established in Eastern Europe and Latin America after the formation of democracy in those regions, the Truth and Reconciliation Commission was founded with the aims of establishing a restorative, rather than punitive justice. The goal of the TRC was not to prosecute and impose punishment on the perpetrators of the state’s suppression of its opposition, but rather to bring closure to the many victims and their families in the form of full disclosure of the truth. The amnesty hearings undertaken by the TRC represent these aims, by offering full amnesty to those who came forward and confessed their crimes. In the case of Johan van Zyl, Eric Taylor, Gerhardus Lotz, Nicholas van Rensburg, Harold Snyman and Hermanus du Plessis; the amnesty hearings offer more than just a testimony of their crimes. The amnesty hearings of the murderers of a group of anti-apartheid activists known as the Cradock Four show the extent of violence the apartheid state was willing to use on its own citizens to quiet any opposition and maintain its authority. -
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 -
“Born out of Shaka's Spear”: the Zulu Iklwa and Perceptions of Military
Selected Papers of the Consortium on the Revolutionary Era (2020). “Born out of Shaka’s spear”: The Zulu Iklwa and Perceptions of Military Revolution in the Nineteenth Century Jacob Ivey, Ph.D. Florida Institute of Technology In May 2010, anticipating South Africa’s hosting of the World Cup, the city of Durban decided to make a dramatic addition to the newly opened King Shaka International Airport. Officials unveiled a statue of the Zulu king Shaka kaSenzangakhona, known popularly as “Shaka Zulu.” Shaka, founder of the Zulu nation in modern-day KwaZulu-Natal, South Africa, had since his death in 1828 become perhaps one of the most famous South Africans in history next to Nelson Mandela. The Zulu king had facilitated the creation of the Zulu kingdom during the early nineteenth century through what has been described as a “military revolution” that influenced the historic arc of the whole region. However, unlike the traditional image of Shaka with shield and iklwa, or short stabbing-spear made famous by the Zulu king, he was presented outside the airport terminal as unarmed, surrounded by Nguni cattle. This revelation created a major controversy in June when Goodwill Zwelithin kaBhekuzulu, Isilo (King) of the Zulus of South Africa, expressed his displeasure, arguing, “it made Shaka look like a herd boy, rather than the hunter and warrior he was.”1 Shaka, evidently, was not Shaka without his spear. If there is one indelible image of the Zulu nation, it is the iklwa. Literally “stabbing” through the title graphic of the mini-series Shaka Zulu (1986) and a key element of the imagery of the Inkatha Freedom Party, the short stabbing spear of the Zulu is frequently offered as part of the military genius of Shaka. -
Meqoqo: He Forces Us All to See Differently | The
HOME CONTRIBUTORS ABOUT US GALLERY CONTACT US SPOTLIGHT KAU KAURU VOICES PIONEERS THE CRAFT THE ARTS Meqoqo: He Forces Us All To See Differently ON THIS PAGE Photos that Inspired A Revolution open in browser PRO version Are you a developer? Try out the HTML to PDF API pdfcrowd.com Photos that Inspired A Revolution Omar Badsha In Conversation Did You See the Dog? Happy Native, Contented Native ByLinda Fekisi Chased girls, drank & swam Discussion LINKS Seedtime: An Omar Badsha Retrospective Professor Dilip Menon from Wits University said in an introduction of Badsha’s early work: “It is a critical reminder that the rewriting of South African art history and the full recognition of black South Africans' contributions remain an unfinished task.” Omar Badsha, considered a pioneer of “resistance art”, is one of South Visit Site Africa’s most celebrated documentary photographers. He has exhibited extensively at home and abroad and is our guest this week in our Cultural Activist occasional Meqoqo (Conversations) slot. Iziko Museums is currently Born 27 June 1945, Durban, South Africa, Badsha played an active role in hosting a retrospective exhibition entitled Seedtime at the National the South African liberation struggle, Gallery in Cape Town. It showcases Badsha’s early drawings, artworks and as a cultural and political activist and trade union leader. photographic essays, spanning a period of 50 years. The epitome of the open in browser PRO version Are you a developer? Try out the HTML to PDF API pdfcrowd.com self-taught professional, he currently runs SA History Online (SAHO). Visit Site Changing focus e is a member of the post-Sharpeville generation of activist Badsha is a tall man, bespectacled, artists who, together with his close friend Dumile Feni, with thin gray hair. -
Designing the South African Nation from Nature to Culture
CHAPTER 3 Designing the South African Nation From Nature to Culture Jacques Lange and Jeanne van Eeden There is to date very little published research and writing about South African design history. One of the main obstacles has been dealing with the legacy of forty years of apartheid censorship (1950 to 1990) that banned and destroyed a vast array of visual culture in the interests of propaganda and national security, according to the Beacon for Freedom of Expression (http://search.beaconforfreedom.org/about_database/south%20africa.html). This paucity of material is aggravated by the general lack of archival and doc- umentary evidence, not just of the struggle against apartheid, but also of the wider domain of design in South Africa. Even mainstream designed mate- rial for the British imperialist and later apartheid government has been lost or neglected in the inadequate archival facilities of the State and influential organizations such as the South African Railways. Efforts to redress this are now appearing as scholars start to piece together fragments, not in order to write a definitive history of South African design, but rather to write histories of design in South Africa that recuperate neglected narratives or revise earlier historiographies. This chapter is accordingly an attempt to document a number of key moments in the creation of South African nationhood between 1910 and 2013 in which communication design played a part. Our point of departure is rooted in Zukin’s (1991: 16) belief that symbolic and material manifestations of power harbour the ideological needs of powerful institutions to manipulate class, gender and race relations, ultimately to serve the needs of capital (and governance). -
Michael Qodby Professorof Historyof Art,University of Capetown
michael qodby Professorof Historyof Art,University of CapeTown iii\,i n an interview in the ./rdeoInnges in StrugJe(i990), Paul Africa was generalf' more analltical than confrontaiional I I W"irrb.rg described 11 February 1990, the day on which - said a few yearslater, the old distinctions between the bad 'confusion Nelson Manda was releasedfrom prison, as simultaneously grrysand the good guys'had been repiacedby a the best and the worst day of his life. lt tas the best day, of of forces'; photographers - and others - were suddenly 'deprived course, becausethe releaseof Mandela and other political of the central focus of their work'. prisoners, and the unbanning of the ANC and other politicai organisations,were rhe very aims to which he had A measureof the crisis affecti.ngdocumentary photographers dedicated his professionallife as i.photographer for many at that time is that severalpractitioners who had identifred years. And it was the worst day because,having fought as complctelywith the Strrggle simply left the country: notable a'Struggie photographer with a relatively small band of examples are Gideon Mendel and Wendy Schrvegmann. 'Lesley like-minded colleagues,he was stampededby a contingent Others, like Larvson, gave up photography in of intemational photographers and effectively prevented fayour of less confrontationai lvork. Each case, of course, from taking any pictures until the next day in Cape Town. is individual, and doubtless financial and other factors Moreover,as Weinberg has explained in subsequentarticles, applied, but the phenomenon invites comparison to the once the media circus surrounding Manclelasrelease had experienceof certain MK cadreswho, having fought in the left town, it soon became apparent that the international Struggle, left the country or abandoned political activi.ty, pressretained little interest in South African stories.But the ar the moment of liberation. -
AFRAPIX SOCIAL DOCUMENTARY PHOTOGRAPHY in 1980S SOUTH AFRICA
Fall 08 AFRAPIX SOCIAL DOCUMENTARY PHOTOGRAPHY IN 1980s SOUTH AFRICA Amy McConaghy Acknowledgments I would like to thank Paul Weinberg, Eric Miller, Don Edkins, Graham Goddard, Zubeida Vallie and Omar Badsha for taking the time to be interviewed and for all being so incredibly obliging, kind and helpful. I thoroughly enjoyed meeting all of you and listening to your incredible stories. I would also like to express my gratitude to my supervisor, Sean Field, for his excellent guidance, support and patience throughout this thesis. i Abstract This thesis examines the development of the Afrapix collective agency throughout the 1980s. It argues that despite often being confined within the context of ‘struggle photography,’ Afrapix produced a broad body of social documentary work that far exceeded the struggle. However, within the socio-political milieu photographers were working, there was limited space for a more nuanced and complex representation of South Africa. Resisting this narrow visual format, Afrapix photographers in the 1980s faced the challenge of documenting the struggle and an extended repertoire of social issues whilst expressing a nuanced and complex point of view that countered the predominant narrative. Table of Contents INTRODUCTION ......................................................................................................... 1 AFRAPIX IN CONTEXT .............................................................................................. 7 FISTS AND FLAGS PHOTOGRAPHY in the 1980s ............................................... -
Annual Report 2019/2020
2 S TABLE OF CONTENT PART A: GENERAL INFORMATION 5 PART C: HUMAN RESOURCE MANAGEMENT 91 1.1 GENERAL DEPARTMENTAL INFORMATION 6 3.1 INTRODUCTION 92 1.2 LIST OF ABBREVIATIONS/ACRONYMS 7 3.2 HUMAN RESOURCE OVERSIGHT STATISTICS 93 1.3 LIST OF FIGURES 9 1.4 FOREWORD BY THE MINISTER 10 PART D: GOVERNANCE 141 1.5 STATEMENT BY THE DEPUTY MINISTER 12 4.1 INTRODUCTION 142 1.6 REPORT OF THE ACCOUNTING OFFICER 14 4.2 RISK MANAGEMENT 142 1.7 STATEMENT OF RESPONSIBILITY FOR PERFORMANCE INFORMATION 28 4.3 FRAUD AND CORRUPTION 142 1.8 STRATEGIC OVERVIEW 29 4.4 MINIMISING CONFLICT OF INTEREST 143 1.9 LEGISLATIVE AND OTHER MANDATES 29 4.5 CODE OF CONDUCT 143 1.10 ORGANISATIONAL STRUCTURE 31 4.6 HEALTH, SAFETY AND ENVIRONMENTAL ISSUES 143 1.11 PUBLIC ENTITIES REPORTING TO THE MINISTER 32 4.7 PORTFOLIO COMMITTEE 144 4.8 STANDING COMMITTEE ON PUBLIC ACCOUNTS (SCOPA) 151 PART B: PERFORMANCE INFORMATION 39 RESOLUTIONS 2.1 AUDITOR-GENERAL’S REPORT ON PREDETERMINED OBJECTIVES 40 4.9 INTERNAL AUDIT AND AUDIT COMMITTEE 151 2.2 OVERVIEW OF DEPARTMENTAL PERFORMANCE 40 4.10 REPORT OF THE AUDIT COMMITTEE 155 2.3 OVERVIEW OF ORGANISATIONAL ENVIRONMENT 54 2.4 KEY POLICY DEVELOPMENTS AND LEGISLATIVE CHANGES 56 PART E: FINANCIAL INFORMATION 161 2.5 PERFORMANCE PER PROGRAMME 57 162 5.1 ACCOUNTING OFFICER’S STATEMENT OF RESPONSIBILITY 2.6 CONDITIONAL GRANTS 79 163 5.2 REPORT OF THE AUDITOR-GENERAL 2.7 CAPITAL INVESTMENT, MAINTENANCE AND ASSET 81 168 5.3 ANNUAL FINANCIAL STATEMENTS MANAGEMENT PLAN 4 S 2019 - 2020 Annual Report | Department of Arts and Culture GENERAL INFORMATION -
Gisèle Wulfsohn's Photographs of HIV/AIDS, 1987-2007
Portraits, Publics and Politics: Gisèle Wulfsohn’s Photographs of HIV/AIDS, 1987-2007 ANNABELLE WIENAND Doctoral Student, Michaelis School of Fine Art, University of Cape Town Contemporary South African documentary photography is often framed in relation to the history of apartheid and the resistance movement. A number of well-known South African photographers came of age in the 1980s and many of them went on to receive critical acclaim locally and abroad. In comparison, Gisèle Wulfsohn (1957- 2011) has remained relatively unknown despite her involvement in the Afrapix col- lective and her important contribution to HIV/AIDS awareness and education. In focusing on Wulfsohn’s extended engagement with the issue of HIV/AIDS in South Africa, this article aims to highlight the distinctive nature of Wulfsohn’s visualisation of the epidemic. Wulfsohn photographed the epidemic long before there was major public interest in the issue and continued to do so for twenty years. Her approach is unique in a number of ways, most notably in her use of portraiture and her docu- mentation of subjects from varied racial, cultural and socio-economic backgrounds in South Africa. The essay tracks the development of the different projects Wulfsohn embarked on and situates her photographs of HIV/AIDS in relation to her politically informed work of the late 1980s, her personal projects and the relationships she devel- oped with non-governmental organisations.1 Introduction Many commentators have positioned the HIV/AIDS epidemic as the ‘new struggle’ in post-apartheid South Africa. This was most notable during the years before state provision of antiretroviral treatment2 in the public health care system.