Paradise-Blue-Programme.Pdf
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Life & Times of Magda A: Telling a Story of Violence in South Africa
Life & Times of Magda A: Telling a Story of Violence in South Africa Author(s): Didier Fassin, Frédéric Le Marcis, and Todd Lethata Reviewed work(s): Source: Current Anthropology, Vol. 49, No. 2 (April 2008), pp. 225-246 Published by: The University of Chicago Press on behalf of Wenner-Gren Foundation for Anthropological Research Stable URL: http://www.jstor.org/stable/10.1086/526096 . Accessed: 08/06/2012 11:42 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press and Wenner-Gren Foundation for Anthropological Research are collaborating with JSTOR to digitize, preserve and extend access to Current Anthropology. http://www.jstor.org Current Anthropology Volume 49, Number 2, April 2008 225 Life & Times of Magda A Telling a Story of Violence in South Africa by Didier Fassin, Fre´de´ric Le Marcis, and Todd Lethata How to write about violence? Most recent anthropological works have dealt with this question in terms of either political economy, narratives, or performance. Using J. M. Coetzee’s Life & Times of Michael K as a pre-text, an ethnological inquiry into violence is proposed through the biography of a young South African woman. -
Afrindian Fictions
Afrindian Fictions Diaspora, Race, and National Desire in South Africa Pallavi Rastogi T H E O H I O S TAT E U N I V E R S I T Y P R E ss C O L U MB us Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Rastogi, Pallavi. Afrindian fictions : diaspora, race, and national desire in South Africa / Pallavi Rastogi. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-0319-4 (alk. paper) ISBN-10: 0-8142-0319-1 (alk. paper) 1. South African fiction (English)—21st century—History and criticism. 2. South African fiction (English)—20th century—History and criticism. 3. South African fic- tion (English)—East Indian authors—History and criticism. 4. East Indians—Foreign countries—Intellectual life. 5. East Indian diaspora in literature. 6. Identity (Psychol- ogy) in literature. 7. Group identity in literature. I. Title. PR9358.2.I54R37 2008 823'.91409352991411—dc22 2008006183 This book is available in the following editions: Cloth (ISBN 978–08142–0319–4) CD-ROM (ISBN 978–08142–9099–6) Cover design by Laurence J. Nozik Typeset in Adobe Fairfield by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the Ameri- can National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Contents Acknowledgments v Introduction Are Indians Africans Too, or: When Does a Subcontinental Become a Citizen? 1 Chapter 1 Indians in Short: Collectivity -
SOUTH AFRICAN POLITICAL EXILE in the UNITED KINGDOM Al50by Mark Israel
SOUTH AFRICAN POLITICAL EXILE IN THE UNITED KINGDOM Al50by Mark Israel INTERNATIONAL VICTIMOLOGY (co-editor) South African Political Exile in the United Kingdom Mark Israel SeniorLecturer School of Law TheFlinders University ofSouth Australia First published in Great Britain 1999 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world A catalogue record for this book is available from the British Library. ISBN 978-1-349-14925-4 ISBN 978-1-349-14923-0 (eBook) DOI 10.1007/978-1-349-14923-0 First published in the United States of Ameri ca 1999 by ST. MARTIN'S PRESS, INC., Scholarly and Reference Division. 175 Fifth Avenue. New York. N.Y. 10010 ISBN 978-0-312-22025-9 Library of Congre ss Cataloging-in-Publication Data Israel. Mark. 1965- South African political exile in the United Kingdom / Mark Israel. p. cm. Include s bibliographical references and index . ISBN 978-0-312-22025-9 (cloth) I. Political refugees-Great Britain-History-20th century. 2. Great Britain-Exiles-History-20th century. 3. South Africans -Great Britain-History-20th century. I. Title . HV640.5.S6I87 1999 362.87'0941-dc21 98-32038 CIP © Mark Israel 1999 Softcover reprint of the hardcover Ist edition 1999 All rights reserved . No reprodu ction. copy or transmission of this publication may be made without written permission. No paragraph of this publicat ion may be reproduced. copied or transmitted save with written permission or in accordance with the provision s of the Copyright. Design s and Patents Act 1988. or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency . -
Blood on the Page
Blood on the Page Blood on the Page: Interviews with African Authors writing about HIV/AIDS By Lizzy Attree Blood on the Page: Interviews with African Authors writing about HIV/AIDS, by Lizzy Attree This book first published 2010 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2010 by Lizzy Attree All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-2077-6, ISBN (13): 978-1-4438-2077-6 TABLE OF CONTENTS Acknowledgements ................................................................................... vii Introduction ................................................................................................. 1 Interview with Phaswane Mpe................................................................... 21 Interview with Sindiwe Magona................................................................ 33 Interview with Kgafela oa Magogodi ........................................................ 77 Interview with Alexander Kanengoni........................................................ 99 Interview with Vivienne Kernohan aka Violet Kala................................ 111 Interview with Charles Mungoshi .......................................................... -
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. -
Non-Racial Casting in African Theatre and Cinema
NON-RACIAL CASTING IN AFRICAN THEATRE AND CINEMA Connie Rapoo & David Kerr1 Abstract Racial and non-racial casting in theatre and cinema has become a widely, and sometimes hotly discussed issue in European and North American performance. The debates are fuelled by the increasing popularity of experimental, post-colonial and inter-cultural performance. However, there has been little such debate in Africa, even though there are many examples of performances which play with cross-racial conventions and stereotyping. This paper interrogates indigenous traditions of non–racial casting, the influence of popular European forms such as minstrelsy, and problems of casting in the realistic tradition of African theatre and cinema. The dialectic of all these traditions impacts on identities in post-colonial and post-apartheid performance. The article uses analytic tools of theatre and performance theory to interrogate the casting practices and principles. Keywords: non-racial casting, creative resistance, blackface, African theatre, stylized performance. 1. Introduction When American actor, Ted Danson appeared at a New York Friars Club Roast in 1993 in blackface, a huge controversy arose, mainly because Danson’s appearance evoked a history that resonates with the offensive and derogatory representations that minstrel performances evoke in the United States. In comparison, an all too familiar act appears in Leon Schuster’s There is a Zulu on My Stoop, (Gray Hofmeyr, 1993) featuring the White-classified Schuster as a Black man [in blackface] and Black actor John Matshikiza as a White man [wearing whiteface]. Similarly, the Afrikaner-Jewish satirist Pieter-Dirk Uys has featured prominently in Black roles, such as his characteristic drag act and impersonation of Winnie Madikizela-Mandela, clad in cultural paraphernalia and a t-shirt imprinted with Nelson Mandela’s portrait in Truth Ommissions (Uys, 1996). -
Copyright by Tyler David Fleming 2009
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UT Digital Repository Copyright by Tyler David Fleming 2009 The Dissertation Committee for Tyler David Fleming Certifies that this is the approved version of the following dissertation: “King Kong, Bigger Than Cape Town”: A History of a South African Musical Committee: Toyin Falola, Supervisor Barbara Harlow Karl Hagstrom Miller Juliet E. K. Walker Steven J. Salm “King Kong, Bigger than Cape Town”: A History of a South African Musical by Tyler David Fleming, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2009 Dedication For my parents because without them, I literally would not be here. “King Kong, Bigger Than Cape Town”: A History of a South African Musical Publication No._____________ Tyler David Fleming, Ph.D. The University of Texas at Austin, 2009 Supervisor: Oloruntoyin Falola This dissertation analyzes the South African musical, King Kong , and its resounding impact on South African society throughout the latter half of the twentieth century. A “jazz opera” based on the life of a local African boxer (and not the overgrown gorilla from American cinema), King Kong featured an African composer and all-black cast, including many of the most prominent local musicians and singers of the era. The rest of the play’s management, including director, music director, lyricist, writer and choreographer, were overwhelmingly white South Africans. -
Anti-Apartheid News, April 1983
Anti-Apartheid News, April 1983 http://www.aluka.org/action/showMetadata?doi=10.5555/AL.SFF.DOCUMENT.AAMP2B3500004 Use of the Aluka digital library is subject to Aluka’s Terms and Conditions, available at http://www.aluka.org/page/about/termsConditions.jsp. By using Aluka, you agree that you have read and will abide by the Terms and Conditions. Among other things, the Terms and Conditions provide that the content in the Aluka digital library is only for personal, non-commercial use by authorized users of Aluka in connection with research, scholarship, and education. The content in the Aluka digital library is subject to copyright, with the exception of certain governmental works and very old materials that may be in the public domain under applicable law. Permission must be sought from Aluka and/or the applicable copyright holder in connection with any duplication or distribution of these materials where required by applicable law. Aluka is a not-for-profit initiative dedicated to creating and preserving a digital archive of materials about and from the developing world. For more information about Aluka, please see http://www.aluka.org Anti-Apartheid News, April 1983 Alternative title Anti-Apartheid News Author/Creator The Anti-Apartheid Movement Date 1983-04 Resource type Newsletters Language English Subject Coverage (spatial) South Africa, United Kingdom, Namibia, Mozambique Coverage (temporal) 1983 Source Archives of the Anti-Apartheid Movement, Anti-Apartheid News, MSS AAM 2202. Description Isolate South Africa; electing to act against Apartheid; Namibia: action now; send them to schools in Mozambique; time to wake up, Christian soldiers. -
Michael Chapman, Ed. E Drum Decade
Book Reviews Michael Chapman, ed. e Drum Decade: Stories from the 1950s. Introduction by John Matshikiza. Pietermaritzburg: U of Natal P, 2001. 241 pp. $54 cloth. Lindy Stiebel and Liz Gunner, eds. Still Beating the Drum: Critical Perspectives on Lewis Nkosi. Amsterdam: Rodopi, 2005. 375 pp. $103 cloth. e negritude movement had Présence Africaine; the Harlem Renaissance had Crisis and Opportunity; South African writers of the 1950s had Drum maga- zine. Paul Gready has written that Drum’s “flashy muck-raking journalistic style attempted to capture the vivid life of the townships. Drum became a symbol of a new urban South Africa” (146); for Rob Nixon, it “amplified the voices of a defiantly impure cosmopolitanism, projecting an urban look and ethos” (28). Lewis Nkosi, who went to work for the magazine in 1957, said that Drum “wasn’t so much a magazine as it was a symbol of the new African cut adrift from the tribal reserve—urbanised, eager, fast-talking and brash” (Home and Exile 8). e magazine serialized novels by Alan Paton and Peter Abrahams, and occasionally published the work of black American writers like Langston Hughes. Perhaps the most important function Drum played, though, was to serve as a launching pad for the careers of a whole generation of young black and mixed-race fiction writers and journalists: Bloke Modisane, Can emba, James Matthews, Peter Clarke, Arthur Maimane, and Richard Rive, among others, published their earliest work in the pages of Drum, and Ezekiel Mphahlele reached a wider audience through the magazine’s readership. Michael Chapman pays tribute to this remarkable legacy in his invaluable little collection e Drum Decade. -
Article Race Counts in Contemporary South Africa
The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. Article Race counts in contemporary South Africa: 'an illusion of ordinariness' Gerhard Mare In the distasteful realm of racial classification [US secretary of slaw Colin] Powell, at a glance, would appear to have a far higher percentage of white blood in him than anything else. In this go-getting world, he might have been forgiven for trying to pass for white. But in this age when race and power are also still inextricably bound up in a fatal and unloving embrace, there might well be calls down the line for putting him on trial for another kind of misdemeanour - coming to Africa and trying to pass for black. — John Matshikiza, Mail & Guardian, June 8, 2001 Introduction Races exist, and can be recognised, and that existence is there for the claiming. The subtitle of this paper, 'an illusion of ordinariness' (Nobles 2000), captures this state of affairs. It was so in the process of classification that allowed the apartheid Population Registration Act to allocate individuals to race groups (Posel 1999), and it is so now. After an initial titter of embarrassment from some, all students that I teach, and ask this question of, can write or tell me what 'races' are. They do start off with the ascription of race-belonging to the obvious colour-of-skin feature of this category. -
Redalyc.History and the “Imagination of Men's Hearts ” in Mike Nicol 'S
Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Rijsdijk, Ian-Malcolm History and the “imagination of men’s hearts ” in Mike Nicol ’s Horseman Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 61, julio-diciembre, 2011, pp. 109-135 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348699005 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative http://dx.doi.org/10.5007/2175-8026.2011n61p109 HistorY AND THE “IMAGination of MEN’S hearts” IN MIKE Nicol’S HORSEMAN Ian-Malcolm Rijsdijk University of Cape Town Abstract In light of the scattered nature of criticism regarding the work of South African author, Mike Nicol, this article surveys the transformation of Nicol’s novelistic style so as to better illuminate the representation and deployment of history in his third novel, Horseman (1994). South Africa’s political transformation not only offers a context for understanding the novel, but also provokes questions for the South African writer: how does the writer respond to the oppression of apartheid and the possibility of a new dispensation given the memory of such oppression? What forms best articulate that response? In the case of Horseman, how does one read the book’s pessimism against the backdrop of the first democratic elections? A consideration of Nicol’s greater body of work–his realist and more allegorical modes–points to a complicated relationship between the South African writer and the period of transition leading up to the 1994 elections. -
Wiser Seminar May 2021 Fostering Decoloniality in Music
[Not for general circulation] WiSER Seminar May 2021 Fostering Decoloniality in Music: From Local Archives to Global Dialogue What could decoloniality sound like? Philip Burnett Twelve years ago I attended a church service at St Matthew’s, Keiskammahoek, in the Eastern Cape. At the time I was living in Makhanda, or Grahamstown, a place which had provided me with a springboard from which to explore the Eastern Cape. St Matthew’s had been established in 1854 as a mission station, one of several planted in the region with the intention of establishing Anglican Christianity in Xhosa society. The service I attended was ‘INkonzo yoMthandazo waKusasa’ known in English as ‘Morning Prayer’, and then ‘IYukariste eNgcwele’ of ‘Holy Eucharist’, the service that recalls the Last Supper. There was a pattern of psalms, canticles, sung prayers, and because I knew some isiXhosa, and was familiar with the English versions of the services that took place, I knew roughly what was going on. I could recognise the melodies and harmonies of the sung parts, because oy my own Anglican background, but while everything was very familiar, it was also very different. The language, of course, was one factor influencing this because I was used to singing the music in English, whereas here it was inflected by the tonal patterns of isiXhosa. What was also striking was that a liturgical form of religious practice forged in Britain during the English reformation of the 14th and 15th centuries had become a part of this place, and expressed an identity that seemed to be indelibly linked with the setting.