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Vigilantism V. the State: a Case Study of the Rise and Fall of Pagad, 1996–2000
Vigilantism v. the State: A case study of the rise and fall of Pagad, 1996–2000 Keith Gottschalk ISS Paper 99 • February 2005 Price: R10.00 INTRODUCTION South African Local and Long-Distance Taxi Associa- Non-governmental armed organisations tion (SALDTA) and the Letlhabile Taxi Organisation admitted that they are among the rivals who hire hit To contextualise Pagad, it is essential to reflect on the squads to kill commuters and their competitors’ taxi scale of other quasi-military clashes between armed bosses on such a scale that they need to negotiate groups and examine other contemporary vigilante amnesty for their hit squads before they can renounce organisations in South Africa. These phenomena such illegal activities.6 peaked during the1990s as the authority of white su- 7 premacy collapsed, while state transfor- Petrol-bombing minibuses and shooting 8 mation and the construction of new drivers were routine. In Cape Town, kill- democratic authorities and institutions Quasi-military ings started in 1993 when seven drivers 9 took a good decade to be consolidated. were shot. There, the rival taxi associa- clashes tions (Cape Amalgamated Taxi Associa- The first category of such armed group- between tion, Cata, and the Cape Organisation of ings is feuding between clans (‘faction Democratic Taxi Associations, Codeta), fighting’ in settler jargon). This results in armed groups both appointed a ‘top ten’ to negotiate escalating death tolls once the rural com- peaked in the with the bus company, and a ‘bottom ten’ batants illegally buy firearms. For de- as a hit squad. The police were able to cades, feuding in Msinga1 has resulted in 1990s as the secure triple life sentences plus 70 years thousands of displaced persons. -
Abdullah Ibrahim and the Politics of Jazz in South Africa Nusra Khan Jazz Has Had an Especial Role in the Social and Cultural Politics of South Africa
Abdullah Ibrahim and the Politics of Jazz in South Africa Nusra Khan Jazz has had an especial role in the social and cultural politics of South Africa. This paper will trace its function in the political struggle waged by Black and Colored musicians against the apartheid regime, from the early 1950s until the 1990s, focusing on the work of one artist particularly. While Abdullah Ibrahim is by no means the only South African musician to use jazz for political goals, the development of his career provides an incredible example of the convergence of race, protest, and memory in the performance as well as study of jazz. Ibrahim’s musical career is entrenched in South Africa’s struggle against apartheid, and it is through this lens that I will examine his life and the role of jazz music in general. As early as the 1940s, jazz had emerged as the favored genre of the elite in South Africa. Professional musicians preferred American ‘international’ performance styles, and only a few African jazz musicians brought anything identifiably South African to their performances of American swing. The negative association between traditional African music and the ‘tribal’ past or rural present was begun by missionaries and had become entrenched in African society, most obviously under the Afrikaner’s government’s policy of “forcing Africans to develop along their own lines1”. Like the leaders of the American Harlem Renaissance, the African elite hoped that achievements in the artistic and intellectual fields would help break down the color bar2. Indeed the similar experience of Black Americans and Africans, of “two peoples under white domination,”3 may have increased the appeal of Black American style in amongst South African performers. -
Truth and Reconciliation Commission of South Africa Report: Volume 2
VOLUME TWO Truth and Reconciliation Commission of South Africa Report The report of the Truth and Reconciliation Commission was presented to President Nelson Mandela on 29 October 1998. Archbishop Desmond Tutu Ms Hlengiwe Mkhize Chairperson Dr Alex Boraine Mr Dumisa Ntsebeza Vice-Chairperson Ms Mary Burton Dr Wendy Orr Revd Bongani Finca Adv Denzil Potgieter Ms Sisi Khampepe Dr Fazel Randera Mr Richard Lyster Ms Yasmin Sooka Mr Wynand Malan* Ms Glenda Wildschut Dr Khoza Mgojo * Subject to minority position. See volume 5. Chief Executive Officer: Dr Biki Minyuku I CONTENTS Chapter 1 Chapter 6 National Overview .......................................... 1 Special Investigation The Death of President Samora Machel ................................................ 488 Chapter 2 The State outside Special Investigation South Africa (1960-1990).......................... 42 Helderberg Crash ........................................... 497 Special Investigation Chemical and Biological Warfare........ 504 Chapter 3 The State inside South Africa (1960-1990).......................... 165 Special Investigation Appendix: State Security Forces: Directory Secret State Funding................................... 518 of Organisations and Structures........................ 313 Special Investigation Exhumations....................................................... 537 Chapter 4 The Liberation Movements from 1960 to 1990 ..................................................... 325 Special Investigation Appendix: Organisational structures and The Mandela United -
Music of Politics and Religion Supporting Constitutional Values in South Africa
Article Music of Politics and Religion Supporting Constitutional Values in South Africa Morakeng E.K. Lebaka University of South Africa [email protected] Abstract The Constitution of South Africa has been taken as a model globally as it supports non-discrimination and human rights. The purpose of this study was to analyse the South African National Anthem and a secular political song to investigate how music supported the values enshrined in the Constitution, including religious freedom, during the transition from a history of apartheid towards 25 years of democracy. Politicians such as Nelson Mandela and religious leaders such as Archbishop Desmond Tutu, black African spiritual practitioners, Muslim ecclesiastics, rabbis and others played a prominent role in a peaceful transition to democracy. Although there have been a few violent episodes like service delivery protests, farm murders, xenophobia and the tragedy of Marikana since 1994, in general South Africa has been peaceful, despite its history. This study concluded that the music of politics and liberation can be related to value systems and lack of conflict between ethnic and religious factions in South Africa since 1994. Keywords: South African Constitution; South African Anthem; struggle songs; reconciliation Introduction and Literature Review In 1994 South Africa transformed itself into a peaceful democracy without a civil war. Our neighbours—Mozambique, Namibia, Zimbabwe and Angola—all went to war to achieve peace. South African Special Forces played a pivotal role in the South African Border War and were active alongside the Rhodesian Security forces during the Rhodesian Bush War (Scholtz 2013). Combat operations were also undertaken against FRELIMO militants in Mozambique (Harry 1996, 13-281). -
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant -
Faculty of Humanities (Ceremony 3) Contents
FACULTY OF HUMANITIES (CEREMONY 3) CONTENTS Order of Proceedings 2 Mannenberg 3 The National Anthem 4 Distinctions in the Faculty of Humanities 5 Distinguished Teacher Award 6-7 Honorary Degree Recipient 8 Graduands (includes 23 December 2015 qualifiers) 9 Historical Sketch 18 Academic Dress 19-20 Mission Statement of the University of Cape Town 21 Donor Acknowledgements 22 Officers of the University 27 Alumni Welcome 28 1 FACULTY OF HUMANITIES (CEREMONY 3) ORDER OF PROCEEDINGS Academic Procession. (The congregation is requested to stand as the procession enters the hall) The Vice-Chancellor will constitute the congregation. The National Anthem. The University Statement of Dedication will be read by a representative of the SRC. Musical Item. Welcome by the Deputy Vice-Chancellor, Professor DP Visser. Professor Visser will present Dr Azila Talit Reisenberger for the Distinguished Teacher Award. Professor J Hambidge will present Dr Janette Deacon to the Vice-Chancellor for the award of an honorary degree. The graduands will be presented to the Vice-Chancellor by the Dean of Humanities, Professor S Buhlungu. The Vice-Chancellor will congratulate the new graduates. Professor Visser will make closing announcements and invite the congregation to stand. The Vice-Chancellor will dissolve the congregation. The procession, including the new graduates, will leave the hall. (The congregation is requested to remain standing until the procession has left the hall.) 2 MANNENBERG The musical piece for the processional march is Mannenberg, composed by Abdullah Ibrahim. Recorded with Basil ‘Manenberg’ Coetzee, Paul Michaels, Robbie Jansen, Morris Goldberg and Monty Weber, Mannenberg was released in June 1974. The piece was composed against the backdrop of the District Six forced removals. -
Black Power, Black Consciousness, and South Africa's Armed Struggle
Binghamton University The Open Repository @ Binghamton (The ORB) Graduate Dissertations and Theses Dissertations, Theses and Capstones 6-2018 UNCOVERING HIDDEN FRONTS OF AFRICA’S LIBERATION STRUGGLE: BLACK POWER, BLACK CONSCIOUSNESS, AND SOUTH AFRICA’S ARMED STRUGGLE, 1967-1985 Toivo Tukongeni Paul Wilson Asheeke Binghamton University--SUNY, [email protected] Follow this and additional works at: https://orb.binghamton.edu/dissertation_and_theses Part of the Sociology Commons Recommended Citation Asheeke, Toivo Tukongeni Paul Wilson, "UNCOVERING HIDDEN FRONTS OF AFRICA’S LIBERATION STRUGGLE: BLACK POWER, BLACK CONSCIOUSNESS, AND SOUTH AFRICA’S ARMED STRUGGLE, 1967-1985" (2018). Graduate Dissertations and Theses. 78. https://orb.binghamton.edu/dissertation_and_theses/78 This Dissertation is brought to you for free and open access by the Dissertations, Theses and Capstones at The Open Repository @ Binghamton (The ORB). It has been accepted for inclusion in Graduate Dissertations and Theses by an authorized administrator of The Open Repository @ Binghamton (The ORB). For more information, please contact [email protected]. UNCOVERING HIDDEN FRONTS OF AFRICA’S LIBERATION STRUGGLE: BLACK POWER, BLACK CONSCIOUSNESS, AND SOUTH AFRICA’S ARMED STRUGGLE, 1967-1985 BY TOIVO TUKONGENI PAUL WILSON ASHEEKE BA, Earlham College, 2010 MA, Binghamton University, 2014 DISSERTATION Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Sociology in the Graduate School of Binghamton University State University of New -
Faculty of Commerce (Ceremony 5) Contents
FACULTY OF COMMERCE (CEREMONY 5) CONTENTS Order of Proceedings 2 Mannenberg 3 The National Anthem 4 Distinctions in the Faculty of Commerce 5 Distinguished Teacher Award 6-7 Graduands (includes 23 December 2015 qualifiers) 8 Origin of the Bachelor Degree 11 Values of the University 12-13 Academic Dress 14-15 Historical Sketch 16 Mission Statement of the University of Cape Town 17 Donor Acknowledgements 18 Officers of the University 23 Alumni Welcome 24 1 FACULTY OF COMMERCE (CEREMONY 5) ORDER OF PROCEEDINGS Academic Procession. (The congregation is requested to stand as the procession enters the hall) The Acting Vice-Chancellor, Professor DP Visser, will constitute the congregation. The National Anthem. The University Statement of Dedication will be read by a representative of the SRC. Musical Item. Welcome by the Deputy Vice-Chancellor, Professor F Petersen. Professor Petersen will present Jaqui Kew for the Distinguished Teacher Award. Address by Norman Arendse. The graduands and diplomates will be presented to the Acting Vice-Chancellor by the Deputy Dean of the Faculty of Commerce, Professor T Minter. The Acting Vice-Chancellor will congratulate the new graduates and diplomates. Professor Petersen will make closing announcements and invite the congregation to stand. The Acting Vice-Chancellor will dissolve the congregation. The procession, including the new graduates and diplomates, will leave the hall. (The congregation is requested to remain standing until the procession has left the hall.) 2 MANNENBERG The musical piece for the processional march is Mannenberg, composed by Abdullah Ibrahim. Recorded with Basil ‘Manenberg’ Coetzee, Paul Michaels, Robbie Jansen, Morris Goldberg and Monty Weber, Mannenberg was released in June 1974. -
Cyril Ramaphosa Is Establishing a Unit in the Presidency Priorities
Cyril Ramaphosa is establishing a unit in the presidency which he hopes - Herald Live 18 May 2019 President Cyril Ramaphosa is establishing a unit in the presidency which he hopes will improve policy development and coordination. This is an important initiative designed to help him address the huge challenges facing his incoming government. There is no question that strengthening the government’s policy capacity is a priority. Cabinet ministries are often individualistic and departments tend to operate as silos. There tends to be poor alignment, let alone coordination, of policies and programmes within national government and between the spheres of government. The president has some power to impose discipline. But this power depends on being very well-informed and well-briefed by his team. ADVERTISING The unit – called the Policy Analysis and Research Services – will be headed by Busani Ngcaweni, a seasoned mandarin in the Presidency. Ngcaweni was Chief of Staff when Ramaphosa was Deputy President. He had, remarkably, occupied this senior and sensitive post for four consecutive deputy presidents over a 10-year period. Over the decade he also managed to publish around eight books of essays by himself and other writers on serious South African topics such as AIDS. Before becoming chief of staff he also served as a policy researcher in the presidency during the Thabo Mbeki era. There is no doubt that he is a committed and able intellectual, and a skilled political manager. What is the unit intended to achieve? Can it be compared with the unit that operated during the Mbeki and Kgalema Motlanthe presidencies? Priorities The unit’s priority areas will be “the economy, infrastructure planning and development, agricultural development and government service delivery”. -
Mannenberg": Notes on the Making of an Icon and Anthem1
African Studies Quarterly | Volume 9, Issue 4 | Fall 2007 "Mannenberg": Notes on the Making of an Icon and Anthem1 JOHN EDWIN MASON Abstract: Abdullah Ibrahim's [Dollar Brand] composition "Mannenberg" was an instant hit, when it was released on the 1974 album, Mannenberg is Where It's Happening. This paper shows that the song is a product of Ibrahim's efforts to find an authentically South African mode of expression within the jazz tradition, blending South African musical forms -- marabi, mbaqanga, and langarm--with American jazz-rock fusion. It quickly became an icon of South African jazz, defining the genre both within the country and overseas. At the same time, the South African coloured community invested the song with their own meaning, transforming it into an an icon of their culture and of themselves. In the 1980s, "Mannenberg" had a second life as an anthem of the struggle against apartheid. Some called it South Africa's "unofficial national anthem." Once again, the song acquired a new meaning, this time through the efforts of musicians, especially Basil Coetzee and Robbie Jansen, who made it the musical centerpiece of countless anti- apartheid rallies and concerts. As the paper traces this narrative, it is constantly aware of the profound influence of African-American culture and political thought on Ibrahim and the coloured community as a whole. Introduction On a winter's day in 1974, a group of musicians led by Abdullah Ibrahim (or Dollar Brand, as most still knew him) entered a recording studio on Bloem Street, in the heart of Cape Town, and emerged, hours later, having changed South African music, forever. -
The Jazz Epistles
2018 Winter/Spring Season Brooklyn Academy of Music Adam E. Max, Chairman of the Board William I. Campbell, Vice Chairman of the Board Katy Clark, President BAM and World Music Institute present Joseph V. Melillo, Executive Producer The Jazz Epistles BAM Howard Gilman Opera House Apr 18 & 19 at 8pm Running time: approx. one hour & 30 mins, no intermission Featuring Abdullah Ibrahim & Ekaya With special guests Ravi Coltrane (Apr 19) & Freddie Hendrix Season Sponsor: Leadership support for music programs at BAM provided by the Baisley Powell Elebash Fund. Viacom is the major sponsor of Music Programming at BAM Support for the Signature Artist Series provided by the Howard Gilman Foundation The Jazz Epistles EKAYA Abdullah Ibrahim piano Noah Jackson cello, bass Will Terrill drums Cleave Guyton alto saxophone, flute, clarinet Lance Bryant tenor saxophone Andrae Murchison trombone, trumpet Marshall McDonald baritone saxophone GUESTS Freddie Hendrix trumpet, flugelhorn Ravi Coltrane tenor saxophone (Apr 19) South African jazz legend Abdullah Ibrahim, then known as Dollar Brand, first heard the call of modern jazz in the late 1950s, and along with saxophonist Kippie Moeketsi, trumpeter Hugh Masekela, Jonas Gwangwa, Johnny Gertze on bass, and Early Mabuza and/or Makaya Ntshoko on drums, founded the pioneering Jazz Epistles—a hard bop ensemble modeled on Art Blakey’s Jazz Messengers that was the first black jazz combo to record in South Africa. On June 15 & 16, 2016 at the Emperors Palace in Johannesburg, for the first time in over 50 years, Abdullah Ibrahim and Hugh Masekela reunited for two sold-out concerts honoring the Jazz Epistles, making a profound impact on the audiences and the artists themselves. -
The Legacy of the Jazz Epistles, South Africa's Short-Lived but Historic Group : NPR
1/24/2018 The Legacy Of The Jazz Epistles, South Africa's Short-Lived But Historic Group : NPR ON AIR NOW ALL SONGS 24/7 RADIO The Legacy Of The Jazz Epistles, South Africa's Short-Lived But Historic Group April 26, 2017 · 12:46 PM ET SIMON RENTNER FROM Jonas Gwangwa with Hugh Masekela and Kippie Moeketsi. Halim's Photographic Service, Cape Town BAHA/Drum Social Histories / Baileys African History Archive / Africa Media Online Hugh Masekela was an up-and-coming trumpeter, all of 20, when he took an overnight train from Johannesburg to Cape Town to meet a pianist everyone was talking about in South Africa: Abdullah Ibrahim, then known as Dollar Brand. Ibrahim, 25 at the time, was the forward-thinking figure needed to complete South Africa's greatest bebop band of all time, The Jazz Epistles. On the morning that https://www.npr.org/2017/04/26/525696698/the-legacy-of-the-jazz-epistles-south-africas-short-lived-but-historic-group?utm_campaign=storyshare&ut… 1/13 1/24/2018 The Legacy Of The Jazz Epistles, South Africa's Short-Lived But Historic Group : NPR Masekela arrived at the Ambassadors club in Cape Town with two other formidable South African jazz players — Kippie Moeketsi on alto saxophone and Jonas Gwangwa on trombone — there were no arrangements for accommodation. Rehearsals started anyway, and for the first few nights, the three musicians slept on mattresses on the floor in the back of the club. https://www.npr.org/2017/04/26/525696698/the-legacy-of-the-jazz-epistles-south-africas-short-lived-but-historic-group?utm_campaign=storyshare&ut… 2/13 1/24/2018 The Legacy Of The Jazz Epistles, South Africa's Short-Lived But Historic Group : NPR Abdullah Ibrahim (formerly known as Dollar Brand) before he left South Africa in 1959.