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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 -
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 -
Afrindian Fictions: Diaspora, Race, and National Desire in South Africa
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 -
Inter-Race Soccer and the 1960 Riots in Durban, South Africa
Historia 59, 2, November 2014, pp 326-343 Inter-race soccer and the 1960 riots in Durban, South Africa Mphumeleli Ngidi* Introduction Sport has historically been segregated in South Africa because prior to 1994 its rulers, believing in a natural supremacy of whites, prohibited non-racial sports.1 South Africa’s citizens had differential access to resources and for most of the country’s history only white South Africans could represent the national team. The “beautiful game”, as soccer is known by most aficionados, is no exception. Black South Africans experienced decades of disadvantage. One difference from sports like rugby and cricket is that (white) South Africa was banned from international soccer for a much longer period mainly because of the large number of Third World, including African, countries involved in the game.2 On 30 September 1951 an important milestone was reached in the annals of black soccer in South Africa when three racial bodies, namely, the South African African Football Association (SAAFA), the South African Coloured Football Association (SACFA) and the South African Indian Football Association (SAIFA) formed the South African Soccer Federation (SASF) to further the interests of black football in a context in which the grip of apartheid was tightening following the victory of the National Party (NP) in 1948. This minority government implemented the policy of apartheid which attempted to separate South Africans along racial lines in all walks of life.3 A.I. Kajee, an eminent Indian businessman and Natal Indian Congress (NIC) politician from Durban, “donated a £500 (around R35, 000 today) trophy to SASF for a biennial competition, organised since 1952, between African, Coloured and Indian “national teams”.4 * Mphumeleli Ngidi is a PhD student in the Department of History, University of KwaZulu- Natal. -
The Sound Archive at the District Six Museum
THE SOUND ARCHIVES AT THE DISTRICT SIX MUSEUM: A WORK IN PROGRESS Valmont Layne South Africa is an anomaly among developing countries. It is both a developed country with good infrastructure and also a country with huge social and economic problems. There is a wide gulf between recipients of development aid on the one hand and skilled profes- sionals on the other. In this assumption lie both the challenges and opportunities for audiovisual preservation. In itemizing the issues, challenges, hurdles and obstacles, my chosen keywords are institu- tional growth, consciousness and expertise. The District Six Museum developed almost without evident design since its conception at a conference in 1988. Yet the sound archives, a new project conceived in 1997, had the luxury of being modelled on ethnographic and public sound archives in the USA and elsewhere. The key scholarly disciplines underpinning its work are History, Fine Arts, Social Science and Ethnomusicology. We need to build an appropriate archival model for this museum- based sound archives. There are a number of considerations. The museum has had a profound effect on heritage work. Our museum is a young institution and is in the grip of what some call the ‘Founder syndrome’. It has a very active board of trustees. It is still an institu- tional ‘baby’ being weaned by community-based activists, politicians and professional academics. In some cases, there is a direct political, emotional or professional interest in the work of the museum. This creates a wonderful non-bureaucratic atmosphere. But it also means 184 Archives for the Future that as we grow in our preservation capacities we will have to nego- t iate these realities. -
Between Colour Lines: Interrogating the Category 'Coloured' in Depictions Of
Between colour lines: Interrogating the category ‘coloured’ in depictions of District Six in the work of five South African artists Cameron Amelia Cupido Dissertation in fulfilment of Master’s in Visual Studies Visual Arts Department Stellenbosch University Supervisor: Prof. Lize Van Robbroeck March 2018 1 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this dissertation electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2018 Copyright © 2018 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za Abstract The Group Areas Act of 1950 radically affected coloured artists of the time, since it resulted in forced removals and the demolition of traditionally ‘coloured’ suburbs, and forced coloured people into mono-cultural suburbs with imposed identities not of their own choosing. This thesis seeks to uncover the complexities and heterogeneity of coloured identity and the effects apartheid ideologies and practices had on the personal narratives and cultural praxis of Lionel Davis, Albert Adams, George Hallett, Gavin Jantjes and Peter Clarke, who all emphasized the significance of District Six in their own articulations of colouredness. I propose that this problematic ascribed identity was at the root of most artworks produced by these artists and that their art helped them deal with their experiences within (and about) the space of District Six during apartheid. -
Johaar Mosaval from District Six to the Royal Ballet
Johaar Mosaval From District Six to the Royal Ballet District Six like Harlem in New York also had its own “Harlem Renaissance” or cultural boom. Writers, composers, photographers, filmmakers, dramatists, poets, musicians, dancers, artists, socio-political activists flourished and exploded onto the world stage but were denied the opportunity for career advancement in their own homeland. Few other places can boast of such an explosion of talent and impact. It was nothing short of miraculous, given the adversity faced by the people. The District’s Hyman Lieberman and Marion Institutes were cultural centres of excellence. Down the road the Eoan Group was the launch-pad of many stars such as Johaar Mosaval who began his ballet career there. It was the start of a journey that led to the Royal Ballet Opera School in London and to him becoming a principle dancer with the Royal Ballet. Indeed, shamefully for the Apartheid government and the City authorities, and tragically for the people of the district, District Six, home of more than 60,000 people was demolished and its people forcibly removed under Apartheid’s ethnic cleansing programme for the City. The District’s names and achievements roll off the tongue: Abdullah Ibrahim, Basil Coetzee, Lennie Lee, Bea Benjamin, Zane Adams, Hotep Galeta, Alex la Guma, Richard Rive, Rozena Maart, Adam Small, Taliep Petersen, George Hallett, Gregoire Boonzaier, Sandra McGregor, James Matthews and Trevor Jones are just a few of those names. Johaar Mosaval was born in District Six in Cape Town on 8 January 1928 and was one of nine children in his family. -
Black Consciousness and the Politics of Writing the Nation in South Africa
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository Black Consciousness and the Politics of Writing the Nation in South Africa by Thomas William Penfold A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of African Studies and Anthropology School of History and Cultures College of Arts and Law University of Birmingham May 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Since the transition from apartheid, there has been much discussion of the possibilities for the emergence of a truly ‘national’ literature in South Africa. This thesis joins the debate by arguing that Black Consciousness, a movement that began in the late 1960s, provided the intellectual framework both for understanding how a national culture would develop and for recognising it when it emerged. Black Consciousness posited a South Africa where formerly competing cultures sat comfortably together. This thesis explores whether such cultural equality has been achieved. Does contemporary literature harmoniously deploy different cultural idioms simultaneously? By analysing Black writing, mainly poetry, from the 1970s through to the present, the study traces the stages of development preceding the emergence of a possible ‘national’ literature and argues that the dominant art versus politics binary needs to be reconsidered. -
Diasporic Imaginaries: Memory and Negotiation of Belonging in East African and South African Indian Narratives
DIASPORIC IMAGINARIES: MEMORY AND NEGOTIATION OF BELONGING IN EAST AFRICAN AND SOUTH AFRICAN INDIAN NARRATIVES by James Ocita Dissertation presented for the degree of Doctor of Philosophy in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Prof. Meg Samuelson, Department of English Co-supervisor: Dr. Tina Steiner, Department of English March 2013 Stellenbosch University http://scholar.sun.ac.za ii Declaration By submitting this dissertation, I declare that the entirety of the work contained herein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2013 Copyright © 2013 Stellenbosch University All rights reserved Stellenbosch University http://scholar.sun.ac.za iii ABSTRACT This dissertation explores selected Indian narratives that emerge in South Africa and East Africa between 1960 and 2010, focusing on representations of migrations from the late 19th century, with the entrenchment of mercantile capitalism, to the early 21st century entry of immigrants into the metropolises of Europe, the US and Canada as part of the post-1960s upsurge in global migrations. The (post-)colonial and imperial sites that these narratives straddle re-echo Vijay Mishra‘s reading of Indian diasporic narratives as two autonomous archives designated by the terms, "old" and "new" diasporas. The study underscores the role of memory both in quests for legitimation and in making sense of Indian marginality in diasporic sites across the continent and in the global north, drawing together South Asia, Africa and the global north as continuous fields of analysis. -
IJ:Ao Tf U [FB GO
IJ: ao tF U [F B GO Volume 10 Number 3 1992 Contents Comment . Peter Horn Three Poems Stories In grid de Kok BB | Walking Dry Between Raindrops ££| Sunny South Africa Kole Omotoso £afo Mudaly p%3H Die Avonture van Don Gxubane van Langa E3H Remembering Charles J. Fourie A few Solomons |Tfli Taxi to Town WflM Three Poems James Matthews Damian Shaw jgTBI Mag Ons Skreetjies 'n Ontploffmg Laat Losbars EQI Letter from the Vortex Stephen Samuels Rustum Kozain U22JJ Three Poems Essays Cars ten Knoch f||j| The Politics of Feminism in South Africa GJi My Airlock out of Exile Desiree Lewis Barry Feinberg Ifem Robben Island Retold mi Praise Poem for Njabulo Ndebele The Mayibuye Centre ^zY/z Gottschalk £2 'South Africa Now': Filling the Void E3H Sebokeng Danny Schechter David Motshwane Moisi niB The Self-presence of the Poet Inside; EM Two Poems Jeremy Cronin's Inside Geoffrey Haresnape Peter Horn |2J| Trans-Siberian Railway February 1989 Md Hart el Poetry Photographs EM Two Poems •cfrttiii Photographs courtesy of Joy Howard 77z£ Mayibuye Centre WRWt Love Ryder Simion Nkanunu WISEl The Way We Live |H Two Poems Mavis Matandeki and Primrose Talakumeni Stephen Yelverton mUJ Three Poems Zakes Mda SOI Out °f Touch, Out of Time Lzsa Combrinck WfWSi Two Poems Tatamkulu Afrika im i'm the streetchild Thembile Pepeteka Paintings and Graphics Q Banner Visual Arts Group WfM The Old Days Sophie Peters WTW& Voortrekker Road Apollo Gavin du Plessis Q9 Exile I: Confusion in New York Mario Pissarra UjJjgJ The Emergency Series Garth Erasmus BB Banner Visual Arts Group Review E9 The Art of Poise: Nine Lives by T. -
INTRODUCTION 1. Though the Policies of Apartheid and Separate Development Sought to Preserve African Languages and Traditions, T
Notes INTRODUCTION 1. Though the policies of apartheid and separate development sought to preserve African languages and traditions, this was part of a wider programme to confine the 'Bantu' to their tribal cultures; it took no account of the degree of tribal integration that had taken place, and very little account of the natural linguistic developments within the black communities- developments which were never towards greater purity. The major liberation movements therefore view this official tampering with African cultures as part of the machinery of repression. 2. Recent work by Couzens and others demonstrates much more fully than has hitherto been shown, the operations of African tradition within the work of those early writers. See Daniel Kunene's new translation of Mofolo's Chaka and Tim Couzens' editions ofDhlomo. 3. A shebeen is a drinking place run, illegally, by African women, usually in their own homes. Thus while it serves the function of a bar, and is often the scene of wild drinking bouts, it has the character of a family living room. 4. See R. Kavanagh, Theatre and Cultural Struggle in South Africa (London: Zed Books, 1985) p. 33. CHAPTER 1 1. Mafika Gwala, No More Lullabies (Johannesburg: Ravan Press, 1982) p. 10. 2. Terry Eagleton, Literary Theory: An Introduction (Oxford: Basil Black well, 1983) p. 21. 3. Athol Fugard, John Kani & Winston Ntshona, 'The Island', Statements (London & Capetown: Oxford U.P., 1974) p. 62. 4. Eagleton, Criticism and Ideology: A Study in Marxist Literary Theory (London: Verso, 1978) p. 49. 5. Donald Woods, Biko (New York & London: Paddington Press, 1978) p. -
Add to Entry on ALEX LA GUMA: REFERENCES: Anthony Chennels
Add to entry on ALEX LA GUMA: REFERENCES: Anthony Chennels, "Pastoral and Anti-pastoral Elements in Alex La Guma's Later Novels," in Literature, Language and the Nation, ed. Emmanuel Ngara and Andrew Morrison (Harare: Atoll & Baobab Books, 1989): 39-49; Felix Mnthali, "Common Grounds in the Literatures of Black America and Southern Africa," in American Studies in Africa, ed. Andrew Horn and George E. Carter (Roma: University Press of lesotho and the Ford Foundation, 1984): 37-54; Richard Samin, "La Situation n'est pas eternelle," Europe, 708 (1988): 35-39; Add to entry on ALEX LA GUMA: BOOKS Memories of Home: The Writings of Alex La Guma, ed. Cecil Abrahams (Trenton, NJ: Africa World Press, 1991). REFERENCES S.O. Asein, Alex La Guma: The Man and His Work (Ibadan: New Horn Press and Heinemann Educational Books, 1987). Alex La Guma (20 February 1925-11 October 1985) Cecil A. Abrahams Bishop's University c-A?.lli-. ..----- --···-----. ······---- - .. ··--------- ------·--- BOOKS I I i A Walk in the Night (Ibadan: Mbari Publications, 1962); reprinted as A Walk in the Night and Other Stories (Evanston: Northwestern University Press, f Au.c."--l-ionJ Boo'-<S r~r,-co.-v., wr, +e rs s-e ('/es.) 3 fL 1967; London; Heinemann 1967)j 11 <Y l I , lrl ll+OwV\ ~c,YS (q~~)) And a Threefold Cord (Berlin: Seven Seas, 1964)1 l,oVl.d.Dn. V\ 1-r 1 V · Ci( Cd ,,,.,J The Stone Country (Berlin: Seven Seas, 1967; reprinted, London: He, nemann / L-- • · 1~ gook S 'A--fn '-~ v) r:ters $'"er; e~ Is 171Qj .