Faculty of Commerce (Ceremony 2)
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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. -
UNSUNG: South African Jazz Musicians Under Apartheidunsung
UNSUNG: South African Jazz Musicians under Apartheid outh African jazz under apartheid has in recent years been the subject of numerous studies. The main focus, however, has hitherto been on the musicians who went into exile. Here, for the first time, those who stayed behind are allowed to tell their stories: the stories of musicians from across the colour spectrum who helped to keep their art alive in South Africa during the years of state oppression. CHATRADARI DEVROOP &CHRIS WALTON CHATRADARI Unsung South African Jazz Musicians under Apartheid EDITORS Chatradari Devroop & Chris Walton UNSUNG: South African Jazz Musicians under Apartheid Published by SUN PReSS, an imprint of AFRICAN SUN MeDIA (Pty) Ltd., Stellenbosch 7600 www.africansunmedia.co.za www.sun-e-shop.co.za All rights reserved. Copyright © 2007 Chatradari Devroop & Chris Walton No part of this book may be reproduced or transmitted in any form or by any electronic, photographic or mechanical means, including photocopying and recording on record, tape or laser disk, on microfilm, via the Internet, by e-mail, or by any other information storage and retrieval system, without prior written permission by the publisher. First edition 2007 ISBN: 978-1-920109-66-9 e-ISBN: 978-1-920109-67-7 DOI: 10.18820/9781920109677 Set in 11/13 Sylfaen Cover design by Ilse Roelofse Typesetting by SUN MeDIA Stellenbosch SUN PReSS is an imprint of AFRICAN SUN MeDIA (Pty) Ltd. Academic, professional and reference works are published under this imprint in print and electronic format. This publication may be ordered directly from www.sun-e-shop.co.za Printed and bound by ASM/USD, Ryneveld Street, Stellenbosch, 7600. -
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. -
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. -
Western Cape Jazz Legends
Western Cape Jazz Legends Foreword The Western Cape Jazz legends which unveiled on 17 March 2011 pays homage to the rich jazz heritage of the Western Cape. The publishing of the Western Cape Jazz Legends Booklet gives a wider audience access to an appreciation of the contribution of these musicians who often plied their trade under the most difficult circumstances and with very little material reward. The short biographies are informed by existing literature and interviews conducted with family members. The list is by no means comprehensive but it does indicate our resolve to give homage, to acknowledge, to preserve and to promote the rich musical heritage of the Western Cape. Documenting our musical history not only ensures that the impact of the role of these legends on the musical landscape of the Western Cape is captured for posterity, but also that their stories serve as a source of inspiration to aspiring musicians. This booklet represents an important step towards the building of a socially inclusive Western Cape. These Jazz Legends united us around our common love for music and the unique sounds of Cape Town Jazz. Let’s celebrate their achievement and resolve that we will continue to build on this initiative to acknowledge our musicians who created musical melodies which filled us with joy, often leaving us in awe of their amazing talent and with a deep sense of self-worth and cultural warmth. Dr IH Meyer Minister of Cultural Affairs and Sport Western cape Government. Western Cape Jazz Legends 1 2 Western Cape Jazz Legends IntroductIon The Department of Cultural Affairs and Sport has embedded in its vision, “… A socially cohesive and creative Western Cape.” The arts and culture component of the department has embraced this vision and the Western Cape Jazz Legends project is reflective thereof. -
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. -
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. -
Bio for Website Edit C Hammond
MY EDIT: Stanley Sagov is a dazzling jazz pianist and composer, equally proficient on a number of other musical instruments as well as surgical instruments, as evidenced by his simultaneous full time career as a medical doctor. He never fails to amaze his colleagues in the music and medical fields with his ability to lead such an intense dual life as a physician as well as a musician. Dr. Sagov is releasing yet another CD from his home studio where he produces enough music to fill a full disc practically every month. He is also a top notch photographer shooting nature, people and places with the eyes of an unusually sensitive personality. Born in 1944, in Cape Town, South Africa, to a Jewish family who had immigrated there to escape the chaos and anti-Semitism that followed the Russian Revolution, the young Sagov grew up in the midst of the horrid South African regime of Apartheid and its resulting police state. Born with Gordon’s Syndrome, an extremely rare genetic disorder which can cause club feet, cleft palate, dysplasia of the hip and thumb-in-palm deformity, he suffered greatly during his first 13 years, as he was forced to endure sixteen different abnormality-correcting surgeries in London, New York and Boston. At school he was stigmatized and teased by other boys because of his awkward gait and the leg irons he had to wear for many years. At an early age, this extraordinary strain triggered a sudden insight in him. “This was not my fault,” says Sagov, “Suddenly there was a realization about this, around age 9.