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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. -
Liberian Girl from Wikipedia, the Free Encyclopedia
Liberian Girl From Wikipedia, the free encyclopedia "Liberian Girl" was the ninth single released from American recording artist Michael "Liberian Girl" Jackson's 1987 album Bad. The song was written as early as 1983 and was among those considered for The Jacksons' Victory album. It was reworked and rewritten for Bad. The song was released as a single in Europe and Australia. Contents 1 Critical reception 1.1 Reaction in Liberia Single by Michael Jackson 2 Chart performance from the album Bad 3 Music video 4 Track listing B-side "Girlfriend" 5 Covers and sampling Released July 4, 1989 6 Personnel 7 References Format CD single, 12" 8 External links Recorded 1987 Genre R&B Length 3:53 (album version) Critical reception 3:40 (edit) The New York Times editor Jon Pareles wrote Label Epic that a melody line from Billie Jean reappears in Writer(s) Michael Jackson [1] this song. Rolling Stone's Davitt Sigerson Producer(s) Quincy Jones praised the song: "'Liberian Girl' — is Michael's Michael Jackson (co- filler, which makes it richer, sexier, better than producer) Thriller's forgettables" and he also described that it "glistens with gratitude for the existence Michael Jackson singles chronology of a loved one."[2] In 2003, Q Magazine ranked "2300 "Liberian "Black or the song at number 1,001 in their list of the Jackson Girl" White" "1001 Best Songs Ever".[3] Street" (1989) (1991) (1989) Reaction in Liberia Bad track listing The song received a positive reception in "Speed "Liberian "Just Good Demon" Girl" Friends" [4] Liberia, with women from the country viewing (3) (4) (5) [4] the song as empowering. -
Brève Histoire Du Jazz Sud-Africain Sous L'apartheid
Brève histoire du jazz sud-africain sous l’apartheid Denis-Constant Martin To cite this version: Denis-Constant Martin. Brève histoire du jazz sud-africain sous l’apartheid. 2021, https://elam.hypotheses.org/3441. halshs-03268351 HAL Id: halshs-03268351 https://halshs.archives-ouvertes.fr/halshs-03268351 Submitted on 23 Jun 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. Distributed under a Creative Commons Attribution - ShareAlike| 4.0 International License Brève histoire du jazz sud-africain sous l’apartheid Citer : MARTIN, Denis-Constant, 2021. Brève histoire du jazz sud-africain sous l’apartheid. Esquisses | Les Afriques dans le monde [en ligne]. Disponible à l’adresse : https://elam.hypotheses.org/3441. Version PDF : 13 pages. L’auteur : Denis-Constant Martin, directeur de recherche à la Fondation nationale des sciences politique, à la retraite, chercheur associé à LAM (Sciences po Bordeaux), a longtemps travaillé sur les relations entre pratiques culturelles (notamment musiques et fêtes populaires) et politique. Ses recherches au cours des dernières décennies ont porté, entre autres, sur les musiques sud-africaines, en particulier celles du Cap. Mots-clés : jazz, Afrique du Sud, apartheid, censure, exil, créativité. -
Remembering Hugh Masekela: the Horn Player with a Shrewd Ear for Music of the Day
1/24/2018 Remembering Hugh Masekela: the horn player with a shrewd ear for music of the day Academic rigour, journalistic flair Remembering Hugh Masekela: the horn player with a shrewd ear for music of the day October 29, 2017 1.12pm SAST •Updated January 23, 2018 10.13am SAST Hugh Masekela performing during the 16th Cape Town International Jazz Festival. Esa Alexander/The Times Trumpeter, flugelhorn-player, singer, composer and activist Hugh Ramapolo Masekela Author has passed away after a long battle with prostate cancer. When he cancelled his appearance last year at the Johannesburg Joy of Jazz Festival, taking time out to deal with his serious health issues, fans were forced to return to his recorded opus for reminders of his unique work. Listening through that half-century of Gwen Ansell Associate of the Gordon Institute for disks, the nature and scope of the trumpeter’s achievement becomes clear. Business Science, University of Pretoria Masekela had two early horn heroes. The first was part-mythical: the life of jazz great Bix Biederbecke filtered through Kirk Douglas’s acting and Harry James’s trumpet, in the 1950 movie “Young Man With A Horn”. Masekela saw the film as a schoolboy at the Harlem Bioscope in Johannesburg’s Sophiatown. The erstwhile chorister resolved “then and there to become a trumpet player”. The second horn hero, unsurprisingly, was Miles Davis. And while Masekela’s accessible, storytelling style and lyrical instrumental tone are very different, he shared one important characteristic with the American: his life and music were marked by constant reinvention. -
Catalogue of the African Studies Library Film Collection in UCT Libraries Special Collections
Catalogue of the African Studies Library Film Collection in UCT Libraries Special Collections Any queries regarding the ASL film collection please contact Bev Angus ([email protected]) Updated:June 2015 Introduction In film, as with all other African Studies material in Special Collections, we collect comprehensively on South and Southern Africa and we are also committed to strengthening and broadening our film coverage of the rest of Africa to meet existing needs and to create new opportunities for research. Film is a powerful and accessible medium for conveying the stories and images of Africa, past and present. The African continent has a long and proud tradition of film-making, and has produced many film-makers of international renown. Our collection contains documentaries, television series and feature films made by both African and international film-makers. Besides supporting the teaching and research programmes of the University of Cape Town, the African Studies Library makes provision for the preservation of the films in the collection. Please note: The films in the ASL are primarily for viewing by members of the University of Cape Town community. For a collection of African films with public access see the Western Cape Provincial Library Service collection at http://cplweb.pals.gov.za Tips on searching the collection: To facilitate searching, click the binoculars in the toolbar. Select Use Advanced Search Options. If you know the title of the film, enter the exact title in the box and select Match Exact Word or Phrase in the dropdown box e.g. “Cry the Beloved Country” For a keyword search where the exact title is unknown or you are searching around a particular topic, enter appropriate keywords in the box provided, then select Match any of the Words in the drop-drown box below e.g. -
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. -
Lovemore Majaivana and the Township Music of Zimbabwe
Lovemore Majaivana and the Township Music of Zimbabwe ---------------------------------------------------------------------------------------- Author: Themba Nkabinde. Themba Nkabinde was an MA student and Graduate Assistant in the Centre for Cultural and Media Studies, University of Natal, Durban, during the early 1990s. He was formerly a lecturer at the University of Zimbabwe. He was killed in a car accident under suspicious circumstances in Zimbabwe in late 1992. This site is dedicated to Themba's memory. His work is reproduced here with permission of his family, as it deals with aspects of Zimbabwean music not previously studied. Date: 1992 Type of product: Uncompleted chapter towards an MA thesis. Published: No Copyright: CMS, University of Natal, and Durban. ------------------------------------------------------------------------------------ Preface The story of Lovemore Majaivana is the story of cultural struggle and revolution. From the seedy days of rock cabarets in white Rhodesia, Lovemore "returned to the source", a return effectively marked by the 1983 epoch-making album, "Isitimela." Culture is the most critical element of revolution. The reconstruction of Zimbabwe economically, politically and socially cannot be achieved without an accompanying cultural shift away from the colonial and neo-colonial cultures that have marginalised black humanity and threatened its creativity. Lovemore's music is a fighting culture. It is for this reason that the music and the story of Majaivana is being recorded. Introduction Our work is an attempt of further scholarship on urban black culture. Those who know Zimbabwean music know only the ethnographic exertions of Hugh Tracey and Paul Berliner, or the occasional, though now frequent journalistic coverage of Zimbabwean musicians, either on radio or TV talk-shows on the BBC, or in magazines and newspapers, international or local, or on video by either American, British or New Zealand travelling journalists. -
Grade 11 November 2018 Music P1 Marking Guideline
NATIONAL SENIOR CERTIFICATE GRADE 11 NOVEMBER 2018 MUSIC P1 MARKING GUIDELINE MARKS: 120 This marking guideline consists of 56 pages. 2 MUSIC P1 (EC/NOVEMBER 2018) INSTRUCTIONS AND INFORMATION 1. This question paper consists of SIX sections, namely SECTIONS A, B, C, D, E and F. 2. SECTIONS A and B are COMPULSORY. 3. SECTION C: WESTERN ART MUSIC (WAM), SECTION D: JAZZ and SECTION E: INDIGENOUS AFRICAN MUSIC (IAM) are choice questions. Answer only ONE of these sections (SECTIONS C or D or E). 4. SECTION F consists of multiple choice questions. Choose the two most suitable ones according to the description at the top of the section. 5. Answer all music notation in SECTION A in pencil only and all the written text in blue or black ink. 6. Answer SECTIONS B, C, D, E and F in blue or black ink in the spaces provided on this question paper. 7. Number the answers correctly according to the numbering system used in this question paper. 8. The last page of this question paper is manuscript paper intended for rough work. Candidates may remove this page. 9. Write neatly and legibly. Copyright reserved Please turn over (EC/NOVEMBER 2018) MUSIC P1 3 MARKING GRID SECTION QUESTION MARKS MARKER MODERATOR A: THEORY OF MUSIC 1 20 (COMPULSORY) 2 15 3 10 4 15 SUBTOTAL 60 AND B: GENERAL KNOWLEDGE OF 5 10 MUSIC (COMPULSORY) 6 10 SUBTOTAL 20 AND C: WAM 7 10 8 10 9 10 SUBTOTAL 30 OR D: JAZZ 10 10 11 10 12 10 SUBTOTAL 30 OR E: IAM 13 10 14 10 15 10 SUBTOTAL 30 AND F: COMPULSORY 16 5 (CHOICE OF 2) AND/OR 17 5 AND/OR 18 5 SUBTOTAL 10 GRAND TOTAL 120 Copyright reserved Please turn over 4 MUSIC P1 (EC/NOVEMBER 2018) SECTION A: THEORY OF MUSIC (COMPULSORY) (90 minutes) ANSWER QUESTION 1 AND QUESTION 2.1 OR QUESTION 2.2 AND QUESTION 3.1 OR QUESTION 3.2 AND QUESTION 4.1 OR QUESTION 4.2. -
Political Shifts and Black Theatre in South Africa Rangoajane, F.L
Political shifts and black theatre in South Africa Rangoajane, F.L. Citation Rangoajane, F. L. (2011, November 16). Political shifts and black theatre in South Africa. Retrieved from https://hdl.handle.net/1887/18077 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/18077 Note: To cite this publication please use the final published version (if applicable). Political Shifts and Black Theatre in South Africa PROEFSCHRIFT ter verkrijging van de graad van Doctor aan de Universiteit Leiden, op gezag van Rector Magnificus prof.mr. P.F. van der Heijden, volgens besluit van het College voor Promoties te verdedigen op woensdag 16 november 2011 klokke 11.15 uur door Francis L. Rangoajane geboren te Bloemfontein, Zuid-Afrika in 1963 Promotiecommissie Promotor Prof.dr. E.J. van Alphen Co-promotor Dr. D. Merolla Leden Prof.dr. M.E. de Bruijn Dr. Y. Horsman Prof.dr. E. Jansen (Universiteit van Amsterdam) Prof.dr. R.J. Ross Prof.dr. W.J.J. Schipper-de Leeuw Table of Contents Introduction 1 1.1 The Creation of Apartheid South Africa 5 1.2 Black Theatre in Apartheid South Africa 8 1.3 Challenges 15 1.4 Experimenting in Black Theatre 25 1.5 Research Method 27 1.6 Thesis Approach 28 1.7 Selection Criteria 30 1.8 Data Analysis and Interpretation 35 1.9 Chapter Layout 36 1 The South African State and Black Theatre 38 1.1 Apartheid and Black Theatre 38 1.2.1 Gibson Kente’s Too Late 46 1.2.2 Kani, Ntshona -
Download Press
A SONY PICTURES CLASSICS RELEASE AN ANTIDOTE FILMS PRODUCTION A JEFFREY LEVY-HINTE FILM SOUL POWER Directed by Jeffrey Levy-Hinte Produced by David Sonenberg Leon Gast Originally Conceived by Stewart Levine Music Festival Producers Hugh Masekela Stewart Levine Edited by David Smith Featuring James Brown Bill Withers B.B. King The Spinners Celia Cruz and the Fania All-Stars Mohammad Ali Don King Stewart Levine …and many more Running Time: 93 Minutes East Coast Publicity West Coast Publicity Distributor IHOP Public Relations Block-Korenbrot PR Sony Pictures Classics Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Rebecca Fisher Leila Guenancia 853 7th Ave, 3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 Tel : 212-265-4373 Tel : 323-634-7001 Tel : 212-833-8833 SYNOPSIS In 1974, the most celebrated American R&B acts of the time came together with the most renowned musical groups in Africa for a 12-hour, three-night long concert held in Kinshasa, Zaire. The dream-child of Hugh Masekela and Stewart Levine, this music festival became a reality when they convinced boxing promoter Don King to combine the event with “The Rumble in the Jungle,” the epic fight between Muhammad Ali and George Foreman, previously chronicled in the Academy Award-winning documentary WHEN WE WERE KINGS. SOUL POWER is a verité documentary about this legendary music festival (dubbed “Zaire ‘74”), and it depicts the experiences and performances of such musical luminaries as James Brown, BB King, Bill Withers, Celia Cruz, among a host of others. -
23 August 2019 1 Page 5 Editor’S Note
12 August – 23 August 2019 1 Page 5 Editor’s Note Page 6 Award Winning Script No Easter Sunday For Queers To Make Its Debut At The Market Theatre Page 8 Koleka Putuma Season Page 10 Remembering Legends Who Have Passed But Whose Spirit Lives On Page 12 Ukugrumba An Exhibition By 2018 Tierney Fellow Tshepiso Mabula Ka Ndongeni Page 14 The Young Artist And His Crea(C)Tive Voice Page 16 The Market Theatre Bids Farewell To One Of Its Longest Serving Employees, Reuben Myanga Page 20 2019 Tierney Fellow And 12Th Recipient Of Tierney Fellowship At The Market Photo Workshop Page 22 PROFILES In This Edition, Buzz Sharpens The Lens On Three Photographers Who Are Associated With The Tierney Fellowship At The Market Photo Workshop 2 MARKET BUZZ Volume 3 No 05 12 August – 23 August 2019 1 Page 24 International Exchange THE MARKET BUZZ Inspires Windybrow Arts TEAM Centre Art of pARTnership WRITERS: Page 26 Anthony Ezeoke (Audience Development) Page 28 Market Photo Workship Busi Letwaba Hold Training Programme In (Receptionist and Tour Guide) Clara Vaughan Zimbabwe (Market Laboratory Head) Ismail Mahomed Page 29 Daniele Tamagni Grant (Market Theatre Foundation CEO) For Higher Photography Keitu Gwangwa (Windybrow Arts Centre Head) Education Khona Dlamini (Programmes and Project Manager) Page 30 EMPLOYEE OF THE MONTH Lusanda Zokufa-Kathilu Up Close And Personal (Senior Publicist) With Lebeisa Molapo (Stage Zama Sweetness Buthelezi (Brand and Communications Manager) Manager) Zodwa Shongwe (Producer) Page 32 WHAT’S ON AT THE MARKET THEATRE Market Theatre -
UNIVERSITY of CALIFORNIA, SAN DIEGO From
UNIVERSITY OF CALIFORNIA, SAN DIEGO From Southern California to Southern Africa: Translocal Black Internationalism in Los Angeles and San Diego from Civil Rights to Antiapartheid, 1960 to 1994 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Mychal Matsemela-Ali Odom Committee in Charge: Professor Luis Alvarez, Co-Chair Professor Daniel Widener, Co-Chair Professor Dennis R. Childs Professor Jessica L. Graham Professor Jeremy Prestholdt 2017 © Mychal Matsemela-Ali Odom, 2017 All Rights Reserved. The Dissertation of Mychal Matsemela-Ali Odom is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Co-Chair University of California, San Diego 2017 iii DEDICATION This dissertation is dedicated to all my ancestors, family, and elders who made this study possible. This is dedicated to my ancestors beginning with Manch Kessee, the rebel enslaved African whose spirit lives in all his descendants. To Daphne Belgrave Kersee, Manch H. Kersee, Sr., Felton Andrew Odom, and Nadine Odom. It is dedicated to my parents Michael Andrew Odom and Maria Odell Kersee-Odom. This is for my wife Michelle Rowe-Odom and our children: Mayasa-Aliyah Estina Odom and Malika-Akilah Maria Odom. It is in honor of my siblings, Mosi Tamara Rashida Odom and Matthieu Renell Clayton Jackson; as well as your children, Jeremiah Harris, Makhia Jackson, and Josiah Harris. It is also dedicated to all members of the Odom, Kersee, Belgrave, Joseph, and Rowe families. As well, this is dedicated to the lives lost from state murder during the composition of this study: Trayvon Martin, Mike Brown, Eric Garner, Sandra Bland, Alfred Olango and the many others.