Chapter 5: Twelve Phases, Faces, Paces, and Traces of Philip Nchipi Tabane
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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. -
Music and Inter-Generational Experiences of Social Change in South Africa
All Mixed Up: Music and Inter-Generational Experiences of Social Change in South Africa Dominique Santos 22113429 PhD Social Anthropology Goldsmiths, University of London All Mixed Up: Music and Inter-Generational Experiences of Social Change in South Africa Dominique Santos 22113429 Thesis submitted in fulfillment of the requirements for a PhD in Social Anthropology Goldsmiths, University of London 2013 Cover Image: Party Goer Dancing at House Party Brixton, Johannesburg, 2005 (Author’s own) 1 Acknowledgements I owe a massive debt to a number of people and institutions who have made it possible for me to give the time I have to this work, and who have supported and encouraged me throughout. The research and writing of this project was made financially possible through a generous studentship from the ESRC. I also benefitted from the receipt of a completion grant from the Goldsmiths Anthropology Department. Sophie Day took over my supervision at a difficult point, and has patiently assisted me to see the project through to submission. John Hutnyk’s and Sari Wastel’s early supervision guided the incubation of the project. Frances Pine and David Graeber facilitated an inspiring and supportive writing up group to formulate and test ideas. Keith Hart’s reading of earlier sections always provided critical and pragmatic feedback that drove the work forward. Julian Henriques and Isaak Niehaus’s helpful comments during the first Viva made it possible for this version to take shape. Hugh Macnicol and Ali Clark ensured a smooth administrative journey, if the academic one was a little bumpy. Maia Marie read and commented on drafts in the welcoming space of our writing circle, keeping my creative fires burning during dark times. -
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 -
Lars Rasmussen: an INTERVIEW with TROMBONIST MALINDI BLYTH MBITYANA ©Lars Rasmussen and Malindi Blyth Mbityana 2002
Lars Rasmussen: AN INTERVIEW WITH TROMBONIST MALINDI BLYTH MBITYANA ©Lars Rasmussen and Malindi Blyth Mbityana 2002 This interview took place in Blyth's home in Bronx, New York. It was to be included in volume two of my anthology Jazz People of Cape Town, a book which, regrettably, never materialized. MBM: I was born on 27 February, 1929. My parents were Esther and Paul Meku Mbityana. I have two brothers, one is born 1918, same age as Nelson Mandela. My elder brother became a school teacher and very popular in the political scene in the Eastern Cape. These are people who also made names for themselves in the community. And my sister was the twin to my elder brother; she died a couple of years ago. I didn't know it until just over Christmas, we called a cousin of mine who is in the Transvaal. That was a sad Christmas I had, because she was the only blood relative I had left. I grew up in Bo-Kaap. There was nobody in the family who played music. I was the first one to venture into the music scene. The kind of music we were listening to ... my friend Max used to buy a lot of records and we used to listen very, very attentively. The solos that we listened to were written out exactly as they were on the record. So we formed this big band, The Tuxedo Slickers. The band leader was in his early thirties, the rest of the band were in our late teens, early twenties. -
University of Zululand Master of Music
UNIVERSITY OF ZULULAND INDIGENOUS FEATURES INHERENT IN AFRICAN POPULAR MUSIC OF SOUTH AFRICA A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF MUSIC in the department of Music at the University of Zululand by THULASIZWE NKABINDE DECEMBER 1997 INDIGENOUS FEATURES INHERENT IN POPULAR MUSIC OF SOUTH AFRICA SUPERVISOR: PROF MK XULU DECLARATION The whole of this work is a product of my original thought and research. Where the contrary is found that willl always be acknowledged in full. THULASIZWE NKABINDE ACKNOWLEDGMENTS I would like to express my gratitude to Professor Musa ~IU for his patience, advice and guidance, without which this project would have been all the more difficult. My deepest appreciate goes to my father, Mr. Gibson Siyabonga Nkabinde, my wife Beauty and all my children, Khayelihle, Phelelani and Banele for all their support and encouragement, and to Ms Brenda Trimmel for her endless hours of typing and perfectionist care in the format of this project. I would also like to thank all those people who, in one way or another, made this project reach completion. They are: Professor Joseph Bhekizizwe Shabalala of the Ladysmith Black Mambazo, Marks Mankwane of the Makgona Tsohle Band, Mahlathini and the Mahotella Queens, Yvonne Chaka Chaka, Simon Buthelezi, Bongani Hlatshwayo, Print and Electronic Media, the entire SABC staff and the SABC Choristers, not forgetting the enormous support from the audience, the music lovers. DEDICATION This thesis is dedicated to my late mother Mrs Thembakuye Nkabinde who gave me all the support to pursue my career. ABSTRACT The central aim of this study is to identify those features in the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens that derive from Indigenous African music and show how they have been transformed to become part of popular idioms. -
Ethnography and the Archive
ETHNOGRAPHY AND THE ARCHIVE: POWER AND POLITICS IN FIVE SOUTH AFRICAN MUSIC ARCHIVES Lizabé Lambrechts Dissertation presented for the degree of Doctor of Philosophy at the University of Stellenbosch Department of Music Faculty of Humanities Promoter: Prof. Stephanus Muller December2012 Stellenbosch University http://scholar.sun.ac.za Declaration By submitting this thesis/dissertation, 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. Copyright © 2012 Stellenbosch University All rights reserved ii Stellenbosch University http://scholar.sun.ac.za Abstract This study addresses issues concerning power and politics in five music archives in South Africa. It has a three-fold approach. First, it provides an overview of archival theory as it has developed since the French Revolution in 1789. It follows the trajectory of changing archival principles such as appraisal and provenance and provides an oversight into the changing understanding of ‘the archive’ as an impartial custodian of the Truth, to its conceptualisation in the Humanities as a concept deeply rooted in discourses around power, justice and knowledge production. Interrogating the unfolding concept of the archive throws into relief its current envisioned function within a post-Apartheid South Africa. Secondly, this dissertation explores five music archives in South Africa to investigate the level to which archival theory is engaged with and practiced in music archives. -
Blancs Et L'apartheid
CHRONIQUES Ian Bernhardt Les Sud-Alrlcains blancs et l'apartheid epuis que le président F. W. De Klerk a engagé l'Afrique du Sud sur une voie nouvelle, en février 1990, il devient de plus en plus à la mode, pour les Sud-Africains blancs, de s'opposer à l'apartheid. Même la monolithique Eglise réformée hol landaise, qui jusqu'alors, pour légitimer cette politique, appelait la théologie à la rescousse, a Un reconnu publiquement, dans la deuxième adversaire de l'apartheid semaine de novembre, qu'elle constituait un péché, la dénonçant comme un mal, contraire à la volonté du Tout-Puissant. C'est l'occasion, me semble-t-il, de rappeler que, durant presque quarante ans, la grande majorité des Blancs d'Afrique du Sud, ainsi que ceux qui, dans les communautés métisse, africaine et indienne ont accepté de coopérer avec eux, a tiré un profit important de ce système inique. Je revendique l'honneur d'avoir été, tout au long de ma vie, un adversaire de l'apartheid, et je crois que ce que j'ai vécu porte témoignage de cette terrible période. Bien que je sois né en 1930 à Windhoek, l'actuelle capitale de la Namibie, et que ma famille ait déménagé à Johannesburg en 1937, ce n'est qu'à l'âge de quinze ans que je fis la découvertedes Noirs. Même lorsque j'évoque sous ma plume des images de la Windhoek de mon enfance, tous les gens dont je me souviens sont des Blancs. Puis notre famille alla s'installer à Johannesburg, et, de toutes mes années de premier cycle, je ne revois que très peu de visages noirs, à l'exception de ceux d'une série de nounous et de jardiniers. -
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 -
Music SA Jazz Article
The Music of The People: Africans in South Africa and their Musical Sound Systems The indestructible sounds of Soweto Mbaqanga Mbube groups doing their Step( Abdulah Ibrahim, a South African Jazz pianist Dark City Sisters' Mahotella Queens; Dark City Sisters; Mthembu Queens Ladysmith Black Mambazo Brenda Fasie; Rebecca Malope; Yvonne Chaka Chaka; Mahotella Queens Mbube Group in full action. some other groups were Mtwalume Young Ages, Mkhizwane Home Stars and Jabula Home Defenders Sibongile Khumalo; Brenda Fassie; Letta Mbulu; Mirriam Makeba Dollar Brand released one of the greatest hits called Mannenberg Letta Mbulu's "Free Soul" produced in 1968 whilst she was in exile overseas Mirriam Makeba in concert Caiphus Semenya; Winston Manunku Ngozi; Jonas Gwangwa; Phillip Tabane Dollar Brand(Abdul Ibrahim); Hugh Cape Colored getting ready for the Minstrel Masekela, Jonas Gwangwa and Caiphus Carnival and Brass Band Semenya in The Union of South Africa; Mike Makhalemele; Phillip Tabane A Short History Of Townships Bands, Artists and Music The music of the Townships as a genre was originated in the 1900s and is characterized by its musicians, who were often urban Township residents during the the Apartheid era in south Africa. The music of the Townships was created because of the presence of segregation during the time of segregation, and the musicians in the Townships created the music in response to the environment. The music of the Townships in South Africa began with the migrant laborers, who lived in area which were labor reserve and dormitories. These poorly built houses which the African occupants had to rent, were built by Apartheid for its lower classes Africans. -
Writing Against Exile: a Chronotopic Reading of the Autobiographies of Miriam Makeba, Joe Mogotsi and Hugh Masekela Lindelwa
Writing Against Exile: A Chronotopic Reading of the Autobiographies of Miriam Makeba, Joe Mogotsi and Hugh Masekela Lindelwa Dalamba Submitted in partial fulfilment of the requirements for the degree of Master of Arts in the School of Music University of KwaZulu-Natal 2006 To my parents. In loving memory. Acknowledgments Funding provided by the National Research Foundation towards this research is gratefully acknowledged. I would like to thank my supervisor, Chris "Prof' Ballantine, for his constant patience, creativity, intelligence and support. Without him, the ideas expressed in this dissertation would have remained at the level of "this vibe is so uncool". To Heather Gale, the head librarian at the University of KwaZulu-Natal's Eleanor Bonnar Music Library, for tracking down the materials as soon as they were published or released, thereby bravely challenging the conventions of University budgets. Thanks also to my sisters and my extended family. Without your selflessness and support during our bereavement, I may have never been able to continue writing. To Lindokuhle Mpungose, thank you for the food, the care and the dialogue. To Sazi Dlamini: for your generosity with ideas on exile, alienation, space and of course 'disjuncture', and for showing me things in perfect proportion. To Xolani Nxumalo: for reminding me that this all started with a saxophone. To my friends - now also my surrogate family - your blissful ignorance of what chronotopes are kept me sane. Except for referenced quotations, this dissertation is my own work. ABSTRACT Writing Against Exile: A Chronotopic Reading of the Autobiographies of Miriam Makeba, Joe Mogotsi and Hugh Masekela. -
Mandela Is One of the Epic Tales of the —San Francisco Twentieth Century
4/color process gritty matte lamination Biography/history “m eredith paints an insider’s canvas of “p rovides new perspective and insights into the man and recent south african his times.”—W AshingTon PosT history as well as an epic tale of a freedom fighter.” he life of NelsoN MaNdela is one of the epic tales of the —San FranciSco twentieth century. a descendent of the thembu royal family, a lawyer by chronicle T profession, he became the central figure in the titanic struggle to overthrow south africa’s apartheid regime. resorting to armed rebellion, he was sentenced to life imprisonment and endured years of hardship on robben island, battling against vengeful white warders and largely forgotten by the outside world. yet he never lost sight of the cause of democracy. after his release, it was ulti- mately mandela’s leadership and moral courage that helped deliver a peaceful end to apartheid after years of racial division and violence. as president, he pursued the cause of national reconciliation with the same tenacity, striving to promote a sense of common citizenship between black and white. in this brilliantly researched, newly updated biography, martin meredith vividly aB i ography captures the epic nature of mandela’s life and, with new perspective, examines his legacy in today’s south africa. “m eredith carefully avoids adulation while tracing the course of mandela’s remarkable career....He skillfully depicts mandela’s complex relationships...[and] writes vividly M a N d ela but unsentimentally about the tribulations and betrayals -
Copyright by Tyler David Fleming 2009
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. This inter-racial collaboration was truly groundbreaking in a nation where apartheid was officially enacted a little over a decade prior to King Kong ’s 1959 debut.