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South Africa
PUBLIC VERSION DOC Investigation No. A-791-825 ITC Investigation Nos. 701-TA-___-___ and 731-TA- ___-___ Total No. of Pages: 370 AD/CVD Operations Petitioners’ Business Proprietary Information for Which Proprietary Treatment Has Been Requested Deleted at Exhibits AD-ZA-1 (Atts. 1, 2, 5, 7,), AD-ZA- 2, AD-ZA-4, and AD-ZA-5 PUBLIC VERSION BEFORE THE INTERNATIONAL TRADE ADMINISTRATION OF THE U.S. DEPARTMENT OF COMMERCE AND THE U.S. INTERNATIONAL TRADE COMMISSION ANTIDUMPING DUTY PETITION VOLUME XVI SOUTH AFRICA COMMON ALLOY ALUMINUM SHEET FROM BAHRAIN, BRAZIL, CROATIA, EGYPT, GERMANY, GREECE, INDIA, INDONESIA, ITALY, KOREA, OMAN, ROMANIA, SERBIA, SLOVENIA, SOUTH AFRICA, SPAIN, TAIWAN, AND TURKEY PETITIONERS: THE ALUMINUM ASSOCIATION COMMON ALLOY ALUMINUM SHEET TRADE ENFORCEMENT WORKING GROUP AND ITS INDIVIDUAL MEMBERS W. BRAD HUDGENS JOHN M. HERRMANN DAVID C. SMITH WILLIAM H. CROW II PAUL C. ROSENTHAL GRACE W. KIM EMILY R. MALOOF KATHLEEN W. CANNON MELISSA M. BREWER NEREUS JOUBERT R. ALAN LUBERDA JOSHUA R. MOREY VLADIMIR VARBANOV BROOKE M. RINGEL MATTHEW G. PEREIRA GEORGETOWN ECONOMIC KELLEY DRYE & WARREN LLP SERVICES, LLC 3050 K Street, N.W., Suite 400 3050 K Street, N.W. Washington, DC 20007 Washington, D.C. 20007 (202) 342-8400 (202) 945-6660 Counsel to Petitioners March 9, 2020 PUBLIC VERSION Table of Contents Page I COMMON ALLOY ALUMINUM SHEET FROM SOUTH AFRICA IS BEING SOLD OR OFFERED FOR SALE AT LESS THAN FAIR VALUE .......,.1 A. Introduction............... 1 B. Producers in South Africa."..'. ,2 C. Export Price or Constructed Export Price' .4 D. Normal Value........ 5 E. -
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. -
The Great Green Outdoors
MAMRE CITY OF CAPE TOWN WORLD DESIGN CAPITAL CAPE TOWN 2014 ATLANTIS World Design Capital (WDC) is a biannual honour awarded by the International Council for Societies of Industrial Design (ICSID), to one city across the globe, to show its commitment to using design as a social, cultural and economic development tool. THE GREAT Cape Town Green Map is proud to have been included in the WDC 2014 Bid Book, 2014 SILWERSTROOMSTRAND and played host to the International ICSID judges visiting the city. 01 Design-led thinking has the potential to improve life, which is why Cape WORLD DESIGN CAPITAL GREEN OUTDOORS R27 Town’s World Design Capital 2014’s over-arching theme is ‘Live Design. Transform Life.’ Cape Town is defi nitively Green by Design. Our city is one of a few Our particular focus has become ‘Green by Design’ - projects and in the world with a national park and two World Heritage Sites products where environmental, social and cultural impacts inform (Table Mountain National Park and Robben Island) contained within design and aim to transform life. KOEBERG NATURE its boundaries. The Mother City is located in a biodiversity hot Green Map System accepted Cape Town’s RESERVE spot‚ the Cape Floristic Region, and is recognised globally for its new category and icon, created by Design extraordinarily rich and diverse fauna and fl ora. Infestation – the fi rst addition since 2008 to their internationally recognised set of icons. N www.capetowngreenmap.co.za Discover and experience Cape Town’s natural beauty and enjoy its For an overview of Cape Town’s WDC 2014 projects go to www.capetowngreenmap.co.za/ great outdoor lifestyle choices. -
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). -
AC097 FA Cape Town City Map.Indd
MAMRE 0 1 2 3 4 5 10 km PELLA ATLANTIS WITSAND R27 PHILADELPHIA R302 R304 KOEBERG R304 I CAME FOR DUYNEFONTEIN MAP R45 BEAUTIFULR312 M19 N7 MELKBOSSTRAND R44 LANDSCAPES,PAARL M14 R304 R302 R27 M58 AND I FOUND Blaauwberg BEAUTIFULN1 PEOPLE Big Bay BLOUBERGSTRAND M48 B6 ROBBEN ISLAND PARKLANDS R302 KLAPMUTS TABLE VIEW M13 JOOSTENBERG KILLARNEY DURBANVILLE VLAKTE City Centre GARDENS KRAAIFONTEIN N1 R44 Atlantic Seaboard Northern Suburbs SONSTRAAL M5 N7 Table Bay Sunset Beach R304 Peninsula R27 BOTHASIG KENRIDGE R101 M14 PLATTEKLOOF M15 Southern Suburbs M25 EDGEMEAD TYGER VALLEY MILNERTON SCOTTSDENE M16 M23 Cape Flats M8 BRACKENFELL Milnerton Lagoon N1 Mouille Point Granger Bay M5 Helderberg GREEN POINT ACACIA M25 BELLVILLE B6 WATERFRONT PARK GOODWOOD R304 Three Anchor Bay N1 R102 CAPE TOWN M7 PAROW M23 Northern Suburbs STADIUM PAARDEN KAYAMANDI SEA POINT EILAND R102 M12 MAITLAND RAVENSMEAD Blaauwberg Bantry Bay SALT RIVER M16 M16 ELSIESRIVIER CLIFTON OBSERVATORY M17 EPPING M10 City Centre KUILS RIVER STELLENBOSCH Clifton Bay LANGA INDUSTRIA M52 Cape Town Tourism RHODES R102 CAMPS BAY MEMORIAL BONTEHEUWEL MODDERDAM Visitor Information Centres MOWBRAY N2 R300 M62 B6 CABLE WAY ATHLONE BISHOP LAVIS M12 M12 M3 STADIUM CAPE TOWN TABLE MOUNTAIN M5 M22 INTERNATIONAL Police Station TABLE RONDEBOSCH ATHLONE AIRPORT BAKOVEN MOUNTAIN NATIONAL BELGRAVIA Koeël Bay PARK B6 NEWLANDS RYLANDS Hospital M4 CLAREMONT GUGULETU DELFT KIRSTENBOSCH M54 R310 Atlantic Seaboard BLUE DOWNS JAMESTOWN B6 Cape Town’s Big 6 M24 HANOVER NYANGA Oude Kraal KENILWORTH PARK -
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. -
Reflections on Identity in Four African Cities
Reflections on Identity in Four African Cities Lome Edited by Libreville Simon Bekker & Anne Leildé Johannesburg Cape Town Simon Bekker and Anne Leildé (eds.) First published in 2006 by African Minds. www.africanminds.co.za (c) 2006 Simon Bekker & Anne Leildé All rights reserved. ISBN: 1-920051-40-6 Edited, designed and typeset by Compress www.compress.co.za Distributed by Oneworldbooks [email protected] www.oneworldbooks.com Contents Preface and acknowledgements v 1. Introduction 1 Simon Bekker Part 1: Social identity: Construction, research and analysis 2. Identity studies in Africa: Notes on theory and method 11 Charles Puttergill & Anne Leildé Part 2: Profiles of four cities 3. Cape Town and Johannesburg 25 Izak van der Merwe & Arlene Davids 4. Demographic profiles of Libreville and Lomé 45 Hugues Steve Ndinga-Koumba Binza Part 3: Space and identity 5. Space and identity: Thinking through some South African examples 53 Philippe Gervais-Lambony 6. Domestic workers, job access, and work identities in Cape Town and Johannesburg 97 Claire Bénit & Marianne Morange 7. When shacks ain’t chic! Planning for ‘difference’ in post-apartheid Cape Town 97 Steven Robins Part 4: Class, race, language and identity 8. Discourses on a changing urban environment: Reflections of middle-class white people in Johannesburg 121 Charles Puttergill 9. Class, race, and language in Cape Town and Johannesburg 145 Simon Bekker & Anne Leildé 10. The importance of language identities to black residents of Cape Town and Johannesburg 171 Robert Mongwe 11. The importance of language identities in Lomé and Libreville 189 Simon Bekker & Anne Leildé Part 5: The African continent 12. -
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.