DOCSLIB.ORG

Notes from the South Peter Machen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Notes from the South Peter Machen Notes from the South Peter Machen PUBLISHER From South African arts writer Peter Machen, Notes from the South is a collection of conversations wuth key counter-cultural voices in the first two decades of the 21st Century. From South African superstar Brenda Fassie to American independent filmmaker Larry Clark to punk icon Patti Smith, Machen’s inti- mate interview style allows his subjects to reveal parts of themselves that are rarely expresssed in public. While the subjects of these Notes from the South are remarkably diverse, they share an alternative perspec- tive on the world, regardless of their physical prox- imity to the global South. In this context, Australian political writer John Pilger sits comfortably next to South African acadamic Njabulo Ndebele, Brazilian filmmaker Fernando Meirelles and Senegalese musi- cian Baaba Maal, all of whom, in their own ways, are striving for a better, more humanist world. Collectively, this polyphony of voices, as chan- neled through Machen’s transcripts and recollections, presents a cultural and political snapshot of life in the first two decades of this still new century, one that is given additional texture by several of Machen’s col- umns and travel pieces which are interspersed with the interviews. Notes from the South Copyright © 2017 Peter Machen All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the author except for the use of brief quotations in a book review. “We cannot be impartial, only intellectually honest. Impartiality is a dream, honesty a duty.” - Italian philosopher Gaetano Salvemini I have been interviewing, artists, mu- sicians, filmmakers and writers for the last 20 years. Notes From the South is an archive of these interviews, combined with several first-person accounts of life on the southern tip of Africa. While the subjects of the interviews are remarkably diverse, what they have in common is an alternative perspec- tive on the world, regardless of their physical proximity to the global South. Contents Contents Brenda Fassie 15 Guy Tillim 32 Hugh Masekela 40 Matthew Herbert 46 Baaba Maal 53 Vusi Mahlasela 58 Till the Morning Light 67 John Matshikiza 69 Justin Nurse 77 Jesus Saves 82 Till the Morning Light 87 Memories are Forgotten Roads 88 Mira Nair 93 Larry Clark 101 Todd Solondz 109 Mike Figgis 116 Fernando Meirelles 123 An Afrikaans Heart 130 Pieter-Dirk Uys 136 Andrew Verster 142 And Everything Turned Itself Inside Out 148 William Kentridge 153 Till the Morning Light 167 John Pilger 168 Raj Patel 177 Ishtiyaq Shukri 185 Arundhati Roy 193 Tom McCarthy 199 Njabulo Ndebele 207 Till the Morning Light 215 Guy Tillim 216 Pieter Hugo 224 Roger Ballen 232 Nontsikelelo Veleko 239 Santu Mofokeng 245 Peter Magubane 254 Till the Morning Light 271 The Broken Beauty of Maputo 282 Elise Durant 291 Will Oldham 301 Madala Kunene 318 Jennifer Fergusson 324 Michelle Shocked 329 Till the Morning Light 345 Benh Zeitlin 346 Oliver Schmitz 353 Khalo Matabane 359 Till the Morning Light 369 Listening to Michael Stipe 384 Patti Smith 388 Brenda Fassie 402 Notes from the South 14 Brenda Fassie All She Surveys (2003) In 2004, South Africa’s biggest musical star, Brenda Fassie, died, uniting the nations for a few brief weeks. I was fortunate to meet – and fall in love with Brenda – nine months before her death. I am staying in room 260 of the Katherine Street City Lodge in Sandton, Johannesburg. I mention to the cleaning staff that I am going to interview Brenda Fassie. “Oh Brenda,” they respond, with what I can only describe as serendipitous giggles. “She stayed in your room for six months. She was very naughty.” As I start my pilgrimage to Brenda’s rehearsal room, the im- age of the scared, unfriendly Jo’burg driver is quickly dispelled – or possibly updated. Brenda’s manager, Peter Snyman, doesn’t really have a clue how to get from Sandton to the backroom in Denver in which she is rehearsing, and he gives me only two street names. I find it, but not without help from a score of drivers who, without exception, roll down their windows and head me in the direction of Jules Street. Jules Street runs through the heart of Denver, one of the 15 Notes from the South oldest, most beautiful and most dilapidated parts of Jo’burg, but something shines through the decay, and it is still full of life. It is an apt place to find Brenda Fassie. Denver wears its fractured beauty proudly and matter-of-fact- ly. It looks like some cast-off street from war-torn Maputo, not quite stylish enough to inhabit the Mozambican capital but beautiful nonetheless. It is, quite obviously, a place for urban survivors, a place for those who have not been subsumed by the power of Jozi but remain on its periphery. And here I find Ma Brrr, Ms Fassie, riot grrrl supreme. Self-confessed drug user. Prima donna. Diva to a T. And the owner of one of the most powerful voices on the planet. Tinged with the pop immediacy of Madonna at her 1980s finest, and with a depth of range and meaning to rival Nina Simone, those who have not experienced her vocal glory – because she is black and sings only occasionally in English – don’t know what they’re missing. When Brenda sings, time stands still. Over the last two decades, she has used that voice to powerful effect, establishing herself as one of Africa’s biggest recording stars, and creating a catalogue of astounding afro-pop albums. And also, it must be said, attracting ever so slightly more than her fair share of trouble – through her fondness for substances legal and illegal, her unconventional sexuality and her resolute determination to do things her way and on her terms. To put it bluntly, Brenda Fassie really doesn’t give a fuck. To put it more proverbially, she couldn’t care two hoots what peo- ple think about her. But I’ll stick with the former phrase because there is no other expression in the English language for the at- titude that she constantly exudes and exacts on both herself and everyone around her. This is Brenda pure and simple. She refuses to put on an act. And she never stops performing. 16 Brenda Fassie And that is, in a way, the entire point. It is also completely glorious. Because she is so sweet, so vi- cious, so venomously loving, so unapologetically human. In the most sensational way possible, she plays the media game by sim- ply not playing the media game. Brenda always knew she would be famous. There was no oth- er possible path. When, in 1979, record producer Koloi Lobona made the very first pilgrimage to Brenda – to the Cape township of Langa where she was then living – because he’d heard about this amaz- ing voice, Brenda sang for him. And when she had finished sing- ing, the 16-year-old siren turned to him and said: “So when are we going to Jo’burg?” I walk into the rehearsal room with Brenda’s manager. Peter permanently wears a look on his face that suggests he’s seen it all, and my guess is that he has. Certainly, hanging with Brenda would increase the odds. In the rehearsal room it’s like nothing I’ve ever seen. The band is going off to the rousing pop anthem Thola Madlozi. Brenda is swirling around the room like a dervish, her impish face listening carefully to each note, each sound emerging from the musicians. Her body flails in an involuntary dance as she moves from musician to musician, a micro-conductor intent on perfection. She looks as if she is having the time of her life. The band breaks and Peter introduces me to Brenda. I give her a t-shirt with a picture of Nefertiti on it that I got at Fashion Week and she gives me a big hug. I meet Nathi, one of the backing singers in the backroom. Brenda introduces her as her daughter although I later learn that she is her girlfriend. She has a beautiful voice, of course, entire- ly different to Brenda’s – sweeter, less primal. She is a strong, 17 Notes from the South gently mature match for Brenda’s eternal teenager. I tell Brenda that Nathi is the mother and she is the daughter. “Everyone says that,” she responds. Then we all end up at her house in Buccleuch – not without a short trip to the bottle store, where Brenda stocks up on an entire shopping trolley of alcohol. I follow her around her suburban Jozi home. She shows me a bullet hole in her bedroom window, a result of her recent much-publicised burglary. My mind flashes to the newspaper article and Brenda saying: “Why would anyone want to kill me? Don’t they know the whole country loves me?” Then it’s back to the music room where Bongani, Brenda’s son, sits down at the keyboard. He is a classically trained pianist and the room melts into beauty as he plays the keys with his hands, body and sweet, sweet face. Paitjie, Bongani’s friend, is sitting next to me, dressed head to toe in yellow hip-hop gear. It’s his birthday and Brenda sings her own, deep-deep house interpretation of Happy Birthday. Paitjie’s smile almost exceeds the breadth of his face. Later, I tell Brenda how lovely I think Bongani is. She smiles pensively. “I think he smokes zol,” she says with a look of worry on her face.
Load more

Recommended publications
  • Review: International Jazz Day, Istanbul
    jazzjo urnal.co .uk http://www.jazzjournal.co.uk/magazine/583/review-international-jazz-day-istanbul Review: International Jazz Day, Istanbul N. Buket Cengiz reports on an event marked by star-studded concerts and discussions that revealed the ’heretofore unknown’ rhetorical powers of bassist Marcus Miller On 30 April, the sun shone with the hum of jazz tunes in Istanbul, inviting Istanbulites to wake up f or a day of a sweet rush in the host city f or International Jazz Day 2013. The 32nd International Istanbul Film Festival, a major cinema f estival in Europe, had been wrapped up just a couple of weeks prior with yet another collection of unf orgettable memories, and the city was ready f or the International Jazz Day event to be celebrated in collaboration with the Republic of Turkey and Istanbul Jazz Festival as the host city partner, with preparations underway since winter. In Istanbul, culture and arts as well as night lif e are remarkable, particularly f or music enthusiasts. Throughout the year, there is an abundance of clubs to choose f rom, and thanks to its temperate climate, there are open air concerts and f estivals as well. All year round, rock and indie, classical, ethnic and f olk, and of course jazz tunes f lit about the city, particularly during the never-ending summer nights. Istanbul is proud of its two international jazz f estivals: The Istanbul Jazz Festival organized by Istanbul Foundation f or Culture and Arts (IKSV), which will celebrate its 20th anniversary this July, and the Akbank Jazz Festival, which will be held f or the 23rd time this September.
    [Show full text]
  • 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.
    [Show full text]
  • Frank Paco Art Ensemble
    Frank Paco Art Ensemble Nu-World Jazz @ its best Frank Paco’s impressive career includes highlights such as 46664 Mandela AIDS concert performing with many of the world’s great musicians such as the legendary band “Queen”, Bono, Jimmy Cliff, Angelique Kidjo, Dave Stewart, Andrew Bonsu, Johnny Clegg, Brian May and Peter Gabriel. Frank started playing drums at the tender age Jazz Fest, Washington DC, New York, of 11 in Mozambique, where he already gained Switzerland’s Lugano Jazz Fest, Italy, France performance experience with friends and and Holland’s North Sea Jazz Fest just to name school bands. He recalls making his own but a few. drums and guitars out of oil canisters as a child, as it was hard to find musical instruments in a Mozambique oppressed by a In 1994 Frank Paco decided to further his raging civil war. Despite the challenges, study in jazz by enrolling at the University of however, Frank achieved true musical Cape Town where he attained an Honours greatness. Degree in Jazz Performance with distinction. Other collaborative highlights include In 2000 Frank was invited to record with performances with internationally acclaimed South Africa’s top musicians under the Sheer South African-born LA-based guitarist / singer Sound Jazz Label, of which his composition Jonathan Butler; Miriam Makeba, Hugh Milagre was chosen for the music video. The Masekela, Ragga Africa, an Indian-African group also won the South African Music collaboration that performed at Cape Town’s Awards (SAMA), for the Best Contemporary 2004 North Sea Jazz Festival; Award-winning Jazz Album and received an invitation to Den guitarist Allou April and saxophonist Moreira Hague to perform at the North Sea Jazz Chonguiça; the highly acclaimed house music Festival in 2001.
    [Show full text]
  • “Too Late for Mama” Lyrics by Brenda Fassie (South Africa)
    “Too Late For Mama” Lyrics By Brenda Fassie (South Africa) Verse 1 Ten kilometers barefooted in the bush Started raining on the way to fetch some water Poor woman had a baby on her back Was struck by lightning on her way To fetch some water... She tried hiding under a tree to save her child Poor woman had no place to go Lightning caught her with her baby on her back Friends, relatives ran for her Ten kilometres barefooted in But it was too late the bush It was too late... too late for mama Husband came running to the scene yeah, Started raining Poor man held his dead wife in his arms, on the way to fetch some Eyes full of tears not believing the nightmare, Knelt down and prayed for this was a painful loss water Chorus Too late... too late for mama Oh mama mama, poor mama, It was too late... too late Verse 2 She tried hiding under a tree to save her child Poor woman had no place to hide Lightning caught her with her baby on her back Friends, relatives ran for her Chorus But it was too late (mama) Too late for mama (mama) Too late (mama) Too late for mama (mama) Oh mama mama (mama) Oh poor mama (mama) It was too late (mama) Too late for mama (mama) Oh mama (mama) Mama with her little baby (mama) She’s gone (mama) It was too late (mama) She’s gone (mama) Oh poor mama (mama) Too late for mama Too late! Too late! Too late! (mama) (mama) Too late for mama Oh mama (mama) Too late for mama Too late! Too late! Oh mama mama My poor mama It was too late It was too late Mama with her little baby (mama) She’s gone (mama) She’s gone (mama) My mama mama My poor mama ..
    [Show full text]
  • Life & Times of Magda A: Telling a Story of Violence in South Africa
    Life & Times of Magda A: Telling a Story of Violence in South Africa Author(s): Didier Fassin, Frédéric Le Marcis, and Todd Lethata Reviewed work(s): Source: Current Anthropology, Vol. 49, No. 2 (April 2008), pp. 225-246 Published by: The University of Chicago Press on behalf of Wenner-Gren Foundation for Anthropological Research Stable URL: http://www.jstor.org/stable/10.1086/526096 . Accessed: 08/06/2012 11:42 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press and Wenner-Gren Foundation for Anthropological Research are collaborating with JSTOR to digitize, preserve and extend access to Current Anthropology. http://www.jstor.org Current Anthropology Volume 49, Number 2, April 2008 225 Life & Times of Magda A Telling a Story of Violence in South Africa by Didier Fassin, Fre´de´ric Le Marcis, and Todd Lethata How to write about violence? Most recent anthropological works have dealt with this question in terms of either political economy, narratives, or performance. Using J. M. Coetzee’s Life & Times of Michael K as a pre-text, an ethnological inquiry into violence is proposed through the biography of a young South African woman.
    [Show full text]
  • Jazz Circuit Texto Text Amâncio Miguel Fotografia Photography Ouri Pota
    Carlos Gave e/and Sheila Jesuíta O circuito de jazz de TheMaputo jazz circuit texto text Amâncio Miguel fotografia photography Ouri Pota Trinta de janeiro. Noite de chuviscos, na Julius 30 January. A night of showers on Julius Nyerere Nyerere, avenida da zona nobre de Maputo. Quanto Avenue in the heart of Maputo. As I approach the mais me aproximo do parque de estacionamento do Polana Hotel car park, the rain is competing with the Hotel Polana, mais os chuviscos competem com o sounds of guitar and saxophone. I follow the sound som de guitarra e saxofone. Sigo o som e vou dar ao and come to the Polana’s Aquarius Bar which, Aquarius Bar deste ex-libris de Maputo, que, por ser because it is Thursday, is hosting another jazz quinta-feira, acolhe mais uma sessão de jazz. Aqui, session. Here I decide to begin my round of the decido iniciar a ronda pelo circuito jazz da capital. capital’s jazz circuit. O sopro e a guitarra que atrairiam qualquer The sax and guitar notes which would attract amante de jazz são do tema “Mo’ any lover of jazz are from the theme “Mo’ Better Blues", composed by Bill Lee, and popularised by the Branford Marsalis quartet (with the collabora- tion of Terence Blanchard), for the soundtrack of the film of the same name, by the American director Spike Lee, of 1990. The dramatic film is about Bleek Gilliam, a fictitious jazz trumpeter. This time, “Mo’ Better Blues" is recreated by the guitarist João Cabral, accompanied by Vando Infante, on drums; Sarmento de Cristo, alto sax; and Realdo Salato, on bass.
    [Show full text]
  • Mandeni-Profile.Pdf
    MUNICIPAL PROFILE - MANDENI MUNICIPALITY MUNICIPALITY Municipal Profile Population 122 665 2011 No. of Councillors 34 2016 No. of Councillors 35 African Independent Congress 1 African National Congress 25 Current Political make-up Democratic Alliance 1 Economic Freedom Fighters 1 Inkatha Freedom Party 7 2011 Registered Voters 61 069 2014 Registered Voters 69 735 DETAILS OF THE OFFICE BEARERS ELECTION OF EXECUTIVE COMMITTEE (Formula: [number of party NAME NAME NAME POLITIC seats ÷ by total number of POLITIC OF POLITIC MUNICIPALI OF OF AL councillors) x size of EXCO] AL DEP AL TY SPEAK MAYO PARTY NAMES PARTY MAYO PARTY ER NO. OF POLITIC R OF R MEMBE AL MEMBE RS PARTY RS S. B. Zulu ANC P. M. ANC Sishi B. L. ANC Magwaz M. P. P. a S. B. P. M. Mandeni Zungu ANC 6 ANC ANC B. P. ANC Zulu Sishi Mngadi NFP N. Reddy IFP M. S. Mdunge e CONTACT DETAILS OF SECTION 54/56 MANAGES Mandeni LM Designation Contact Details Mr. S.G. Khuzwayo Municipal Manager 084 250 3327 Mr RN Hlongwa Chief Financial Officer 032 456 8200 Mr. Maneshkumar Technical Service - Sewdular 032 456 8200 Mr ZW Mcineka Community Services & Public Safety - 032 456 8200 Ms ZP Mngadi Corporate Services - 032 456 8200 Acting Economic Development, Mr SG Khuzwayo Planning and Human Settlements - 032 456 8200 PILLAR ONE: PUTTING PEOPLE FIRST WARD : 05 NAME OF CDW : Sibusiso Gazu 1.2 Ward Profile updated with Ward Committee Location : Mandeni Name of TLC : KZN291 Demography Total Population : 7054 Male : 3160 Female : 3894 Household : 1370 Female head Households : 60% Male head household :
    [Show full text]
  • Basic Assessment Report – Draft 1
    BASIC ASSESSMENT REPORT – DRAFT 1 SAND MINING PERMIT APPLICATION Application to mine silica sand over an approximate 4,15ha section of the Tugela River on the KwaZulu-Natal North Coast in the Ilembe District Municipality SUBMITTED FOR ENVIRONMENTAL AUTHORIZATIONS IN TERMS OF THE NATIONAL ENVIRONMENTAL MANAGEMENT ACT, 1998 AND THE NATIONAL ENVIRONMENTAL MANAGEMENT WASTE ACT, 2008 IN RESPECT OF LISTED ACTIVITIES THAT HAVE BEEN TRIGGERED BY APPLICATIONS IN TERMS OF THE MINERAL AND PETROLEUM RESOURCES DEVELOPMENT ACT, 2002 (MPRDA) (AS AMENDED). Prepared for Prepared by Hlanganisa Sands (Pty) Ltd Representative: Mr. Marc Dunlop FMI House, PO Box 184 Darnall 2 Heleza Blvd, 4480 Sibaya 082 445 8471 031 566 2858 [email protected] [email protected] DMR EIA Reference Number: KZN30/5/1/3/2/10697MP March 2020 1. IMPORTANT NOTICE In terms of the Mineral and Petroleum Resources Development Act (Act 28 of 2002 as amended), the Minister must grant a prospecting or mining right if among others the mining “will not result in unacceptable pollution, ecological degradation or damage to the environment”. Unless an Environmental Authorisation can be granted following the evaluation of an Environmental Impact Assessment and an Environmental Management Programme report in terms of the National Environmental Management Act (Act 107 of 1998) (NEMA), it cannot be concluded that the said activities will not result in unacceptable pollution, ecological degradation or damage to the environment. In terms of section 16(3) (b) of the EIA Regulations, 2014, any report submitted as part of an application must be prepared in a format that may be determined by the Competent Authority and in terms of section 17 (1) (c) the Competent Authority must check whether the application has taken into account any minimum requirements applicable or instructions or guidance provided by the competent authority to the submission of applications.
    [Show full text]
  • How Society Subsidizes Big Food and Poor Health Invited Commentary
    How Society Subsidizes Big Food and Poor Health Invited Commentary Invited Commentary How Society Subsidizes Big Food and Poor Health Raj Patel, PhD Approximately 80% of calories eaten in the United States are Farmer debt has increased since the farm crisis of the mid- grown domestically.1 Yet, the US diet is a leading cause of mor- 1980s. Subsidies are vital for highly indebted farmers to pay bidity. The analysis by Siegel et al2 in this issue of JAMA Internal their creditors. Not all farmers benefit from government sup- Medicine suggests that through commodity subsidies that encour- port: previous Farm Bills have supported approximately 40% age poor diet we are, in part, paying for our own demise. of US farmers, with the rest being ineligible for subsidy. Al- However, commodity subsidies are a small part of a big- though some among the beneficiaries are larger-scale enter- ger problem. From 2014 to 2023, the 2014 US Farm Bill will cost prises, many are not. Yanking away the income on which many $956 billion (letter from D. W. Elmendorf to Frank D. Lucas, depend will do little to help and may cause harm. chair of the House Commit- Our food policies must also take farmworkers into ac- tee on Agriculture; http: count. Agricultural laborers earn a mean annual salary of Related article //www.cbo.gov/sites/default $19 300 in the United States.4 Farmworkers in the United States /files/cbofiles/attachments are not covered by the 1935 National Labor Relations Act (Na- /hr2642LucasLtr.pdf), of which direct support for commodity tional Labor Relations Act of 1935.
    [Show full text]
  • 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
    [Show full text]
  • Mirror, Mediator, and Prophet: the Music Indaba of Late-Apartheid South Africa
    VOL. 42, NO. 1 ETHNOMUSICOLOGY WINTER 1998 Mirror, Mediator, and Prophet: The Music Indaba of Late-Apartheid South Africa INGRID BIANCA BYERLY DUKE UNIVERSITY his article explores a movement of creative initiative, from 1960 to T 1990, that greatly influenced the course of history in South Africa.1 It is a movement which holds a deep affiliation for me, not merely through an extended submersion and profound interest in it, but also because of the co-incidence of its timing with my life in South Africa. On the fateful day of the bloody Sharpeville march on 21 March 1960, I was celebrating my first birthday in a peaceful coastal town in the Cape Province. Three decades later, on the weekend of Nelson Mandela’s release from prison in February 1990, I was preparing to leave for the United States to further my studies in the social theories that lay at the base of the remarkable musical movement that had long engaged me. This musical phenomenon therefore spans exactly the three decades of my early life in South Africa. I feel privi- leged to have experienced its development—not only through growing up in the center of this musical moment, but particularly through a deepen- ing interest, and consequently, an active participation in its peak during the mid-1980s. I call this movement the Music Indaba, for it involved all sec- tors of the complex South African society, and provided a leading site within which the dilemmas of the late-apartheid era could be explored and re- solved, particularly issues concerning identity, communication and social change.
    [Show full text]
  • The New Fillmore
    RETAIL REPORT FOOD & DRINK REAL ESTATE New shops, A new bar, and Home sells for medspa open it’s a long one under a million PAGES 5 - 7 PAGE 10 PAGE 14 New FILLMORE SAN FRANCISCO ■ AUGUST 2008 A Good Egg For 40 years, Phil Dean and drives along Golden Gate Park as he makes his way back to Fillmore Street. was Fillmore Hardware. He retired two and a half years ago, He’s retired now, but he but he’s never really gotten away from the neighborhood where he worked for most still delivers fresh eggs of his adult life. As he looks for a parking on Friday afternoon. space near Fillmore and Pine, he can glance out the window and see his fi ngerprints B B K R on nearly every Victorian on the block T R — lumber he sold, paint he mixed, repairs made according to advice he dispensed. ’ on a Friday afternoon, For an hour on Friday afternoon, just and Phil Dean, longtime manager before closing time, he’s back behind the of Fillmore Hardware, gets into counter of the hardware store, still greeting his truck in Pacifi ca and makes the customers and occasionally giving advice or drive he’s made so many times: up cutting keys — and delivering eggs, some ISkyline Drive, onto the Great Highway, of them gathered from his henhouse earlier S B past Ocean Beach. He turns right on Fulton that day. TO PAGE 8 4 LOCALS NEIGHBORHOOD NEWS Good Riddance, Say Locals, as Redevelopment Ends B D G “In the early days,” said executive di- But by this time, the African American destroyed a community, a way of life.” rector Fred Blackwell, “there is much that community had had enough.
    [Show full text]