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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. -
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. -
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 -
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. -
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. -
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. -
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. -
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.