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Cable Shows Renewed Or Cancelled
Cable Shows Renewed Or Cancelled Introductory Arturo liquidises or outplays some pleochroism attributively, however unsatiating Yuri inflicts pleasurably or course. Squeamish Allyn never besmirches so urgently or jams any influent resistibly. Montgomery fingerprints refractorily? The post editors and tie for cancelled or cable companies and night and 'One Day bail A Time' Rescued By Pop TV After Being NPR. Ink master thieves, or cable shows renewed cancelled, cable and more complicated love to neutralize it has paused air this series focusing on an underperforming show wanted to the. List of Renewed and Canceled TV Shows for 2020-21 Season. Media blitzes and social engagement help endangered series avoid cancellation. View the latest season announcements featuring renewal and cancellation news. Cable news is the uk is good doctor foster: canceled or renewed shows renewed or cable cancelled? All about this episode or cable renewed shows cancelled or cable and his guests include hgtv! Ticker covers every genre, or cable or. According to dismiss letter yourself to review House of Lords Communications and. Is its last ready with lawrence o'donnell being cancelled. Plenty of cable or cable shows renewed for the. Osmosis was renewed shows or cable cancelled in central new york and! Abc Daytime Schedule 2020 Gruppomathesisit. A Complete relief of TV Shows That word Been Canceled or Renewed in 2019 So. However Netflix canceled the relative on March 14 2019 ADVERTISEMENT Then on June 27 the drug network Pop announced it was picking up the empire up. Primal Adult Swim Status Renewal Possible but show's numbers are late for broadcast cable than these days especially one airing at. -
The Johnny Clegg Band Opening Act Guitar, Vocals Jesse Clegg
SRO Artists SRO The Johnny Clegg Band Opening Act Guitar, Vocals Jesse Clegg The Johnny Clegg Band Guitar, Vocals, Concertina Johnny Clegg Guitar, Musical Director Andy Innes Keyboard, Sax, Vocals Brendan Ross Percussion Barry Van Zyl Bass, Vocals Trevor Donjeany Percussion Tlale Makhene PROGRAM There will be an intermission. Sunday, April 3 @ 7 PM Zellerbach Theatre Part of the African Roots, American Voices series. 15/16 Season 45 ABOUT THE ARTISTS Johnny Clegg is one of South Africa’s most celebrated sons. He is a singer, songwriter, dancer, anthropologist and musical activist whose infectious crossover music, a vibrant blend of Western pop and African Zulu rhythms, has exploded onto the international scene and broken through all the barriers in his own country. In France, where he enjoys a massive following, he is fondly called Le Zulu Blanc – the white Zulu. Over three decades, Clegg has sold over five million albums of his brand of crossover music worldwide. He has wowed vast audiences with his audacious live shows and won a number of national and international awards for his music and his outspoken views on apartheid, perspectives on migrant workers in South Africa and the general situation in the world today. Clegg’s history is as bold, colorful and dashing as the rainbow country which he has called home for more than 40 years. Clegg was born in Bacup, near Rochdale, England, in 1953, but was brought up in Zimbabwe and South Africa. Between his mother (a cabaret and jazz singer) and his step-father (a crime reporter who took him into the townships at an early age), Clegg was exposed to a broader cultural perspective than that available to his peers. -
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. -
Apartheid Revolutionary Poem-Songs. the Cases of Roger Lucey and Mzwakhe Mbuli
Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Lingue e Letterature Europee, Americane e Postcoloniali Apartheid Revolutionary Poem-Songs. The Cases of Roger Lucey and Mzwakhe Mbuli Relatore Ch. Prof. Marco Fazzini Correlatore Ch. Prof. Alessandro Scarsella Laureanda Irene Pozzobon Matricola 828267 Anno Accademico 2013 / 2014 ABSTRACT When a system of segregation tries to oppress individuals and peoples, struggle becomes an important part in order to have social and civil rights back. Revolutionary poem-songs are to be considered as part of that struggle. This dissertation aims at offering an overview on how South African poet-songwriters, in particular the white Roger Lucey and the black Mzwakhe Mbuli, composed poem-songs to fight against apartheid. A secondary purpose of this study is to show how, despite the different ethnicities of these poet-songwriters, similar themes are to be found in their literary works. In order to investigate this topic deeply, an interview with Roger Lucey was recorded and transcribed in September 2014. This work will first take into consideration poem-songs as part of a broader topic called ‘oral literature’. Secondly, it will focus on what revolutionary poem-songs are and it will report examples of poem-songs from the South African apartheid regime (1950s to 1990s). Its third part will explore both the personal and musical background of the two songwriters. Part four, then, will thematically analyse Roger Lucey and Mzwakhe Mbuli’s lyrics composed in that particular moment of history. Finally, an epilogue will show how the two songwriters’ perspectives have evolved in the post-apartheid era. -
Johnny Clegg, the White Zulu 52’ DOCUMENTARY PROJECT Goyaves and Screenshot Productions
Johnny Clegg, The white Zulu 52’ DOCUMENTARY PROJECT Goyaves and Screenshot Productions For 18 years, Goyaves has collaborated with leading French television companies in the production of documentaries, reports and short fiction films. Since its creation, Frédéric Malègue, producer, has always shown his will to open audiences to the realities of other countries and cultures. Beyond short films about Beirut or the Tunisian revolution, he has produced various documentaries in Vietnam, India, Palestine, Venezuela, Chile and the Dominican Republic. At Goyaves we believe it is important to support people and organizations that have an impact on our society. Indeed, it is essential to make viewers aware of the realities and the struggles being waged to promote justice and equality. One of our latest productions broadcasted on ARTE "Au cœur des négociations secrètes" and which takes place in Vietnam could testify. Screenshot Productions has an editorial line focused on the world and its major concerns: environment, economic development, human rights as well as its modern and successful heroes. Topics are approached through a positive prism, through the experience of individuals and/or personalities who fight for progress and/or the environment. 2 Goyaves and Screenshot Productions Today we have the chance to tell the story of Johnny Clegg. Author, composer, hot-voice singer and barefoot dancer, 65-year-old Johnny Clegg, nicknamed the "White Zulu", interrupted last year his final tour entitled "Last Journey" for medical reasons. Our documentary is the portrait of an artist and citizen of the world who wishes to bid farewell to his fans and leave them a testimony of his career. -
Africa in the Media
January 2019 By Johanna Blakley, Adam Amel Rogers, Erica Watson-Currie and Kristin (Eun Jung) Jung TABLE OF CONTENTS INTRODUCTION 3 SUMMARY OF KEY FINDINGS 6 TELEVISION FINDINGS 6 TWITTER FINDINGS 7 CROSSCUTTING FINDINGS 8 AFRICA ON TELEVISION 9 NUMBER OF MENTIONS 9 TYPES OF MENTIONS 10 AFRICA IN SCRIPTED ENTERTAINMENT 12 TYPES OF ENTERTAINMENT DEPICTIONS 12 SENTIMENT OF DEPICTIONS 14 AFRICAN CHARACTERS AND PERSONALITIES 23 AFRICA ON TWITTER 26 VOLUME OF TWEETS 27 SENTIMENT TOWARD AFRICA 28 BLACK PANTHER ON TV AND TWITTER 37 CONCLUSION AND RECOMMENDATIONS 42 METHODOLOGY 45 APPENDIX 48 ABOUT US 51 AFRICA NARRATIVE | USC LEAR CENTER Africa in the Media INTRODUCTION THE AFRICA NARRATIVE, WHICH IS BASED AT THE that provide a counterpoint showing the success, diversity, Norman Lear Center at the USC Annenberg School for Com- opportunity and vibrancy of Africa — its emerging middle munication and Journalism, was established to create great- class; technology and innovation; solutions-driven culture; er public knowledge and understanding of and engagement growing economies and democracies; and talent in the ar- with Africa through research, creative communications cam- eas of the arts and entertainment, technology, business and paigns and collaborations with private, public and non-profit government. partners. Even when the coverage of Africa was, on its surface, posi- Recognizing the pivotal role of media and entertainment in tive, it was described as often glib, simplistic, predictable, shaping perceptions and opinions of Africa and African peo- and sometimes sensationalist or extreme, at the expense of ple, Africa in the Media is the Africa Narrative’s inaugural re- showcasing regular voices and stories of Africa. -
Aporias of the Cultural Boycott
ARTICLES Detlef Siegfried APORIAS OF THE CULTURAL BOYCOTT Anti-Apartheid Movement, ANC and the Conflict Surrounding Paul Simon’s Album Graceland (1985–1988) The political goal of the Anti-Apartheid Movement was to isolate Pretoria on all levels in order to bring about the collapse of the apartheid regime. One means which initially received much less attention than the economic boycott, but which became increas- ingly important as time went on, was the cultural boycott with its two complementary components: the cessation of any form of exchange with South Africa and the mo- bilisation of artists in the fight against apartheid. The importance of both of these in- struments grew with the mass mediatisation and inner transformation of ›Western‹ countries into ›experience-driven societies‹. At the same time, transnational entangle- ments and the increasing opposition within South Africa revealed the limitations of the boycott. Awareness of these limitations increased in the mid-1980s among the general public and not least within the movement itself. A catalyst was Paul Simon’s album Graceland, which was recorded in South Africa with black South African musi- cians in 1985 and released in 1986. It formed part of the ›world music‹ revival, which had prompted a renewed recourse to the musical forms of the non-Western world in reaction to what was seen as the increasing superficiality of pop music. Initiatives like Peter Gabriel’s Real World label and the ›Festival Jazz and World Music‹ organised by Joachim-Ernst Berendt in New York had been popularising musicians from ›Third World‹ countries since the early 1980s.1 Artists from South Africa were only involved if they had been exiled – if they lived in the country itself, they were excluded. -
Star System for South Africa
The Star System in South Africa November 2020 Page 1 of 72 DOCUMENT INFORMATION Document title: THE STAR SYSTEM IN SOUTH AFRICA 2020 Prepared by: Urban-Econ Development Economists Contact details: 37 Hunt Road Glenwood Durban 4062 South Africa Tel: +27 (0)31 202 9673 e-mail: [email protected] Contact Person: Eugene de Beer Prepared for: KZN Film Commission 115 Musgrave Road,13th Floor Musgrave Towers, Berea, Durban 4001 Tel: 031 325 0200 Contact Person: Dr N. Bhebhe Manager: Research and Development Email: [email protected] 031 325 0216 Page 2 of 72 CONTENTS 5.8 THE CURRENT STATUS OF THE BILLS .............................................. 46 1. EXECUTIVE SUMMARY ....................................................................... 6 5.9 CONCLUSION................................................................................ 47 2. INTRODUCTION ................................................................................. 8 6. THE CONCEPTUAL FRAMEWORK OF THE PROPOSED SYSTEM .... 49 2.1 BACKGROUND ................................................................................ 8 6.1 INTRODUCTION ............................................................................. 49 2.2 METHODOLOGY .............................................................................. 8 6.2 STRUCTURE AND FORM ................................................................ 49 2.3 REPORT STRUCTURE ......................................................................... 9 6.3 RULES AND REGULATIONS ........................................................... -
Non-Racial Casting in African Theatre and Cinema
NON-RACIAL CASTING IN AFRICAN THEATRE AND CINEMA Connie Rapoo & David Kerr1 Abstract Racial and non-racial casting in theatre and cinema has become a widely, and sometimes hotly discussed issue in European and North American performance. The debates are fuelled by the increasing popularity of experimental, post-colonial and inter-cultural performance. However, there has been little such debate in Africa, even though there are many examples of performances which play with cross-racial conventions and stereotyping. This paper interrogates indigenous traditions of non–racial casting, the influence of popular European forms such as minstrelsy, and problems of casting in the realistic tradition of African theatre and cinema. The dialectic of all these traditions impacts on identities in post-colonial and post-apartheid performance. The article uses analytic tools of theatre and performance theory to interrogate the casting practices and principles. Keywords: non-racial casting, creative resistance, blackface, African theatre, stylized performance. 1. Introduction When American actor, Ted Danson appeared at a New York Friars Club Roast in 1993 in blackface, a huge controversy arose, mainly because Danson’s appearance evoked a history that resonates with the offensive and derogatory representations that minstrel performances evoke in the United States. In comparison, an all too familiar act appears in Leon Schuster’s There is a Zulu on My Stoop, (Gray Hofmeyr, 1993) featuring the White-classified Schuster as a Black man [in blackface] and Black actor John Matshikiza as a White man [wearing whiteface]. Similarly, the Afrikaner-Jewish satirist Pieter-Dirk Uys has featured prominently in Black roles, such as his characteristic drag act and impersonation of Winnie Madikizela-Mandela, clad in cultural paraphernalia and a t-shirt imprinted with Nelson Mandela’s portrait in Truth Ommissions (Uys, 1996). -
UCSD Presents Johnny Clegg and Savuka, Zulu Music Ensemble on October 1
UCSD presents Johnny Clegg and Savuka, Zulu music ensemble on October 1 September 13, 1990 Contact: Ruth Bally, University Events, 534-4090 or Alixandra Williams, University Communications, 534-3120 UNIVERSITY EVENTS PRESENTS ZULU MUSIC ENSEMBLE ON OCT. 1 Johnny Clegg and Savuka, a South African music ensemble, will perform at the University of California, San Diego at 8 p.m. Oct. 1, in the Price Center Ballroom. Their music has its roots in Zulu rhythms, melded with EuroAmerican jazz. Formed in 1986, the ensemble has sold more than two million albums in South Africa, including the number one hit, "Asimbononga," and "Scatterlings of Africa," which appeared on the sound track of the movie, "Rain Man." The ensemble's popularity in Europe has led it to appearances in North America, including network television exposure on the Arsenio Hall Show, the Today Show, the Tonight Show, and Saturday Night Live. Clegg has worked with two of the groups musicians, percussionist Dudu Zulu and drummer Derek De Beer, since 1979, when they were members of another very popular South African band, Juluka. Clegg and Savuka (Zulu for "we have arisen") have released two albums, "Third World Child" and "Shadow Man," and have toured extensively, appearing at the famed Montreux Jazz Festival, opening for David Bowie in France, fronting for Earth, Wind and Fire in Germany, and appearing in North America with Steve Winwood. Clegg and Savuka also appeared in the Amnesty International Human Rights' "NOW!" tour, in Abidjan on the Ivory Coast, with Bruce Springsteen, Sting and Tracy Chapman. Michael Lerner of Newsweek says, "Long before Paul Simon ever dreamed of fusing South African music with Western pop on his blockbuster "Graceland" album, Clegg--who was a university lecturer on socio-anthropology in South Africa and who speaks fluent Zulu--was hard at work doing just that. -
Racism and Reproduction: the Institutional Effects of Apartheid on the South African Fertility Decline
Racism and Reproduction: The Institutional Effects of Apartheid on the South African Fertility Decline Tom A Moultrie Paper presented at the XXIV IUSSP General Population Conference Salvador, Brazil 18 – 24 August 2001 Session S19 – Fertility Transition Contact details: Tom A Moultrie Centre for Population Studies London School of Hygiene & Tropical Medicine 49-51 Bedford Square WC1B 3DP London, United Kingdom Phone: +44 (0)20 7299 4750 Fax: +44 (0)20 7299 4637 Email: [email protected] PLEASE DO NOT CITE OR QUOTE FROM THIS PAPER WITHOUT PRIOR PERMISSION 1 INTRODUCTION They said I should Learn to speak a little bit of English Maybe practise birth control Keep away from controversial politics… (Johnny Clegg and Savuka, “Third World Child”) Apartheid, in all its manifestations, impinged on every aspect of the daily lives of African South Africans. Racial segregation, job reservation, restrictions on mobility, and the provision of inferior education and health care were just some of the more obvious aspects of that system. However, recent histories have argued persuasively that apartheid was not a singular, coherent and hegemonic ideology, but an amalgam of policies forged out of conflict and compromise within the white ruling classes. Consequently, serious internal contradictions existed between different policy arenas. In the demographic realm, contradictions emerged between the desire to reduce African fertility (driven by a fear of White South Africans being “swamped”), and government policies that ensured that Africans were systematically denied access to education, health care and urban residence, all factors that are conducive to fertility change. Earlier work (Moultrie and Timæus (forthcoming); Moultrie and Timæus (2001)) has presented robust estimates of changes in fertility and birth intervals over the last few decades. -
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.