The History of Silver Mining in the Greater Pretoria Region
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The Archive of American Journalism Richard Harding Davis Collection the Sun September 6, 1896 Jameson's Fatal Error John Hays
The Archive of American Journalism Richard Harding Davis Collection The Sun September 6, 1896 Jameson’s Fatal Error John Hays Hammond’s Side of the Transvaal Plot Although Thrice Warned Back by the Reform Committee, Jameson Persisted in Descending on the Boer Republic Before the Conspirators Were Ready for Him—He Thought They Were Afraid and Wished to Have the Sole Glory of a Grand Victory—Thus He Placed the Reformers in Far More Danger Than Ever Threatened Him— Their Lack of Arms—No Expectation that They Would Reinforce Him Half Way— Threats of Lynching—Hammond’s Resolution On the day that Dr. Jameson and his officers were found guilty of infringing the Foreign Enlistment act, and sent to Holloway prison, Mr. John Hays Hammond, the American engineer, who was a most active member of the Reform Committee in Johannesburg at the time of the raid, was staying in London at the Savoy Hotel. I happened to hear this, and remembering that Mr. Hammond had been one of those who invited Jameson to enter Johannesburg, and who had then left him to fight his way there unsupported, said that if I had to choose, I would rather be in Holloway with Jameson than in the Savoy with Hammond, This remark was carried to Mr. Hammond by a mutual friend, a classmate of Hammond's at Yale, who asked me to keep my opinion in abeyance until I had heard Hammond's side of the story. The same mutual friend then invited me to dine with Hammond and himself, and for the first time I heard the story of the Jameson raid told in a manner which convinced me that the charges of cowardice laid against the Reform Committee were unmerited. -
Experience 5)&7*#3"/$:0'4065)"'3*$"Μ4$6-563"-%*7&34*5: Africa
EXPERIENCE 5)&7*#3"/$:0'4065)"'3*$"µ4$6-563"-%*7&34*5: AFRICA $&-"5*/(5)& 7*#3"/$:0' GUIDE 2010 AND CULTURE ARTS 4065)"'3*$"4 $6-563"-%*7&34*5: ARTSANDCULTURE $EPARTMENT ARTSANDCULTURE !RTSAND#ULTURE $EPARTMENT 2%05",)#/&3/54(!&2)#! !RTSAND#ULTURE 5FM ARTS AND CULTURE GUIDE 2010 2%05",)#/&3/54(!&2)#! XXXEBDHPW[B Ditsong: Kruger Museum AFRICA In compiling this guide to the institutions and events that represent the incredibly broad and varied spectrum of the South African cultural scene, the Department of Arts and Culture has received the generous assistance of a number of organisations and individuals. The Department would like to thank each of these for their time, effort and valuable input, all of which were absolutely essential in making this publication as complete, accurate and appealing as possible. Angelique Kidjo (Benin) Freshlyground’s lead singer, Zolani Mahola National Department of Arts and Culture: 2010 Project Management Office Duduzile Mazibuko - Content Advisor and 2010 Project Manager Communications Department: Lisa Combrinck - Editor and Head of Communications Premi Appalraju - Content Development Corney Wright - Product Development James Mathibeng - Photography and DAC Administration Editorial services: ACKNOWLEDGEMENTS: DeskLink Media Team Design and Layout: Amadou & Mariam (Mali) Mariam & Amadou DeskLink Media Luthuli Nyathi, Sizakele Shingange Project Management: Chris Watterson Printed by: Colorpress (PTY) Ltd FOREWORD .*/*45&30'"354"/%$6-563& .4-6-69*/(8"/" At last, the FIFA 2010 World Cup™ is here. South Africa’s six long and busy years of preparation are finally coming to fruition. We have no doubt that South Africa and Africa are ready to offer the world an unforgettable occasion, creating festive hubs to which fans can flock to share their appreciation of the beautiful game and to experience African arts and culture. -
Heritage Impact Assessment for the Proposed Sammy Marks Mixed
AFRICAN HERITAGE CONSULTANTS CC 2001/077745/23 DR UDO S KÜSEL P.O. Box 652 Tel/Fax: (012) 567 6046 MAGALIESKRUIN Cell: 082 498 0673 0150 E-mail: [email protected] Heritage Impact Assessment for the proposed Sammy Marks mixed-used development Remainder of Portion 2 of the Farm Zwartkoppies 364 JR, City of Tshwane Metropolitan Municipality, Gauteng Province Client: LEAP Enviro Report: Client Info: Dr Gwen Theron Dr Udo S. Küsel Tel: 012 3443582 [email protected] [email protected] African Heritage Consultants CC September 2019 Siegwalt U Küsel: Heritage Consultant, archaeologist and landscape specialist, director of Habitat Landscape Architects Pty (Ltd) Cell: 082 775 4803 E-mail: [email protected] Pr (LArch) SACLAP Reg. 20182 BL Landscape Architecture BA (Hons) Archaeology (Cum laude) MA (Archaeology) Candidate UNISA Accredited Professional Archaeologist for the SADC Region Member No. 367 Dr Udo S. Küsel African Heritage Consultants CC P.O. Box 652 Magalieskruin 0150 Tel: (012) 567 6046; Fax: 086 594 9721; Cell: 082 498 0673 E-mail: [email protected] Accredited Professional Archaeologist for the SADC Region Member No. 068 Principal Investigator Iron Age Principal Investigator Colonial Period Principal Investigator Industrial Archaeology Field Director Stone Age BA Archaeology, Anthropology and Indigenous Law, University of Pretoria 1966 MA Archaeology, University of Pretoria 1975 D. Phil, University of Pretoria 1988 Post-Graduate Diploma in Museum and Heritage Studies Dr Maria van der Ryst E-mail: [email protected] PhD (Archaeology) Wits Accredited professional archaeologist for the SADC Region Member No. 158 Principal Investigator Stone Age Principal Investigator Iron Age Field Director Colonial Period Accredited with Heritage Eastern Cape © 2019 African Heritage Consultants & Habitat Landscape Architects (Pty) Ltd RE PTN 2 Zwartkoppies 364 JR 2 Contents 1 Background information on the project ........................................................................ -
DOORNFONTEIN and ITS AFRICAN WORKING CLASS, 1914 to 1935*• a STUDY of POPULAR CULTURE in JOHANNESBURG Edward Koch a Dissertati
DOORNFONTEIN AND ITS AFRICAN WORKING CLASS, 1914 TO 1935*• A STUDY OF POPULAR CULTURE IN JOHANNESBURG Edward Koch I A Dissertation Submitted to the Faculty of Arts University of the witwatersrand, Johannesburg for the Degree of Master of Arts. Johannesburg 1983. Fc Tina I declare that this dissertation is my own, unaided work. It is being submitted for the degree of Master of Arts in the University of the Wlj Witwaterirand Johanneaourg. It has not been submitted before for any H 1 9 n degree or examination- in any other University. till* dissertation is a study of the culture that was made by tha working people who lived in the slums of Johannesburg in the inter war years. This was a period in which a large proportion of the city's black working classes lived in slums that spread across the western, central and eastern districts of the central city area E B 8 mKBE M B ' -'; of Johannesburg. Only after the mid 1930‘s did the state effectively segregate the city and move most of the black working classes to the municipal locations that they live in today. The culture that was created in the slums of Johannesburg is significant for a number of reasons. This culture shows that the newly formed 1 urban african classes wore not merely the passive agents of capitalism. These people were able to respond, collectively, to the conditions that the development of capitalism thrust them into and to shape and influence the conditions and pro cesses that they were subjected to. The culture that embodied these popular res ponses was so pervasive that it's name, Marabi, is also the name given by many people to the era, between the two world wars, when it thrived. -
History 1886
How many bones must you bury before you can call yourself an African? Updated December 2009 A South African Diary: Contested Identity, My Family - Our Story Part D: 1886 - 1909 Compiled by: Dr. Anthony Turton [email protected] Caution in the use and interpretation of these data This document consists of events data presented in chronological order. It is designed to give the reader an insight into the complex drivers at work over time, by showing how many events were occurring simultaneously. It is also designed to guide future research by serious scholars, who would verify all data independently as a matter of sound scholarship and never accept this as being valid in its own right. Read together, they indicate a trend, whereas read in isolation, they become sterile facts devoid of much meaning. Given that they are “facts”, their origin is generally not cited, as a fact belongs to nobody. On occasion where an interpretation is made, then the commentator’s name is cited as appropriate. Where similar information is shown for different dates, it is because some confusion exists on the exact detail of that event, so the reader must use caution when interpreting it, because a “fact” is something over which no alternate interpretation can be given. These events data are considered by the author to be relevant, based on his professional experience as a trained researcher. Own judgement must be used at all times . All users are urged to verify these data independently. The individual selection of data also represents the author’s bias, so the dataset must not be regarded as being complete. -
TV on the Afrikaans Cinematic Film Industry, C.1976-C.1986
Competing Audio-visual Industries: A business history of the influence of SABC- TV on the Afrikaans cinematic film industry, c.1976-c.1986 by Coenraad Johannes Coetzee Thesis presented in fulfilment of the requirements for the degree of Master of Art and Sciences (History) in the Faculty of Arts and Sciences at Stellenbosch University Supervisor: Dr Anton Ehlers December 2017 Stellenbosch University https://scholar.sun.ac.za THESIS DECLARATION By submitting this thesis electronically, 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. December 2017 Copyright © 2017 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za ETHICAL CONSIDERATIONS Historical research frequently requires investigations that have ethical dimensions. Although not to the same extent as in medical experimentation, for example, the social sciences do entail addressing ethical considerations. This research is conducted at the University of Stellenbosch and, as such, must be managed according to the institution’s Framework Policy for the Assurance and Promotion of Ethically Accountable Research at Stellenbosch University. The policy stipulates that all accumulated data must be used for academic purposes exclusively. This study relies on social sources and ensures that the university’s policy on the values and principles of non-maleficence, scientific validity and integrity is followed. All participating oral sources were informed on the objectives of the study, the nature of the interviews (such as the use of a tape recorder) and the relevance of their involvement. -
Skin, Body and Interior in South African Twentieth Century Mining Photography
Beneath: skin, body and interior in South African twentieth century mining photography by Fernanda Pinto de Almeida Thesis presented in fulfilment of the requirements of the degree of Master of Arts (Psychology) in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr. Desmond Painter Co-supervisor: Prof. Steven Robins April 2014 Stellenbosch University http://scholar.sun.ac.za DECLARATION I, the undersigned, hereby declare that the work contained in this assignment is my original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature: ______________________________ Date: February 25, 2014 Copyright © 2014 Stellenbosch University. All rights reserved Stellenbosch University http://scholar.sun.ac.za ABSTRACT In South Africa, documentary photographs are met with suspicion in critical psychology scholarship either for their connivance with colonial and postcolonial classificatory strategies or their epistemic violence against racialized subjects. This has helped us to take photography, and mining photography within it, at face value, in other words, as particularly embedded in the form of geographic displacement, material dispossession and structural discrimination that race has been historically set to index. Questioning this assumption, while sympathetic to the conditions for its emergence, my method in this thesis is akin to Benjamin’s “literary montage” in Arcades Project (1999, p. 460) – a meaningful and poetic assemblage of a collection of mining photographs from 1910 to 2000, assuming that the figure of the black miner they help to produce is expressed through race, but also, to use Durrheim’s term, troubles it. In other words, my critique constitutes what Nash (2009, p. -
Live Music Audiences Johannesburg (Gauteng) South Africa
Live Music Audiences Johannesburg (Gauteng) South Africa 1 Live Music and Audience Development The role and practice of arts marketing has evolved over the last decade from being regarded as subsidiary to a vital function of any arts and cultural organisation. Many organisations have now placed the audience at the heart of their operation, becoming artistically-led, but audience-focused. Artistically-led, audience-focused organisations segment their audiences into target groups by their needs, motivations and attitudes, rather than purely their physical and demographic attributes. Finally, they adapt the audience experience and marketing approach for each target groupi. Within the arts marketing profession and wider arts and culture sector, a new Anglo-American led field has emerged, called audience development. While the definition of audience development may differ among academics, it’s essentially about: understanding your audiences through research; becoming more audience-focused (or customer-centred); and seeking new audiences through short and long-term strategies. This report investigates what importance South Africa places on arts marketing and audiences as well as their current understanding of, and appetite for, audience development. It also acts as a roadmap, signposting you to how the different aspects of the research can be used by arts and cultural organisations to understand and grow their audiences. While audience development is the central focus of this study, it has been located within the live music scene in Johannesburg and wider Gauteng. Emphasis is also placed on young audiences as they represent a large existing, and important potential, audience for the live music and wider arts sector. -
I REJUVENATING the DWINDLING IMAGE of ORANGE GROVE
REJUVENATING THE DWINDLING IMAGE OF ORANGE GROVE THROUGH THE APPLICATION OF PLACE BRANDING TECHNIQUES by Dean Harding Student number: (17600675) Submitted in partial fulfillment of the requirements for the degree BA Honours in GRAPHIC DESIGN in the module RESEARCH PRACTICE B (REPR8412) At Vega, an educational brand of The Independent Institute of Education (IIE) Supervisor: Taryn King Co-Supervisor: Ria van Zyl Date: 18 June 2018 i DECLARATION BY CANDIDATE I, Dean Harding, declare that the proposal submitted for the qualification Bachelor of Arts(Honours) in Graphic Design at Vega Design School is my own work and it is original work that has not been previously been submitted to any other institution of higher education. I further declare that all sources cited or quoted are indicated and acknowledged by means of a comprehensive list of references, and that I: 1. Understand what plagiarism is. 2. Acknowledge that it is an offence to plagiarise. 3. Understand that all work submitted has to be originally my own work. 4. Recognise patch work as a serious form of plagiarism. Signature Date: 25 May 2018 ii ABSTRACT Orange Grove has faced a general decline over the last 25 years. This research report looks at finding workable place branding techniques and strategies that could rejuvenate the image of Orange Grove. The primary research method was photographic ethnography. Two large panoramas were created and formed the framework of the visual analysis. The findings highlighted the need for a community noticeboard or pause area. An extremely vibrant and productive informal sector exists, with 10 groups of vendors and a number of places of worship. -
African Communist, No. 82
African Communist, No. 82 http://www.aluka.org/action/showMetadata?doi=10.5555/AL.SFF.DOCUMENT.0001.9976.000.082.1980 Use of the Aluka digital library is subject to Aluka’s Terms and Conditions, available at http://www.aluka.org/page/about/termsConditions.jsp. By using Aluka, you agree that you have read and will abide by the Terms and Conditions. Among other things, the Terms and Conditions provide that the content in the Aluka digital library is only for personal, non-commercial use by authorized users of Aluka in connection with research, scholarship, and education. The content in the Aluka digital library is subject to copyright, with the exception of certain governmental works and very old materials that may be in the public domain under applicable law. Permission must be sought from Aluka and/or the applicable copyright holder in connection with any duplication or distribution of these materials where required by applicable law. Aluka is a not-for-profit initiative dedicated to creating and preserving a digital archive of materials about and from the developing world. For more information about Aluka, please see http://www.aluka.org African Communist, No. 82 Alternative title African Communist Author/Creator South African Communist Party Publisher South African Communist Party Date 1980 Resource type Magazines (Periodicals) Language English Subject Coverage (spatial) South Africa, Zimbabwe Coverage (temporal) 1980 Description Editorial Notes; From Rhodesia to Zimbabwe; Trade Unions at the Crossroads; Africa's links with the EEC lead to dependence; Why Communists Supported Khomeini: The Anti-Imperialist Tide in Iran; Is there a place for Black Consciousness?; Armed Struggle in South Africa; Africa Notes and Comment; Role of Trade Unions in the SA Revolution Portrait of a Bantustan; Book Reviews; Letter to the Editor. -
FREEMASONRY and the JAMESON RAID Rodney Edward Grosskopff, Past ADGM
FREEMASONRY AND THE JAMESON RAID Rodney Edward Grosskopff, Past ADGM (South Africa North), PSGD (Eng), KL (2008) [Presented to the Linford Lodge of Research in September 2011] The Jameson raid has been variously described as: A comic opera, and there are certainly some elements of humour in it. As a major factor in the start of the Anglo Boer war. In 1906 Jan Smuts said, “The Jameson Raid was the real declaration of war in the Great Anglo-Boer conflict.----and that is so, in spite of the four years truce that followed, (the) aggressors consolidated their alliance, the defenders on the other hand silently and grimly prepared for the inevitable”. (1) As a most damaging diplomatic blunder to the British Empire. Winston Churchill later remarked “I date the beginning of these violent times (1914–1918 war) in our country from the Jameson raid (2)” The objective was simple. Cecil John Rhodes and the ‘Uitlanders’ (literally “the Foreigners”), represented by the self appointed Reform Committee, hoped to engineer a coup-d-etat in the Transvaal. The strategy was straightforward, Dr Jameson would go to Bulawayo and there recruit an army, which he would move to Pitasani in Bechuanaland and there he would await the express invitation of the Reform Committee to launch his invasion.He would march on Johannesburg. A similar group under Sir John Willoughby was to leave Mafeking to join him in the Transvaal. A second part of the plot concerned the ‘Uitlanders’ who would first rise in revolt in Johannesburg, then secure the arsenal in Pretoria and thereafter join forces with Jameson and together take over the Transvaal and throw Kruger out of power. -
SIR ALFRED BEIT Issued 15Th July, 1968
SIR ALFRED BEIT Issued 15th July, 1968 The second in the Famous Figures issue commemorated Sir Alfred Beit. “But, perhaps equally sharing in Rhodes' dreams and fortunes, was his friend and partner, Alfred Beit, who had much in common with Rhodes, through their association and common interest in the diamond mines of Kimberley. Alfred Beit was born of Jewish parents in Hamburg in 1853. His father Siegfried Beit was in partnership with one Goddefroy in a shipbuilding and boiler works. Alfred joined the German firm of Lippert & Co., who had diamond and wool interests in South Africa, to where he made his way in 1875. After spending a few weeks in Port Elizabeth, he left by coach for Kimberley, where he displayed a remarkable aptitude for business and soon became a partner in the firm of Wernher, Beit and Company—a firm which was to play a profound role in the financial affairs of South Africa. It was not long before Beit set about amassing a great fortune. It was at Kimberley that he first met Rhodes, and soon became entranced with his ambitious schemes. He became a close friend and collaborator of the great Empire builder, and lent him both moral and financial support in many of his plans. Rhodes had arrived in Kimberley four years before Beit and both shared the same ambition to control the diamond market of South Africa. Rhodes' great rival, Barney Barnato had similar ideas, but fought against Rhodes, whereas Beit collaborated with him. Eventually Barnato conceded defeat, leaving Rhodes virtually in command. Rhodes trusted Cecil Rhodes and Alfred Beit Beit, and seldom acted without first consulting him.