Section 16 of the Constitution of the Republic of South Africa
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De App Golf.Nl ✔ Scorekaarten Invullen ✔ Handicap Bijhouden ✔ Prestaties Delen ✔ Vrienden Uitdagen ✔ Awards Winnen
WEEKLY 16 31/08/2016 HIJ IS ER! DE APP GOLF.NL ✔ SCOREKAARTEN INVULLEN ✔ HANDICAP BIJHOUDEN ✔ PRESTATIES DELEN ✔ VRIENDEN UITDAGEN ✔ AWARDS WINNEN KLM OPEN ACHTER DE SCHERMEN • TESTFLIGHT: DE BATOUWE JOOST LUITEN THOMAS PIETERS Nederland-België op The Dutch in Spijk! MAANDAG 8-11 september Kijk op 5 SEPTEMBER The Dutch, Spijk klmopen.nl GRATIS TOEGANG! WOENSDAG 31 AUGUSTUS 2016 GOLF.NL W eekly INHOUD INSTRUCTIE TREK NAAR DE TAUNUS GOLF.NL Weekly is een onderdeel van GOLF.NL (magazine) en GOLF.NL en wordt in 2016 22 keer uitgegeven door de Koninklijke Nederlandse Golf Federatie in samenwerking met TIG Sports. GOLF.NL Weekly wordt gratis verspreid via alle golfbanen en -shops in Nederland. ONLINE WEBSITE - GOLF.NL FACEBOOK - FACEBOOK.COM/GOLF.NL TWITTER - TWITTER.COM/GOLFNL REDACTIE [email protected] Edwin Ammerlaan - managing editor Karianne van der Zant - eindredacteur Gerard Louter - hoofdredacteur GOLF.NL Weekly 18 26 Chris Veldkamp - adjunct- hoofdredacteur GOLF.NL Weekly Niels Hooft - videoproducer KLM OPEN Saskia van Geijlswijk - art director David Hellendoorn -online marketeer MEDEWERKERS Maarten Lafeber FOTOGRAFIE Ronald Speijer - Koen Suyk Hofgut Georgenthal Getty Images - Golfsupport.nl CONCEPT VORMGEVING YAZOKA Sacha Serano Maarten de Ru ADVERTENTIE-EXPLOITATIE TIG SPORTS Diederick Camphuysen [email protected] • 06-12867870 Rob van den Berg [email protected] • 06-24229662 14 MARKETING & COMMUNICATIE Maarten Voermans 6 [email protected] Mari Trini Hermoso [email protected] Jaco Schippers 04 GESELECTEERD 18 INSTRUCTIE [email protected] Golf.nl in ’t kort De ‘traditionele’ bunkerslag DRUK & DISTRIBUTIE PIJPER MEDIA van Maarten Lafeber Groningen 06 ACTUEEL © 2016 NGF, UTRECHT Belgisch succes met winst 22 NIEUW: APP GOLF.NL! Alle rechten worden voorbehouden. -
PGA Europro Tour PGA National Headquarters – Tournament Department Centenary House the Belfry Sutton Coldfield West Midlands B76 9PT
PGA Europro Tour PGA National Headquarters – Tournament Department Centenary House The Belfry Sutton Coldfield West Midlands B76 9PT Telephone: +44 (0) 1675 470 333 Fax: +44 (0) 1675 477 888 Email: [email protected] Websites: www.pga.info; www.europrotour.com December 2013 Dear Applicant, PGA Europro Tour 2014 The PGA Europro Tour is about to start another exciting season and whether you have been a member in the past or are thinking about becoming a member for the first time, this is the most important document you need; please find some general information about the PGA Europro Tour and the 2014 PGA Europro Tour Qualifying School. The PGA Europro Tour is the only officially recognised satellite Tour in the UK, and one of the leading Tours in Europe. We are the only Tour in the UK that offers direct access to the European Challenge Tour through our Final Order of Merit. In the forthcoming season there will be up to 15 tournaments between April and November kicking off at the iconic Brabazon course at the Belfry. PGA Europro Tour members will compete for total prize money of around £600,000. One of the primary goals of the PGA Europro Tour is to enable players to perform at the highest possible level and prepare them for life as a Tour Professional. There is extensive media coverage at every tournament which consists of a televised two hour highlights package on Sky Sports HD that gives each player the invaluable experience of playing in front of the cameras, members will also have the opportunity to promote themselves and sponsors through interview and social media such as Twitter and Facebook. -
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. -
Byeong-Hun An
Byeong-Hun An Representerar Sydkorea (KOR) Född Status Proffs Huvudtour PGA Tour SGT-spelare Nej Aktuellt Ranking 2021 Byeong-Hun An har i år spelat 22 tävlingar. Han har klarat 12 kval. På dessa 22 starter har det blivit 1 topp-10-placeringar. Som bäst har Byeong-Hun An en 8-plats i The American Express. Han har i år en snittscore om 71,32 efter att ha slagit 4850 slag på 68 ronder. Byeong-Hun An har på de senaste starterna placeringarna MC-35-MC-MC-20 varav senaste starten var Korn Ferry Tour Championship presented by United Leasing & Finance. Han har i år som bästa score noterat 65 (-5) i The American Express på PGA WEST (Stadium). 29 av årets 68 ronder har varit under par. Vid 19 tillfällen har det noterats scorer på under 70 slag men också vid 7 tillfällen minst 75 slag. Årets tävlingar Plac Tävling Plac Tävling Plac Tävling 20 Korn Ferry Tour Championship presented by UnitedMC Travelers Leasing Championship& Finance MC The Honda Classic Victoria National GC, Korn Ferry Tour TPC River Highlands, PGA Tour PGA National (Champion) , PGA Tour MC Nationwide Childrens Hospital Championship 52 Palmetto Championship at Congaree MC THE PLAYERS Championship OSU GC - Scarlet Course, Korn Ferry Tour Congaree Golf Club, PGA Tour TPC Deere Run, PGA Tour MC Albertsons Boise Open presented by Kraft NabiscoMC the Memorial Tournament presented by Nationwide35 Puerto Rico Open Hillcrest CC, Korn Ferry Tour Torrey Pines (South), PGA Tour Grand Reserve Country Club, PGA Tour 35 Wyndham Championship 50 Charles Schwab Challenge 53 Waste Management Phoenix -
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. -
THE SHAPING of SOUTH AFRICAN THEATRE: an OVERVIEW of MAJOR TRENDS by Temple Hauptfleisch 1. INTRODUCTION: CHANGED CONCEPTS of H
In: Arndt and Berndt. Words and Worlds. African Writing, Literature, and Society – A Commemorative Publication in Honor of Eckhard Breitinger. Africa World Press, 2007. This is an expanded version of the German article called “Sudafrikanisches Theater – Entwicklungen und Strömungenvon Vergangenehit bis Gegenwart”. In Kreatives Afrika. Schriftstellerinnen über Literatur. Theater und Gesselschaft. Einer Festschrift für Eckhard Breitinger (Hrsg. Susan Arndt und Katrin Brendt). Wuppertal: Peter Hammer Verlag, 2005 THE SHAPING OF SOUTH AFRICAN THEATRE: AN OVERVIEW OF MAJOR TRENDS By Temple Hauptfleisch University of Stellenbosch South Africa 1. INTRODUCTION: CHANGED CONCEPTS OF HISTORY The radical changes in political, social and cultural thinking in the world, and in Africa in particular, over the past twenty years have significantly affected concepts of historiography and have caused major re-evaluations of accepted histories across the world. This sense of (re)discovery has had a similar impact on the cultural history of South Africa. It has meant rediscovering lost (or discovering new) facts, redefining principles of historiography, reinterpreting the old, and ultimately seeking to write a new history. The most fundamental issue of course is to discover and learn to deal with fact and (real and potential) influence of the vast treasure-trove of events and artefacts produced before and during the colonised period, but ignored, denied or undervalued by commentators in the past. This situation, the processes involved and the causes for it all, are not unique to, or in any way limited to, South Africa of course, as the history of any former colony will testify. However the political history of Southern Africa the country has so entrenched a specific way of thinking that any wider awareness of tradition and cultural riches encompassing anything more than purely colonial values was virtually impossible till very late in the 20th century, except as a radical, oppositional, esoteric, or possibly even eccentric, area of study and contemplation. -
Match Summary
MATCH SUMMARY TEAMS SWD Eagles vs EP Kings VENUE Outeniqua Park DATE 28 April 2017 19:00 COMPETITION SuperSport Rugby Challenge FINAL SCORE 29 - 34 HALFTIME SCORE 3 - 24 TRIES 3 - 3 PLAYER OF THE MATCH SCORING SUMMARY SWD Eagles EP Kings PLAYER T C P DG PLAYER T C P DG Leighton Eksteen (J #15) 1 2 1 0 Thembelani Bholi (J #7) 1 0 0 0 Lodewyk Uys (J #7) 1 0 0 0 Simon Bolze (J #10) 0 2 1 0 Johnny Welthagen (J #21) 1 0 0 0 Neil Maritz (J #13) 1 0 0 0 PENALTY TRIES 1 Keanu Vers (J #14) 1 0 0 0 PENALTY TRIES 1 LINE-UP SWD Eagles EP Kings 1 Juandre Digue (J #1) 1 Dewald Barnard (J #1) 2 Jacques Vermaak (J #2) 2 Tango Balekile (J #2) 3 Basil Short (J #3) 3 Chris Heiberg (J #3) 4 Anton Smit (J #4) 4 Christiaan De Bruin (J #4) 5 Cornell Hess (J #5) 5 Giant Mtyanda (J #5) 6 Janneman Stander (J #6) 6 Bakkies Brown (J #6) 7 Lodewyk Uys (J #7) 7 Thembelani Bholi (J #7) 8 Christo Du Plessis (J #8) 8 Lusanda Badiyana (J #8) 9 Boela Abrahams (J #9) 9 Stefan Ungerer (J #9) 10 Martin Du Toit (J #10) 10 Simon Bolze (J #10) 11 Adri Jacobs (J #11) 11 Alshaun Bock (J #11) 12 Wilneth Engelbrecht (J #12) 12 Johann Tromp (J #12) 13 Kirsten Heyns (J #13) 13 Neil Maritz (J #13) 14 Shadward Fillies (J #14) 14 Keanu Vers (J #14) 15 Leighton Eksteen (J #15) 15 Chrysander Botha (J #15) RESERVES SWD Eagles EP Kings 16 Kurt Haupt (J #16) 16 Gregory Jackson (J #16) 17 Teunis Nieuwoudt (J #17) 17 Roche Van Zyl (J #17) 18 Freginald Africa (J #18) 18 Sintu Manjezi (J #18) 19 Daniel Maree (J #19) 19 Wynand Grassmann (J #19) 20 Dillin Snel (J #20) 20 Rouche Nel (J #20) 21 Johnny -
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. -
Submissions on the Prevention and Combatting of Hate Crimes and Hate Speech Bill on Behalf Of: a Coalition of South African
SUBMISSIONS ON THE PREVENTION AND COMBATTING OF HATE CRIMES AND HATE SPEECH BILL ON BEHALF OF: A COALITION OF SOUTH AFRICAN COMEDIANS 31 January 2017 PREPARED BY: ADV. STUART SCOTT ADV. ITUMELENG PHALANE GROUP 621 CHAMBERS SANDTON AND DR DARIO MILO WEBBER WENTZEL ATTORNEYS 90 Rivonia Road, Sandton Johannesburg [email protected] TABLE OF CONTENTS INTRODUCTION .................................................................................................................. 3 THE RIGHT TO FREEDOM OF EXPRESSION .................................................................... 6 FIVE IMPORTANT CONSTITUTIONAL PRINCIPLES RELATING TO FREE SPEECH .... 8 First - Limitations on the right to freedom of expression must be interpreted narrowly ....... 8 Second - Freedom of expression cannot be limited on a speculative basis ....................... 8 Third - Freedom of speech includes the freedom to engage in offensive speech............... 9 Fourth - The meaning and legal effect of speech must be interpreted in context ............. 11 Fifth – there is express, additional protection for artistic expression ................................ 14 HATE SPEECH UNDER THE CONSTITUTION .................................................................. 16 The definition under the Hate Crimes Bill is broader than the Constitution ...................... 18 Broad definition under the Hate Crimes Bill applies to artistic works and cartoons .......... 20 THE BILL FAILS THE LIMITATIONS ANALYSIS ............................................................... -
CSI Programme D7.Indd
SPONSORED BY: CRIME STOPPERS INTERNATIONAL 12 – 15 OCTOBER 2014 | CAPE TOWN, SOUTH AFRICA PROGRAMME www.crimestoppers-conference2014.com PROGRAMME SUNDAY, 12 OCTOBER 2014 SUNDAY AT A GLANCE Time Activity Venue 12h00 – 18h00 Registration Auditorium 2 Foyer 09h00 – 16h00 Exhibition Set-Up Exhibition Hall 18h00 Welcome Cocktail and Offi cial Exhibition Hall Opening of the Exhibition The welcome cocktail was sponsored by South African Tourism. Inspiring new ways MONDAY, 13 OCTOBER 2014 MONDAY AT A GLANCE Time Activity Venue 12h00 – 18h00 Registration Auditorium 2 Foyer 09h00 – 11h00 Opening Ceremony Auditorium 2 11h00 – 11h30 Morning Refreshment Break Exhibition Hall 11h30 – 13h00 Concurrent Session: 1 Financial Crime Auditorium 2 Environmental Crime MR 2.61 - 2.63 Cyber Crime & IP Theft MR 2.64 - 2.66 13h00 – 14h00 Lunch Break Exhibition Hall 14h00 – 15h30 Concurrent Session: 2 World Traffi cking MR 2.61 - 2.63 Skills Building MR 2.64 - 2.66 Crimes against Women and Auditorium 2 Children 15h30 – 16h00 Afternoon Refreshment Break Exhibition Hall 16h00 – 17h00 Panel Discussion: Business and Auditorium 2 Crime 17h00 – 20h00 Cultural Evening Africa Cafe 24 09h00 – 11h00 OPENING CEREMONY AUDITORIUM 2 BRUCE WHITFIELD @BruceBusiness Presenter: The Money Show 702 Session Chair YUSUF ABRAMJEE @Abramjee Conference Chairman Head of Crime Line 09:15 - 09:20 Yusuf Abramjee is the Head of News and Current Affairs at Primedia Broadcasting. Yusuf is a born newshound, a pillar of his community, an activist and a leader that never rests in his pursuit of the truth and making a difference for South Africa and its people. His passion for community service is evident from his role as a Lead SA activist and his work at the helm of Crime Line, an anonymous tip-off service that is credited with making an enormous difference in fi ghting crime in South Africa. -
24Th STANDARD BANK NATIONAL YOUTH JAZZ FESTIVAL 2016
24th STANDARD BANK NATIONAL YOUTH JAZZ FESTIVAL 2016 Welcome to Grahamstown, the National Arts Festival, and the biggest youth jazz festival in South Africa! There are five extremely full days for you to take advantage of and a host of excellent musicians and teachers to meet and hear, as well as a chance to assess yourself against your peers from around the country. The full programme for the Standard Bank National Youth Jazz Festival is outlined below. Thank you to the following institutions and people who have supported us by providing equipment: Paul Bothner Music, Les van der Veen, Eastern Cape Jazz Promotions, Stirling High School, DSG / St. Andrews Music School, UCT College of Music, Rondebosch Boys High, Len Cloete, Kingswood College, The Settlers High School, Little Giants, Bridge House School, Parel Vallei High School, Neville Hartzenberg The Festival Production Office (for performing artists) is in the Music School. The Artists’ Office is Music 2. The NYJF Student Office is Music 3. FESTIVAL RULES 1. Please be punctual for all aspects of the SBNYJF. Everyone must be there – on time – for band rehearsals. 2. We are guests of DSG – please treat the facilities accordingly. Please obey the rules of the hostels and show consideration for others. There is to be no noise after 22.00 and curfew for students in DSG hostels is 00.30. Don’t try to sneak friends in overnight, as you will need to pay in full for their accommodation. 3. Show respect for NYJF equipment. Most of it has been lent to us and needs to be returned in perfect condition. -
Music to Move the Masses: Protest Music Of
The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Music to Move the Masses: Protest Music of the 1980s as a Facilitator for Social Change in South Africa. Town Cape of Claudia Mohr University Dissertation submitted in partial fulfilment of the requirements for the degree of Masters of Music, University of Cape Town. P a g e | 1 A project such as this is a singular undertaking, not for the faint hearted, and would surely not be achieved without help. Having said this I must express my sincere gratitude to those that have helped me. To the University of Cape Town and the National Research Foundation, as Benjamin Franklin would say ‘time is money’, and indeed I would not have been able to spend the time writing this had I not been able to pay for it, so thank you for your contribution. To my supervisor, Sylvia Bruinders. Thank you for your patience and guidance, without which I would not have been able to curb my lyrical writing style into the semblance of academic writing. To Dr. Michael Drewett and Dr. Ingrid Byerly: although I haven’t met you personally, your work has served as an inspiration to me, and ITown thank you.