DOCSLIB.ORG

Yiewfinder Topics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Yiewfinder Topics l\[ *^,q New Edition Yiewfinder Topics South Africo The Roinbow Nation of the Cape compiled ond edited by Cloudio Drowe L Langenscheidt Berlin. München. Wien .Zürich. New York Viewfinder Topics U nterrichtsmoteriolien fur die Sekundo rstufe I I Soulh Africo The Rainbow Nafion ol fhe CaPe Herausgeber: Prof. em. Dr. Dr. h.c. Dr. h.c. Peter Freese Autorin: Dr. Claudia Drawe Projekt-Team'. Dr. Martin Arndt, Münster Prof. Dr. Mita Banerjee, Siegen David Beal, M. 4., Bochum Cornelia Becker, Bremen Dr. Peter Dines, Cert. Ed., Ludwigsburg Prof. i. R. Dr. Hanspeter Dörfel, Ludwigsburg Prof. Dr. Sabine Doff, Frankfurt / Main Dr. Claudia Drawe, Essen OStR Dieter Düwel, Castrop-Rauxel Prof, em. Dr. Dr. h.c. Dr. h.c. Peter Freese, Paderborn Dr. Carin Freywald t Dr. Christine Gottstein-Strobl, Eichstätt Jennifer von der Grün, B. A., Dortmund OStR Ulrich Imig, Wildeshausen OStR Reimer Jansen, Oyten-Sagehorn Dr. Michael Mitchell, M. 4., Reken und Warwick Prof. Dr. Michael Porsche, Paderborn StD i. E. Detlef Rediker, Lippstadt StD Dr. Peter-J. Rekowski, Kirchhain StD i.K. Peter Ringeisen, M. 4., Amberg Karl Sassenberg, Münster StD Henning Scholz I StD Dr. Annegret Schrick, Essen OStR Ekkehard Sprenger, Kiel StR Susanne Stadler, Wiesbaden OStD Dr. Dietrich Theißen I Donald Turner, M. A. T Prof. Dr. Latrenz Volkmann, Jena Philip Wade, M.4., Cert. Ed., Amberg V er la g s r e daktio n: Dr . B eatrix Finke Visuelles Konzept, Loyout und Produktion'. Barbara Slowik, Atelier S., München www.langenscheidt.delviewfinder Umwelthinweis: Gedruckt auf chlorfrei gebleichtem Papier 1. Auflage 2009 O 2009 Langenscheidt ELT GmbH, München Das Werk und seine Teile sind urheberrechtlich geschützt. Jede Verwertung in anderen als den gesetzlich zugelassenen Fällen bedarfdeshalb der vorherigen schriftlichen Einwilligung des Verlages. O Printed in Germany O o ISBN: 978-3-526-5 1068-0 O Contents South Africa - Facts and Figures p.4 I Claudia Drawe: The Khoikhoi at the Cape p.6 Info:VOC p.7 2 Claudia Drawe: The first settlement at the Cape p.9 Info: Jan van Riebeeck p. 10 3 Hermann Giliomee/Bernard Mbenga: Moving northwards - the Great Trek* p. 11 Info: Voortrekker leaders ............... p.12 4 Claudia Drawe: The battte for control - the South African War p. 13 Info: Treaty of Vereeniging .. p. 15 5 Nelson Mandela: Long Walk to Freedom p. 16 Info: The ANC p.17 6 The Freedom Charter - a constitution for the future? * p. 18 7 I James Matthews: "The Park" p.2l I I fne Sharpeville Massacre* p.24 9 I Nehon Mandela: "I am prepared to die" * p.26 l0 I Steve Biko: "The definition of Black Consciousness" p.29 It Dan Moyane: The Soweto Uprising and its aftermath* p.32 Info: Soweto Uprising p.33 12 "Vote of the century opens era of hope" p.34 Info: Political parties in t994 p. 35 I3 I Nehon Mandela's statement at his presidential inauguration * p.36 I4 Antjie Krog: Country of My Skull Info:TRC p.40 r5 Thabo Mbeki: Statement on behalf of the ANC * p.42 Info: The election in2009 p.45 tó Zakes Mda: "Outsiders" p.46 17 Phaswane MpezWelcome to Our Hillbrow p.49 I8 Crime-ridden South Africax p.51 t9 Hermann Giliomee/Bernard Mbenga: South Africa's economy in the 20'h and 21"' centuries * p.53 20 Arthur Maimane: "The changing faces of Jo'burg" p.55 Info: Drummagazine p.57 211 K. Sello Duiker: The QuietViolence of Dreams 22t Christopher SaundersÆ'{icholas Southey: Sports in South Africa* 23t Phaswane Mpe: "An Ode to Bafana Bafana" * Titles provided by the editor South Africa J F Cloudio Drowe I The Khoikhoi of lhe Cope When the Dutch Eost lndio Compony (Vereenigde Oost-lndische Compognie or VOC) ond with it the first Europeons orrived of the Cope of Good Hope in 1ó52, they did not find on "empty" lond os they cloimed loter on, but encountered ond troded with the Khoikhoi who lived there Little is known obout the Khoikhoi ond lhe Son ond Their troditions. During oportheid this port of history wos lefl out or wos not considered importont, but historions ore now concentroting their reseorch on the time before lhe onivol of Europeons to gother knowledge obout these eorly inhobiTonis of the Cope ond their woy of life. Khoikhoi lineages and polities. (Hermann Giliomee / Bernard 2s Mbenga: New History of South Africa, Cape Town: Tafelberg, 2007,p.21.) The term "San" was given to the hunter-gatherers by the Khoikhoi, 30 while the Dutch settlers referred to them as "Bushmen". The Dutch called the Khoikhoi "Hottentots". Both terms are often used in historical documents. Nowadays 35 the term "Khoisan" is also often used because both indigenous groups interacted and integrated with each other, so that a clear distinction became impossible. 40 The structure of Khoikhoi society is well illustrated by the A drawing of the Khoikhoi by Samuel Daniell following passage: [T]he Khoikhoi were organised r When Europeans started settling at the Cape, they met in approximately twelve chiefdoms that the Dutch called 45 two groups of indigenous people, the Khoikhoi and the 'nations'. Some were ruled by male figures (called'kings' San. The Khoikhoi were pastorals, meaning that they or 'captains' by the Dutch), but others had no leaders owned cattle or sheep and herded groups of these animals above headmen of small clans. 5 across the land. The San lived off the land as hunter- Though Khoikhoi had no standing armies and no gatherers feeding on the plants they could find and military leaders apart from their chiefs, they seem to 5Ò hunting antelopes and smaller mammals. The relationship have engaged in frequent wars. European observers were between Khoikhoi and San shifted frequently from deeply impressed by their dexterity in battle and by their peaceful coexistence to brief spells of war. skilful use of weapons. Wars were often triggered by ro The instability in Khoikhoi society was further cattle theft, murders, and by the abduction of prominent intensified by the nearby presence of San. Some San women - provocations that led to vendettas that would 55 groups frequently attacked the Khoikhoi, sowing terror smoulder and flare up over the generations. Khoikhoi by firing off poisoned arrows normally used to hunt fought pitched battles, using assegais , bows, stones and great game, and stealing and frequently slaughtering darts as offensive weapons; they massed their oxen 1s Khoikhoi livestock. together as defensive ramparts and drove them forward Yet many so-called San also lived peaceably in or on as flying wedges to gore and trample the enemy. 60 the fringes of Khoikhoi societies, serving Khoikhoi as Such battles, though apparently not very bloody, often hunters, guides, or spies and soldiers in time of war. resulted in significant transfers of herds and flocks from cases Khoikhoi hired some as herders and took some as wives. the vanquished to the victors. In other - as, for 20 In many areas, notably the southwestern Cape, the example, when they faced Dutch soldiers armed with guerrilla boundary between Khoikhoi and San became increasingly muskets - the Khoikhoi could resort to tactics, 65 attack unclear. Newly impoverished Khoikhoi were often called characterised by swift and overwhelming [sic] on i 20) v San, and San who had prospered were absorbed into the enemy's herds. (Ibid., P. i ¡l I I 6 South Afrìca 'ì -Y Animals were essential to Khoikhoi societY, bec¿ruse 70 they were a source offood (in this case of milk and meat), because theY Providecl .{a clothing, transport ¿lnd were a syrnbol of wealth' This last 75 point became verY imPortant because the livestock were more valuable for the Khoikhoi than the land itself since that was onlY used to feed the Bo animals and thus seen as pasture. It did not belong to anyone sPecificallY. For the Dutch the land itself was important and was fencecl in 85 ancl claimed as their own terlitorY while the anirnals wele solelY seen as Providing food. The issue of land ownershiP and the cliff-elent Cape eo percePtions of the irnPofiance Bushmen paintings in the Cederberge, Western and livestock of the land f cättle bY in the interaction between Khoikhoi and became crucial the VOC out bY Europeans and led to w¿u's in the l Tth century' The VOC and 105 settlement at the Cape and saw the established the first Khoikhoi of meat for the passing ships that 95 Khoikhoi as providers Being the were mol'e selious: loss of livestock and land' sailecl on to ìh" Dut"h colony of Batavia' At first lobbecl of their way of life meant that they were forced Khoikhoi agreed to barter their animals with the Dutch' or to become labourers. In ¿rddition, their numbers were theY either offered '1 but soon in 10 ch dlastically leduce<J by a series of smallpox epidernics asked for beiter Prices, This was nd the 18th century. Thus their position at the Cape 100 reacted by organising exPecl further weakened. lecl to them exploring tnore and more of the country' The mutual gooà relationship whioh had been establishecl qtr4,o voc and was a private commercial trading VOC stands for "Yereenigde Oost-lndische ComPagnie" a trading monopoly in thø arøa eôst of the company It was foundød in 1ó02 and enioYed the largest company in thø world in the 17th Cape of Good HoPø which enabled it to bøcome powerful, though it lost its power in the 18th c¿ntury cøntury, lt was PoliticallY and economically vøry tradørs and becausø its Personnel bøcame as a r¿sult of comPetition from English and French corrupt. lt was declared bankrupt in 1794 VocobulorY hove 2 indigenous (odj,)l indigenous onimols' plonts etc otwoyi lived or grown noturolly in lhe ploce where lhey - ãr", åt oppot"J To others thot were brought |here 22
Load more

Recommended publications
  • Annual Report 2019/2020
    2 S TABLE OF CONTENT PART A: GENERAL INFORMATION 5 PART C: HUMAN RESOURCE MANAGEMENT 91 1.1 GENERAL DEPARTMENTAL INFORMATION 6 3.1 INTRODUCTION 92 1.2 LIST OF ABBREVIATIONS/ACRONYMS 7 3.2 HUMAN RESOURCE OVERSIGHT STATISTICS 93 1.3 LIST OF FIGURES 9 1.4 FOREWORD BY THE MINISTER 10 PART D: GOVERNANCE 141 1.5 STATEMENT BY THE DEPUTY MINISTER 12 4.1 INTRODUCTION 142 1.6 REPORT OF THE ACCOUNTING OFFICER 14 4.2 RISK MANAGEMENT 142 1.7 STATEMENT OF RESPONSIBILITY FOR PERFORMANCE INFORMATION 28 4.3 FRAUD AND CORRUPTION 142 1.8 STRATEGIC OVERVIEW 29 4.4 MINIMISING CONFLICT OF INTEREST 143 1.9 LEGISLATIVE AND OTHER MANDATES 29 4.5 CODE OF CONDUCT 143 1.10 ORGANISATIONAL STRUCTURE 31 4.6 HEALTH, SAFETY AND ENVIRONMENTAL ISSUES 143 1.11 PUBLIC ENTITIES REPORTING TO THE MINISTER 32 4.7 PORTFOLIO COMMITTEE 144 4.8 STANDING COMMITTEE ON PUBLIC ACCOUNTS (SCOPA) 151 PART B: PERFORMANCE INFORMATION 39 RESOLUTIONS 2.1 AUDITOR-GENERAL’S REPORT ON PREDETERMINED OBJECTIVES 40 4.9 INTERNAL AUDIT AND AUDIT COMMITTEE 151 2.2 OVERVIEW OF DEPARTMENTAL PERFORMANCE 40 4.10 REPORT OF THE AUDIT COMMITTEE 155 2.3 OVERVIEW OF ORGANISATIONAL ENVIRONMENT 54 2.4 KEY POLICY DEVELOPMENTS AND LEGISLATIVE CHANGES 56 PART E: FINANCIAL INFORMATION 161 2.5 PERFORMANCE PER PROGRAMME 57 162 5.1 ACCOUNTING OFFICER’S STATEMENT OF RESPONSIBILITY 2.6 CONDITIONAL GRANTS 79 163 5.2 REPORT OF THE AUDITOR-GENERAL 2.7 CAPITAL INVESTMENT, MAINTENANCE AND ASSET 81 168 5.3 ANNUAL FINANCIAL STATEMENTS MANAGEMENT PLAN 4 S 2019 - 2020 Annual Report | Department of Arts and Culture GENERAL INFORMATION
    [Show full text]
  • Black Consciousness and the Politics of Writing the Nation in South Africa
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository Black Consciousness and the Politics of Writing the Nation in South Africa by Thomas William Penfold A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of African Studies and Anthropology School of History and Cultures College of Arts and Law University of Birmingham May 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Since the transition from apartheid, there has been much discussion of the possibilities for the emergence of a truly ‘national’ literature in South Africa. This thesis joins the debate by arguing that Black Consciousness, a movement that began in the late 1960s, provided the intellectual framework both for understanding how a national culture would develop and for recognising it when it emerged. Black Consciousness posited a South Africa where formerly competing cultures sat comfortably together. This thesis explores whether such cultural equality has been achieved. Does contemporary literature harmoniously deploy different cultural idioms simultaneously? By analysing Black writing, mainly poetry, from the 1970s through to the present, the study traces the stages of development preceding the emergence of a possible ‘national’ literature and argues that the dominant art versus politics binary needs to be reconsidered.
    [Show full text]
  • IJ:Ao Tf U [FB GO
    IJ: ao tF U [F B GO Volume 10 Number 3 1992 Contents Comment . Peter Horn Three Poems Stories In grid de Kok BB | Walking Dry Between Raindrops ££| Sunny South Africa Kole Omotoso £afo Mudaly p%3H Die Avonture van Don Gxubane van Langa E3H Remembering Charles J. Fourie A few Solomons |Tfli Taxi to Town WflM Three Poems James Matthews Damian Shaw jgTBI Mag Ons Skreetjies 'n Ontploffmg Laat Losbars EQI Letter from the Vortex Stephen Samuels Rustum Kozain U22JJ Three Poems Essays Cars ten Knoch f||j| The Politics of Feminism in South Africa GJi My Airlock out of Exile Desiree Lewis Barry Feinberg Ifem Robben Island Retold mi Praise Poem for Njabulo Ndebele The Mayibuye Centre ^zY/z Gottschalk £2 'South Africa Now': Filling the Void E3H Sebokeng Danny Schechter David Motshwane Moisi niB The Self-presence of the Poet Inside; EM Two Poems Jeremy Cronin's Inside Geoffrey Haresnape Peter Horn |2J| Trans-Siberian Railway February 1989 Md Hart el Poetry Photographs EM Two Poems •cfrttiii Photographs courtesy of Joy Howard 77z£ Mayibuye Centre WRWt Love Ryder Simion Nkanunu WISEl The Way We Live |H Two Poems Mavis Matandeki and Primrose Talakumeni Stephen Yelverton mUJ Three Poems Zakes Mda SOI Out °f Touch, Out of Time Lzsa Combrinck WfWSi Two Poems Tatamkulu Afrika im i'm the streetchild Thembile Pepeteka Paintings and Graphics Q Banner Visual Arts Group WfM The Old Days Sophie Peters WTW& Voortrekker Road Apollo Gavin du Plessis Q9 Exile I: Confusion in New York Mario Pissarra UjJjgJ The Emergency Series Garth Erasmus BB Banner Visual Arts Group Review E9 The Art of Poise: Nine Lives by T.
    [Show full text]
  • James Matthews – “The Park”
    DIPLOMARBEIT / DIPLOMA THESIS Titel der Diplomarbeit / Title of the Diploma Thesis “A Selection of South African Short Stories from the Apartheid Era: Texts for Teaching in the Austrian (AHS) English Classroom” verfasst von / submitted by Julia Blöch angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Magistra der Philosophie (Mag. phil.) Wien, 2016 / Vienna, 2016 Studienkennzahl lt. Studienblatt / A 190 344 313 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Lehramtsstudium UF Englisch degree programme as it appears on UF Geschichte, Sozialkunde, the student record sheet: Politische Bildung Betreut von / Supervisor: Ao. Univ.-Prof. Mag. Dr. Franz Wöhrer ! ! ! ! ! ! ! ! ! ! DECLARATION OF AUTHENTICITY I confirm to have conceived and written this Diploma Thesis in English all by myself. Quotations form other authors are all clearly marked and acknowledged in the bibliographical references, either in the footnotes or within the text. Any ideas borrowed and/or passages paraphrased from the works of other authors are truthfully acknowledged and identified in the footnotes. Signature ! ! ! ! ! ! ! ! HINWEIS Diese Diplomarbeit hat nachgewiesen, dass die betreffende Kandidatin befähigt ist, wissenschaftliche Themen selbstständig sowie inhaltlich und methodisch vertretbar zu bearbeiten. Da die Korrekturen des Beurteilenden nicht eingetragen sind und das Gutachten nicht beiliegt, ist daher nicht erkenntlich mit welcher Note diese Arbeit abgeschlossen wurde. Das Spektrum reicht von sehr gut bis genügend. Die Habilitierten des Instituts für Anglistik und Amerikanistik bitten diesen Hinweise bei der Lektüre zu beachten. ! ! ! ! ! ! ! ! ACKNOWLEDGEMENTS There are many people without whom writing this thesis would not have been possible and in this way I want to express a special thank you to… … first and foremost, my supervisor Ao.
    [Show full text]
  • Mafika Pascal Gwala Collected Poems
    Mafika Pascal Gwala Collected Poems Edited by Mandla Langa and Ari Sitas South African History Online Mafika Pascal Gwala Collected Poems Published in 2016 South African History Online, 349 Albert Road, Woodstock, 7925, Cape Town Jol’iinkomo published by Ad. Donker Publishers (PTY) LTD. First published 1977 No More Lullabies published by Ravan Press (Pty) LTD. First published 1982 Exiles Within: 7 South African Poets published by Writer’s Forum. First Impression 1986 © Mafika Gwala Family No part of this publication may be reproduced, stored on or introduced into a retrieval system, or transmitted in any form or by any means, without the written permission of the above mentioned publisher. ISBN 978-0-620-72780-5 www.sahistory.org.za © South African History Online cover photograph of Mafika Gwala by Omar Badsha Design and layout: Ian Africa and Omar Badsha Printed and bound in South Africa by Bidvest Data, a division of Bidvest Paperplus. All rights reserved. This publication was made possible by the support of the National Institute For The Humanities And Social Sciences (NIHSS). Photograph of Mafika Pascal Gwala By Omar Badsha CONTENTS The Arts of Resistance - Mafika Gwala and South African Poetry 8 JOL’IINKOMO (1977) On being human 19 Perspectives 20 When it’s all double-you 22 Paper curtains 24 Before the coming 26 ‘Things’ 27 Election pincers 28 The shebeen queen 29 Sunset 30 One small boy longs for summer 32 No mirth for bantus 34 Winter 35 We move on . 37 Kwela ride 38 Gumba, gumba, gumba 39 An attempt at communication 42 Black status seekers 43 We lie under tall gum-trees 45 Since yesterday 46 Letter to a friend in exile 47 From the outside 50 The bangalala 51 Beyond fences 52 Night party 54 The jive 55 The children of Nonti 56 Soul afternoon 59 Biting in lumps 63 Words are also born 64 Grey Street 67 Getting off the ride 70 Just to say .
    [Show full text]
  • Michael Chapman, Ed. E Drum Decade
    Book Reviews Michael Chapman, ed. e Drum Decade: Stories from the 1950s. Introduction by John Matshikiza. Pietermaritzburg: U of Natal P, 2001. 241 pp. $54 cloth. Lindy Stiebel and Liz Gunner, eds. Still Beating the Drum: Critical Perspectives on Lewis Nkosi. Amsterdam: Rodopi, 2005. 375 pp. $103 cloth. e negritude movement had Présence Africaine; the Harlem Renaissance had Crisis and Opportunity; South African writers of the 1950s had Drum maga- zine. Paul Gready has written that Drum’s “flashy muck-raking journalistic style attempted to capture the vivid life of the townships. Drum became a symbol of a new urban South Africa” (146); for Rob Nixon, it “amplified the voices of a defiantly impure cosmopolitanism, projecting an urban look and ethos” (28). Lewis Nkosi, who went to work for the magazine in 1957, said that Drum “wasn’t so much a magazine as it was a symbol of the new African cut adrift from the tribal reserve—urbanised, eager, fast-talking and brash” (Home and Exile 8). e magazine serialized novels by Alan Paton and Peter Abrahams, and occasionally published the work of black American writers like Langston Hughes. Perhaps the most important function Drum played, though, was to serve as a launching pad for the careers of a whole generation of young black and mixed-race fiction writers and journalists: Bloke Modisane, Can emba, James Matthews, Peter Clarke, Arthur Maimane, and Richard Rive, among others, published their earliest work in the pages of Drum, and Ezekiel Mphahlele reached a wider audience through the magazine’s readership. Michael Chapman pays tribute to this remarkable legacy in his invaluable little collection e Drum Decade.
    [Show full text]
  • • Joe ALFERS • Peter AUF DER HEYDE • Omar BADSHA • Rodger
    • Joe ALFERS • Peter AUF DER HEYDE • Omar BADSHA • Rodger BOSCH • Julian COBBING • Gille DE VLIEG • Brett ELOFF • Don EDKINS • Ellen ELMENDORP • Graham GODDARD • Paul GRENDON • George HALLETT • Dave HARTMAN • Steven HILTON-BARBER • Mike HUTCHINGS • Lesley LAWSON • Chris LEDOCHOWSKI • John LIEBENBERG • Herbert MABUZA • Humphrey Phakade "Pax" MAGWAZA • Kentridge MATABATHA • Jimi MATTHEWS • Rafs MAYET • Vuyi Lesley MBALO • Peter MCKENZIE • Gideon MENDEL • Roger MEINTJES • Eric MILLER • Santu MOFOKENG • Deseni MOODLIAR (Soobben) • Mxolisi MOYO • Cedric NUNN • Billy PADDOCK • Myron PETERS • Biddy PARTRIDGE • Chris QWAZI • Jeevenundhan (Jeeva) RAJGOPAUL • Wendy SCHWEGMANN • Abdul SHARIFF • Cecil SOLS • Lloyd SPENCER • Guy TILLIM • Zubeida VALLIE • Paul WEINBERG • Graeme WILLIAMS • Gisele WULFSOHN • Anna ZIEMINSKI • Morris ZWI 1 AFRAPIX PHOTOGRAPHERS, BIOGRAPHICAL NOTES • Joe ALFERS Joe (Joseph) Alfers was born in 1949 in Umbumbulu in Kwazulu Natal, where his father was the Assistant Native Commissioner. He attended school and university in Pietermaritzburg, graduating from the then University of Natal with a BA.LLB in 1972. At University, he met one of the founders of Afrapix, Paul Weinberg, who was also studying law. In 1975 he joined a commercial studio in Pietermaritzburg, Eric’s Studio, as an apprentice photographer. In 1977 he joined The Natal Witness as a photographer/reporter, and in 1979 moved to the Rand Daily Mail as a photographer. In 1979, Alfers was offered a position as Photographer/Fieldworker at the National University of Lesotho on a research project, Analysis of Rock Art in Lesotho (ARAL) which made it possible for him to evade further military service. The ARAL Project ran for four years during which time Alfers developed a photographic recording system which resulted in a uniform collection of 35,000 Kodachrome slides of rock paintings, as well as 3,500 pages of detailed site reports and maps.
    [Show full text]
  • Richard Moore Rive
    RICHARD MOORE RIVE Teacher, Academic & Author 1931 – 1989 Richard Rive was an exceptional writer, teacher and academic. Raised by a single mother in District Six he became internationally recognised and acclaimed for his work. He was from a generation of exceptional working class writers all who came from Camissa Communities, labelled “Coloured” by Apartheid. These communities lived in areas under assault from Apartheid forced removals in District Six, Cato Manor and Sophiatown. The writers in these places included James Matthews, Alex la Guma, Ronney Govender, and Don Mattera. Richard Moore Rive was born on 1 March 1931 in Caledon Street, District Six to Nancy Rive and Richardson Moore, an African-American sailor who stopped over in Cape Town for five months. Richardson abandoned Nancy and disappeared across the sea never to be seen again. Richard Rive and his half-siblings grew up in an old building called Eaton Place in District Six where his older sister Georgina played the biggest role in raising him. It was here in District Six that Richard drew his inspiration from the many cameos of life that he observed and from the 20 year-long forced removals by the Apartheid regime. Excelled at School Rive attended primary school at St. Mark’s. At age 12, his high marks earned him a municipal scholarship to Trafalgar High School. He excelled at school work and also at sport and won several prizes for athletics, holding the South African hurdles record for several years. Richard completed High School in 1947 and for a while he worked as a clerk for a small company, Phil Morkel.
    [Show full text]
  • Read Ebook {PDF EPUB} Cry Rage! by James David Matthews James Matthews (Writer) James Matthews (Born 24 May 1929) Is a South African Poet, Writer and Publisher
    Read Ebook {PDF EPUB} Cry Rage! by James David Matthews James Matthews (writer) James Matthews (born 24 May 1929) is a South African poet, writer and publisher. During the Apartheid era his poetry was banned, and Matthews was detained by the government in 1976 and for 13 years was denied a passport. Contents. Biography. James David Matthews was born to working-class parents in District Six, Cape Town, on 29 May 1929. [1] He attended Prestwich Primary School and then went on to Trafalgar High School in Cape Town. He has said: "I grew up in a household where there were no shelves filled with books. My father was illiterate and my mother read Oracle and Miracle , two thin paperbacks from the United Kingdom which could hardly be considered as literature. I was almost 14 and in standard eight (grade 10) when we were asked to write a composition. It is now termed creative writing. I will never forget the name of our English teacher – Miss Meredith. She announced to the class that I had written a short story and not a composition. She marked it 21, one mark above the accepted 20 and informed the class that I was a writer. My introduction to a library was one of wonderment. I was a messenger at the Cape Times and a reporter asked me to take her books to the library. I was confronted by row upon row of stalls stacked with books. My eyes travelled along the lines of names and titles. None of them were known to me.
    [Show full text]
  • South African and International Art
    The Wanderers Club, Illovo, Johannesburg 4 June 2018 – 8 pm South African and International Art Session 3 Lots 250–325 Lot 263 Alexis Preller Consider the Lizard (detail) 250 Sir William Nicholson BRITISH 1872–1949 Alcázar Estrade, Sevilla signed; dated 1933 and inscribed with the title on the reverse; inscribed with the title on a Leicester Galleries label and South African National Gallery label adhered to the reverse oil on canvasboard 31,5 by 40 cm R500 000 – 700 000 PROVENANCE Formerly the property of Lady Florence Philips (1863–1940), Vergelegen, Somerset West. Purchased from the estate sale, 1942. EXHIBITED Leicester Galleries, London, Exhibition of Works by William Nicholson, Sir William Nicholson was an extremely versatile der Mercurio, a large pond presided over by Diego de 1934, catalogue number 94; British artist. He began his career as a graphic designer Pesquera’s figure of Mercury, cast by Bartolomé Morel in South African National Gallery, Cape alongside his brother-in-law, James Pryde, and from 1576. Town, Friends of the South African 1893-1898 they produced posters, prints and signage In this work Nicholson suggests the heat of the National Gallery, catalogue number 55. under the name of ‘J & W Beggarstaff’. In 1900, following day through a warm colour palette and portrays the the recommendation of the American artist James materiality of the subject through thick paint application Whistler, Nicholson began to focus his attention and expressive brushstrokes. The façade with shadowed exclusively on painting. archway provides a dramatic backdrop to the pool and Although he was initially best known for invites the viewer to venture along the walkway into the commissioned portraits of wealthy patrons, his landscape composition.
    [Show full text]
  • Coloured Men, Moffies, and Meanings of Masculinity in South Africa, 1910-1960
    Coloured Men, Moffies, and Meanings of Masculinity in South Africa, 1910-1960 Cody S. Perkins Flint, Michigan Bachelor of Arts, Michigan State University, 2009 Master of Arts, University of Virginia, 2011 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Corcoran Department of History University of Virginia May, 2015 _________________________ Dr. John Edwin Mason _________________________ Dr. Joseph C. Miller _________________________ Dr. Claudrena N. Harold _________________________ Dr. Denise Walsh Copyright © 2015 Cody S. Perkins Table of Contents ABSTRACT .......................................................................................... i ACKNOWLEDGEMENTS ................................................................... II ABBREVIATIONS AND ACRONYMS .................................................. V INTRODUCTION ................................................................................ 1 CHAPTER ONE ................................................................................ 28 "Poor Whites" and Degenerate Coloureds: Public Imaginings of Race and Respectability in the Discourse of Segregation CHAPTER TWO ................................................................................ 53 Marshalling Manhood: Declarations of Loyalty and Masculine Citizenship Through Two World Wars CHAPTER THREE ............................................................................ 87 "We Have Material Second To None:" Competing Against the Color
    [Show full text]
  • George Hallett: Nomad, Raconteur and Photographer Who 'Became The
    George Hallett: Nomad, raconteur and photographer who ‘became the camera’ M Neelika Jayawardane 8 July 2020 Recreating memory: Dancers, 1967. (George Hallett) Anyone who met George Hallett, the South African photographer who passed away on July 1, at the age of 77, knows he was a born performer and raconteur, who relished the spotlight at any gathering. Yet, he was also a trickster figure — a chameleon who knew how to blend in with the background, and observe his photographic subjects‟ burdens and most vulnerable states. Hallett‟s iconic portraits reveal his shaman‟s ability — his ceremonial performances with the camera that created openings into his subjects, especially those who had a lot to hide. One would not necessarily realise that the slim, lanky man with a small camera, standing unobtrusively in a crowd, had taken photographs that broke through the reserve of seasoned charmers and politicians — including Nelson Mandela — and those, like Eugene de Kock, who had been responsible for the torture and deaths of hundreds, if not thousands, of South Africans who fought for freedom. Hallett was notoriously economical with his film — times were tough, and film expensive — taking only one or two frames. Yet each portrait that Hallett took is extraordinary — be they of those history has now marked as villain or hero; or the countless South African exiles in Europe with whom he forged close bonds, and whose loneliness, hardships and pain were invisible to a larger public. Perhaps, as a man who used performance and a loud persona to mask his own difficult experiences of exclusion, and maintained the effects of that damage behind tall tales of grand exploits, he knew how to read beyond what others, too, projected onto the screen.
    [Show full text]