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The Restoration of Tulbagh As Cultural Signifier
BETWEEN MEMORY AND HISTORY: THE RESTORATION OF TULBAGH AS CULTURAL SIGNIFIER Town Cape of A 60-creditUniversity dissertation submitted in partial fulfilment of the Degree of Master of Philosophy in the Conservation of the Built Environment. Jayson Augustyn-Clark (CLRJAS001) University of Cape Town / June 2017 Faculty of Engineering and the Built Environment: School of Architecture, Planning and Geomatics 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 ‘A measure of civilization’ Let us always remember that our historical buildings are not only big tourist attractions… more than just tradition…these buildings are a visible, tangible history. These buildings are an important indication of our level of civilisation and a convincing proof for a judgmental critical world - that for more than 300 years a structured and proper Western civilisation has flourished and exist here at the southern point of Africa. The visible tracks of our cultural heritage are our historic buildings…they are undoubtedly the deeds to the land we love and which God in his mercy gave to us. 1 2 Fig.1. Front cover – The reconstructed splendour of Church Street boasts seven gabled houses in a row along its western side. The author’s house (House 24, Tulbagh Country Guest House) is behind the tree (photo by Norman Collins). -
TRANSNET PIPELINES 2020 Transnet Pipelines 2020 1
TRANSNET PIPELINES 2020 Transnet Pipelines 2020 1 Contents 2 Highlights 2 Business overview 3 Where we operate 3 Regulatory environment 4 Operational performance 4 Core initiatives for 2020 5 Overview of key performance indicators 6 Financial performance review 7 Performance commentary 7 Financial sustainability 7 Capacity creation and maintenance 7 Operational performance 7 Capacity utilisation 7 Service delivery 8 Sustainable developmental outcomes 9 Key risks and mitigating activities 9 Opportunities 10 Abbreviations and acronyms Transnet Pipelines 2020 2 Highlights Revenue increased by 8,9% to R5,7 billion. EBITDA decreased by 4,7% to R3,8 billion. Petroleum volumes transported decreased by 0,3% to 17,8 billion litres. Recorded a DIFR of 0,70 against a target of 0,60. The New Multi-Product Pipeline (NMPP), 24-inch trunk Business overview line is in full operation with a capacity of 148 Mℓ per Transnet Pipelines (Pipelines) is the largest multi- week. The line is capable of transporting two diesel product pipeline operator in southern Africa, grades (D10 and D50) and two unleaded petrol grades transporting liquid petroleum and methane-rich gas (93 and 95) as well as jet fuel. through a network of 3 116 kilometres of pipeline The inland accumulation facility, located in the infrastructure. The core strategic objective of strategic node of Jameson Park, Gauteng (TM2) with Pipelines is to play a key role to ensure the product a capacity of 180 Mℓ, has been operational since security of supply for the inland market. Pipelines December 2017. It facilitates security of supply to the offers integrated pipeline network supply chain inland economic hub and surrounding areas. -
Producing Meerkat Images with an Unlikely Algorithm SYSTEMS
New Chief Scientist for SKA SA Former Columbia University academic joins SKA South Africa. PAGE 15 2016NEWSLETTER FOR SOUTH AFRICA’s SQUARE KILOMETRE ARRAY PROJECTnews PRODUCING PAGE 10 MEERKAT IMAGESThe search for WITH AN UNLIKELY serendipity ALGORITHM How will we find the PAGE 10 unknown unknowns? NEWS MINISTER NALEDI PANDOR AND DEPUTY MINISTERS VISIT ARRAY RELEASE 1 PAGE 03 SYSTEMS HERA AWARDED $9.5 MILLION FUNDING PAGE 12 OUTREACH LEADING US RADIO ASTRONOMER VISITS CARNARVON HIGH SCHOOL PAGE 16 From 4 of the Major milestone Ten legacy project eventual 64 dishes towards delivering teams share MeerKAT produces first the SKA Existing and future survey remarkable test image SKA selects final dish design project teams present plans SKANEWS 2016/2017 NEWSLETTER FOR SOUTH AFRICA’S SQUARE KILOMETRE ARRAY PROJECT SKA IN AFRICA HERA Thousands of SKA antenna dishes will be built in South Africa The HERA (Hydrogen Epoch of Reionisation Array) radio telescope will (in the Karoo, not far from the Northern Cape town of Carnarvon), be instrumental in detecting the distinctive signature that would allow with outstations in other parts of South Africa, astronomers to understand the formation and evolution of the very first as well as in eight African partner countries. luminous sources: the first stars and galaxies in the Universe. C-BASS KAT-7 The C-Band All Sky Survey project (C-BASS) The seven-dish MeerKAT precursor array, KAT-7, is a project to map the sky in microwave is the world’s first radio telescope array consisting of (short-wavelength radio) radiation. composite antenna structures. KUTUNSE MeerKAT The antenna in Kutunse, Ghana, which is part of the The South African MeerKAT radio telescope is a precursor to the SKA African Very Long Baseline Interferometry Square Kilometre Array (SKA) telescope and will be integrated (VLBI) Network (AVN). -
Transforming the Iziko Bo-Kaap Museum Helene Vollgraaff 1
Transforming the Iziko Bo-Kaap Museum Helene Vollgraaff 1 Introduction The Bo-Kaap Museum, managed by Iziko Museums of Cape Town 2, was established in 1978 as a house museum showing the lifestyle of a typical “Cape Malay” family of the 19 th century. The well-known University of Cape Town Orientalist, Dr. I.D. du Plessis, was the driving force behind the establishment of the museum. From the start, the Bo-Kaap Museum was heavily criticized for its Orientalist approach. In true I.D. du Plessis style, Cape Muslims were depicted as a separate cultural group with an exotic and charming lifestyle that seperated them from the rest of local society. The exhibitions and programmes of the museum tended to focus on Islam as an all-consuming identity and emphasized customs that distinguished Cape Muslims from other religious and cultural groups in Cape Town. The result was a skewed representation that did not do justice to the diversity within the Cape Muslim community and was silent about aspects of integration between the Muslim and broader Cape Town communities. 3 In 2003, Iziko Museums launched a project to redevelop the Bo-Kaap Museum as a social history museum with Islam at the Cape and the history of the Bo-Kaap as its main themes. This approach allowed the museum to challenge its own Orientalist roots and to introduce exhibitions dealing with contemporary issues. As an interim measure, Iziko developed a series of small temporary exhibitions and public programmes that together signaled Iziko Museum’s intent to change the content and style of the museum. -
Itc2014artist Prog Final.Pdf
FESTIVAL CREDITS CONTENTS 2 21 Rotting Treasures Lindokuhle Nkosi and Curator: Jay Pather Africa Centre 3 Curator’s Note Khanyilise Mbongwa Festival Manager: Adrienne van Eeden-Wharton 4 Festival Partners Poetry Pop-Up Shop Badalisha Poetry X-change Financial Manager: Felicia Pattison-Bacon Festival Centre 22 Voyeur Piano Mareli Stolp Curatorial Assistance: Nadja Daehnke Smellscapes Tammy Frazer Technical Managers: Themba Stewart & Ryno Keet 5 PROGRAMME A 23 Store Front and Centre Farzanah Badsha Exhibition Installation: Justin Brett Carpe Minuta Prima (buying) Brian Lobel 6 Back The Forgotten Angle Theatre Collaborative Arts Aweh! Programme Manager: Malika Ndlovu 24 Cubicle Michaelis School of Fine Art Thoriso le Morusu Neo Muyanga Steal My Photograph Lukas Renlund Fundraising: Ivana Abreu 7 Private Moments in Public Spaces * 25 Mosaic Art Spier Arts Academy Office Manager:Ethel Ntlahla Hatch Mamela Nyamza * Invisible Paintings Wojciech Gilewicz Marketing and Publicity: Mango-OMC 8 BDSM Rhine Bernardino * Graphic Design and Layout: Pulling Rabbits The Accumulation is Primitive Pedro Bustamante * 26 PROGRAMME E Website Development: Zero Zero One 9 Couched Shaun Oelf and Grant van Ster * Dark Cell Themba Mbuli * 27 Feed Graeme Lees 10 Wall-Hug Kira Kemper * Uncles & Angels Nelisiwe Xaba and 100 Years of Symphony Cape Town Philharmonic Mocke J van Veuren Orchestra 28 Say Yes or Die Anne Rochat, Gilles Furtwängler and 11 Polite Force Christian Nerf * Sarah Anthony Surveillance Stage Alien Oosting * The Homecoming BALL: bushWAACKing ODIDIVA -
Truth and Reconciliation Commission of South Africa Report: Volume 2
VOLUME TWO Truth and Reconciliation Commission of South Africa Report The report of the Truth and Reconciliation Commission was presented to President Nelson Mandela on 29 October 1998. Archbishop Desmond Tutu Ms Hlengiwe Mkhize Chairperson Dr Alex Boraine Mr Dumisa Ntsebeza Vice-Chairperson Ms Mary Burton Dr Wendy Orr Revd Bongani Finca Adv Denzil Potgieter Ms Sisi Khampepe Dr Fazel Randera Mr Richard Lyster Ms Yasmin Sooka Mr Wynand Malan* Ms Glenda Wildschut Dr Khoza Mgojo * Subject to minority position. See volume 5. Chief Executive Officer: Dr Biki Minyuku I CONTENTS Chapter 1 Chapter 6 National Overview .......................................... 1 Special Investigation The Death of President Samora Machel ................................................ 488 Chapter 2 The State outside Special Investigation South Africa (1960-1990).......................... 42 Helderberg Crash ........................................... 497 Special Investigation Chemical and Biological Warfare........ 504 Chapter 3 The State inside South Africa (1960-1990).......................... 165 Special Investigation Appendix: State Security Forces: Directory Secret State Funding................................... 518 of Organisations and Structures........................ 313 Special Investigation Exhumations....................................................... 537 Chapter 4 The Liberation Movements from 1960 to 1990 ..................................................... 325 Special Investigation Appendix: Organisational structures and The Mandela United -
An Exhibition of South African Ceramics at Iziko Museums Article by Esther Esymol
Reflections on Fired – An Exhibition of South African Ceramics at Iziko Museums Article by Esther Esymol Abstract An exhibition dedicated to the history and development of South African ceramics, Fired, was on show at the Castle of Good Hope in Cape Town, South Africa, from 25th February 2012 until its temporary closure on 28th January 2015. Fired is due to reopen early 2016. The exhibition was created from the rich array of ceramics held in the permanent collections of Iziko Museums of South Africa. Iziko was formed in 1998 when various Cape Town based museums, having formerly functioned separately, were amalgamated into one organizational structure. Fired was created to celebrate the artistry of South African ceramists, showcasing works in clay created for domestic, ceremonial or decorative purposes, dating from the archaeological past to the present. This article reflects on the curatorial and design approaches to Fired, and the various themes which informed the exhibition. Reference is also made to the formation of the Iziko ceramics collections, and the ways in which Fired as an exhibition departed from ceramics displays previously presented in the museums that made up the Iziko group. Key words ceramics, studio pottery, production pottery, Community Economic Development (CED) potteries, museums Introduction Fired – an Exhibition of South African Ceramics celebrated South Africa’s rich and diverse legacy of ceramic making. The exhibition showcased a selection of about two hundred ceramic works, including some of the earliest indigenous pottery made in South Africa, going back some two thousand years, through to work produced by contemporary South African ceramists. The works were drawn mainly from the Social History Collections department of Iziko Museums of South Africa.1 Design and curatorial approaches Fired was exhibited within an evocative space in the Castle, with arched ceilings and columns and presented in two large elongated chambers (Fig.1). -
Sasol Beyond South Africa
Sasol beyond South Africa Who is Sasol? Sasol was founded in 1950 as Suid-Afrikaanse Steenkool en Olie (South African Coal and Oil) and was the world’s first coal-to-liquids refinery, now supplying 40% of South Africa’s fuel. The company has technology for the conversion of low-grade coal into synthetic fuels and chemicals. The company is also involved in many other industries, such as olefins and surfactants, polymers, solvents, ammonia, wax and nitrogen (used in fertiliser and explosives), among others. Protestors at the Global Day of Action during the UN’s 17th Conference of the Parties. Photo: groundWork Global activities Sasol is a global company listed on the New York and Johannesburg stock exchanges and has exploration, development, production, marketing and sales operations in thirty-eight countries across the world, including Southern Africa, the rest of Africa, the Americas, the United Kingdom, Europe, the Middle East, Northern Asia, Southeast Asia, the Far East and Australasia. Sasol Petroleum International (SPI) is responsible for Sasol’s oil and gas exploration in countries beyond South Africa, including Gabon, Nigeria, Papua Niue Guinea and Australia, while Sasol Synfuels International (SSI) develops gas-to-liquids (GTL) plants in places such as Latin America, Australasia, Asia-Pacific and the Middle East. 1 Africa Mozambique Mozambique’s current electricity generating capacity is around 2 200 MW, most of it from the Cahora Bassa hydroelectric dam. Most of that power is exported to neighbouring South Africa despite only about 18% of Mozambicans having access to electricity. A $2.1 billion joint venture project between Sasol and Mozambique’s Empresa Nacional Pipelines carrying gas from Mozambique to South Africa de Hidrocarbonetas (ENH) aims http://www.un.org/africarenewal/magazine/october-2007/pipeline-benefits- to develop a gas resource that mozambique-south-africa has been ‘stranded’ for many years since its discovery in the 1960. -
Transforming Representations of Intangible Heritage at Iziko Museums, SA
ICME papers 2004 Transforming representations of Intangible Heritage at Iziko Museums, SA By HENRY C JATTI BREDEKAMP Iziko Museums, South Africa http://www.museums.org.za/iziko/izihome.html Paper presented at the Concurrent Session Museums and Living Heritage, organized by ICME, The National Folk Museum of Korea, ICOM Korea and ICTOP. ICOM general conference, Seoul, Korea. October 2-8, 2004 "The Minister stressed that issues related to heritage, culture and identity were 'deeply emotional' – after all these are issues that are at the very core of the transformation agenda in South Africa." (Harriet Deacon et al, 2003: 7) Down south in Africa, transformation in the heritage sector of post-apartheid South Africa is still in its transitional phase. However, over the past decade of democratic government, the heritage fraternity has assisted government to make significant strides in the formulation of policies and in the creation or re-imagining of heritage institutions inherited from earlier eras. Within this context, the paper begins with a brief overview of the creation of post-apartheid national heritage institutions in South Africa and the current status of intangible heritage on the state's transformation agenda after a Decade of Democracy. One of these institutions is the amalgamated Iziko national museums of Cape Town, whose representations of various domains of expressions of intangible heritage from Cape to Cairo and beyond is the focus of the third part of this contribution to this session of ICME at ICOM 2004 here in Seoul. The creation of post-apartheid national heritage institutions in South Africa An outsider's understanding of the South African discourse on transformation in the heritage sector today presupposes some knowledge of basic official policy documents like the White Paper on Arts, Culture and Heritage, which preceded the passing of a series of heritage related Acts of Parliament towards the end of the 1990s. -
(Un) Restricted Access: the Castle of Good Hope, Cape Town
Town · . Cape . of · l• · .. • " • ••.:,. · .'~ .,. :"::'f: · ·.. · · ' University REACHING the (un)restricted access: The Castle of Good , Robert Gubb GBBROB004 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University Town Cape of BREACHING the Walls (un)restricted access: The Castle of Good Hope, Cape Town Design Research Project APGSOS8S Submitted in partial fulfilment of the requirements for the degree • University Master of Architecture (Professional) By Robert Matthew Gubb October 2012 At most we gaze at in wonder, a kind of wonder which in iteself is a form of advancing horror, for somehow we know by instinct that outsize buildings cast the shadow of their own destruction before them, and are designed from the first with an eye to their later existence as ruins. W.G. Seabald, Austerlitz, p23, 2002 Town Cape of University Table of Contents INTRODUGIONINTRODUCTION ............................................................................................................................... 2. BRIEF HISTORY OF THE CASTLECASTlE OF GOOD HOPE ............................................................................... 3 FUTURE MEMORYMEMORY:: YESTERDAY, I REMEMBER TODAY AND TOMORROW ........................................ -
Cape Town Townships Cultural Experience
FULL DAY TOURS The below tours are not part of the conference package. Bookings should be made directly to Scatterlings Conference & Events and not via the FSB/OECD office. Cape Town Townships Cultural Experience Enjoy the multi - cultural life of the Cape by meeting and speaking to the local communities on our full day Cape Town Township Tour. Interact with locals in their own living environments and experience the multi- diversity of our sought after city. Highlights: Bo-Kaap and exciting Malay Quarter; District Six Museum; Cape Flats; Visit a traditional shop (spaza) or tavern (shebeen) in a township; Take a ferry trip to Robben Island and walk through the former political prison (weather permitting). Click here to send your enquiry: [email protected] Aquila Game Reserve Travel through Huguenot Tunnel past beautiful De Doorns in the Hex River valley to Aquila. Welcoming refreshments, game drive, bushman paintings and lunch in an outdoor lapa. Stroll through curio and wine shop, or relax at pool before returning to Cape Town. Click here to send your enquiry: [email protected] Cape Peninsula Travel along the beautiful coastline of the Peninsula on our Cape Peninsula day tour, through historic and picturesque villages to the mythical meeting place of the two great oceans. Highlights: Travel through Sea Point, Clifton and Camps Bay; Hout Bay Harbour (optional Seal Island boat trip, not included in cost); On to Cape Point and Nature Reserve. Unforgettable plant, bird and animal life; Lunch at Cape Point; Penguin Colony; Historic Simonstown; Groot Constantia wine estate or Kirstenbosch Botanical Gardens. Click here to send your enquiry: [email protected] Cape Winelands On our Cape Winelands day tour we take you on a trip into the heart of the Cape Winelands, through breathtaking mountain ranges and fertile valleys. -
Department of Cultural Affairs and Sport (DCAS) Annual Report 2018/19
Annual Report 2018/2019 Department of Cultural Affairs and Sport Western Cape Government Vote 13 Annual Report 2018/2019 ISBN: 978-0-621-47425-1 1 Contents Part A ........................................................................................................................................................ 4 1. Departmental General Information ............................................................................................. 5 2. List of abbreviations/acronyms ..................................................................................................... 6 3. Foreword ........................................................................................................................................... 9 4. Report of the Accounting Officer .............................................................................................. 10 5. Statement of Responsibility and Confirmation of Accuracy of the Annual Report ......... 15 6. Strategic overview ........................................................................................................................ 16 6.1. Vision ................................................................................................................................................ 16 6.2. Mission .............................................................................................................................................. 16 6.3. Values .............................................................................................................................................