Tiyani Maluleke Phash Ratshilumela Idah Ramoloto Lattitude Group

Total Page:16

File Type:pdf, Size:1020Kb

Tiyani Maluleke Phash Ratshilumela Idah Ramoloto Lattitude Group Wawela Music Awards 2016 2 Wawela Music Awards Acknowledgements GM Marketing: TIYANI MALULEKE Content & Communication Specialist: PHASH RATSHILUMELA Awards Coordinator: IDAH RAMOLOTO Design & Layout: LATTITUDE GROUP www.wawelamusicawards.co.za WawelaMusicAwards WawelaMusic wawelamusicawards For more information about the upcoming Wawela Music Awards call SAMRO on 011 712 8505 or email: [email protected] 3 Wawela Music Awards 2016 Wawela Music Awards 2016 4 CONTENTS 01 CEO Foreword 08 2016 Wawela Music Awards winners announced TIMELESS SONGS ARE 03 Chairperson Letter 10 Winners ARGUABLY OUR GREATEST 05 2016 Wawela Music 11 Nominee Profiles Awards Nominees CREATIVE LEGACY. Rev Abe Sibiya 06 Nominees 13 2016 Wawela Music Awards Nominees & Winners Contact Details 07 Special Award Nominees 5 Wawela Music Awards 2016 Wawela Music Awards 2016 6 Rev Abe Sibiya It was a bittersweet occasion paying homage to Acting CEO: SAMRO songwriter, composer and producer Gabi le Roux CEO for his prolific catalogue of work, as it was only a few weeks earlier that his friend Mandoza had died of cancer. Le Roux produced the late kwaito star’s crossover smash hit Nkalakatha. In her 70s but as elegant and glamorous as ever, grand dame of cabaret Abigail Kubeka received the Lifetime Achievement Award at the Wawelas. FORWARD This singer-songwriter was part of the golden era of South African jazz in the 1950s and 1960s, and still performs regularly. Timeless songs are And they all arise from a spark of inspiration, some arguably our greatest might even say genius, that’s hard to define and Another cultural icon, Zimbabwe’s Oliver Mtukudzi, maddeningly elusive to harness. If only we could creative legacy. Look at the who is regarded as one of Southern Africa’s most bottle it and sell it! wealth of memorable hits treasured musical sons, was given the Breaking produced over the years by Through the Borders Award. Who could forget his SAMRO wants to encourage our talented music sons and daughters of the heartfelt Neria from the movie of the same name? creators to craft more such iconic songs – the type South African soil: Caiphus that form the soundtrack to the pivotal moments in All three of these music titans are a shining example Semenya, Hugh Masekela, our lives. Therefore, as a vehicle to reward the art of how to forge a career as a music creator – it’s no and craft of songwriting, composition and music Miriam Makeba, Bright walk in the park, to be sure, but their legacy lies their production, we hope the Wawela Music Awards will Blue, Johnny Clegg, Lucky incredible canon of work that they will leave for future grow organically to become one of the most prized Dube, Arno Carstens… the generations to bask in and enjoy. and sought-after accolades in our industry. list goes on and on. These are songs that compete As a composer and producer myself, I know that with the best in the world. crafting your own material requires dedication, hard work, persistence, concentration and often frustration… in addition to that spark of inspiration. It doesn’t come easily. We know how strenuous the creative process can be, and this is why it gave us so much joy this year to honour three industry icons whose body of work has contributed immeasurably to enriching the fabric of South African music. 7 Wawela Music Awards 2016 Wawela Music Awards 2016 8 CHAIRPERSON’S This is why, at this year’s WMAs, we celebrated an array of glittering music makers – from the well- known to the emerging, from the legends to the stalwarts, across several genres. Let’s look at two musicians who each received two Wawelas this year as cases in point. LETTER Nik Sakellarides, for one, has been writing music for the film and television industry in South Africa and the Sibongile Khumalo United States for some 26 years, and has recently been producing original scores for local theatre and Acting Chairperson of the SAMRO Board ballet productions too. He is highly regarded within the industry, but few in the outside world pause to think about the creative genius behind those That catchy TV commercial The Wawela Music Awards (WMAs), now in their memorable jingles. jingle that sticks in your head all fourth year, are slowly but surely chipping away day, that film soundtrack that at that reality. With so many awards out there Then you get someone like young jazz musician washes over your senses and recognising performing artists, SAMRO, being an Benjamin Jephta, whose star is certainly on the rise. association of songwriters and composers, thought it Before he clinched two WMAs for Songwriter of the makes you connect deeply with only logical that the brains behind the microphones Year and Best Male Artist and Composer, this whizz WE CELEBRATED AN the unfolding story… often, these should also be celebrated. on the electric bass and double bass was named are compositions by people runner-up in the SAMRO Overseas Scholarships ARRAY OF GLITTERING you’ve never heard of. They are As a music creator myself, I fully applaud this Competition. A few weeks later, Jephta was crowned making a living out of creating initiative. Music feeds a nation’s collective soul, and 2017 Standard Bank Young Artist for jazz. His is MUSIC MAKERS – FROM inspiring music, yet for the most encouraging the process of conjuring new. Original clearly a name to watch, and SAMRO is proud to be work is vital if we want our people’s stories to keep a partner in his music development and evolution as part they remain incognito. THE WELL-KNOWN TO being told and their inner rhythms given voice. he charts ever-higher creative trajectories. THE EMERGING, FROM Just because the profile of those behind the scenes is often lower than that of those basking in the THE LEGENDS TO THE spotlight, it doesn’t mean that their contribution STALWARTS, ACROSS is of any less value. SEVERAL GENRES. 9 Wawela Music Awards 2016 Wawela Music Awards 2016 10 The Wawela Music Awards (WMAs) burst onto the other awards solely celebrate the performers of stage in 2013 and since then, nothing has been able musical works, the WMAs are the only awards in to stop their meteoric rise! The WMAs are officially South Africa to acknowledge the people behind recognised as a dazzling highlight on the music the creation of the music that shapes our world ABOUT industry calendar. and is the soundtrack of our lives! These are the composers, songwriters and publishers of music who Wawela means “go beyond” and that’s exactly what work behind the stage as well as on it! The WMAs these awards have done so far! They’ve attracted were exclusively created to showcase the creative more big name winners than anyone ever thought talent of SAMRO members whose amazing talent is possible and have surprised SA by unearthing the celebrated both at home and abroad. country’s newest composing and songwriting talent! WAWELA MUSIC They’ve surpassed even SAMRO’s expectations To date a pantheon of SA music creators has graced of success! In word and deed, the WMAs have the WMAs stage with stunning performances, smashed through the boundaries and gone beyond to showcasing their composing and songwriting talent deliver recognition to SAMRO’s outstanding musical to the world. maestros! The awards are proudly brought to you by SAMRO AWARDS So what makes the WMAs so different? Well, while and are exclusively open to all SAMRO members. 11 Wawela Music Awards 2016 Wawela Music Awards 2016 12 NOMINEES SPECIAL AWARDS Best Soundtrack in a Feature Best Song or Composition Best South African Duo or Group Prolific Catalogue of Works Lifetime Achievement Award Breaking through the Borders Film or Theatric Documentary in a Radio Commercial BEATENBERG GABI LE ROUX ABIGAIL KUBEKA OLIVER MTUKUDZI ALUN RICHARDS NIK SAKELLARIDES THE SOIL NIK SAKELLARIDES LOUIS ENSLIN BLACK MOTION BENJAMIN WILLEM ADAM HOWARD Best Male Artist & Best Song or Composition Best Creative Album of the Year Composer/Co Composer in a Television Production MALEH BENJAMIN JEPHTA ORANGOTANG MUSIC WOUTER KELLERMAN ZOLA SOUL JOE NIEMAND JACK PAROW FABIAN SING BENJAMIN WILLEM Songwriter of the Year Best Female Artist & Composer Best Song or Composition BENJAMIN JEPHTA LINDIWE MAXOLO in a Television Commercial THE SOIL TEBOGO MALEH ALUN RICHARDS LINDIWE MAXOLO NAIMA KAY ADAM HOWARD 13 Wawela Music Awards 2016 Wawela Music Awards 2016 14 It is hard to believe that the WMAs have come this far! Not so long ago, we were planning to host the very first edition of the awards and today we on the fourth instalment. On Friday, 7 October 2016, we announced the winners of the Wawela Music Awards at a glitzy event held at the Wanderers Club in Illovo, Johannesburg. The event was attended by nominees, industry stakeholders, government officials, SAMRO members as well as members of the SAMRO Board and its subsidiaries. The event was a true demonstration of how local sound has matured - with the new generation of music composers, lyricists and songwriters proving that they are ready to carry on the legacy left behind by industry greats of EDITOR’S yesteryear. With the 2016 WMAs, we were once again able to put a spotlight on some of the best talents we have in South Africa. We congratulate all nominees and winners. We look forward to celebrating your soaring talent with the rest of Mzansi. We look NOTE forward to hosting another successful event in 2017. TIYANI MALULEKE GENERAL MANAGER: MARKETING AND COMMUNICATIONS 15 Wawela Music Awards 2016 Wawela Music Awards 2016 16 STANDARD AWARDS SPECIAL AWARDS WINNERS WINNERS Best Soundtrack in a Feature Film Best Song or Composition
Recommended publications
  • Table of Contents
    South African tabloid newspapers’ representation of black celebrities: A social constructionism perspective Emmanuel Mogoboya Matsebatlela Dissertation presented in partial fulfilment of the requirements for the degree of Master of Philosophy (Journalism) at Stellenbosch University Supervisor: Josh Ogada September 2009 DECLARATION I, the undersigned, hereby declare that the work contained in this dissertation is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature: Date: (Emmanuel Mogoboya Matsebatlela) Copyright © 2009 Stellenbosch University All rights reserved 1 ACKNOWLEDGEMENTS I would like to thank the following people: . My supervisor, Josh Ogada, for his expert and invaluable guidance throughout the course of my studies. Professor Alet Kruger for helping me with the translations. The University of South Africa for providing me unrestricted access to their library facilities. My parents, John and Paulina Matsebatlela, for their unwavering support and constant encouragement. My wife, Molebogeng, for her patience, motivation and support. 2 DEDICATION I would like to dedicate this study to my late Uncles, Rangwane M’phalaborwa ‘Mamodila Selemantwa’ Matsebatlela and Malome Thomas Mahlo. Though their life journeys have ended, they will forever remain etched in our memories. May their souls rest in peace. 3 ABSTRACT This study examines how positively or negatively as well as how subjectively or objectively the South African tabloid newspapers represent black celebrities. This examination was primarily conducted by using the content analysis research technique. The researcher selected a total of 85 newspapers spread across four different South African daily and weekend tabloid newspapers that were published during the period February to September 2008.
    [Show full text]
  • Redalyc.Kwaito, Hip-Hop and Television in South Africa: a Case
    Interin E-ISSN: 1980-5276 [email protected] Universidade Tuiuti do Paraná Brasil Ndlovu, Musa; Smith, René Kwaito, hip-hop and television in South Africa: a case study of the Yizo Yizo 3 series and soundtrack Interin, vol. 11, núm. 1, enero-junio, 2011, pp. 1-18 Universidade Tuiuti do Paraná Curitiba, Brasil Available in: http://www.redalyc.org/articulo.oa?id=504450764003 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Kwaito, hip-hop and television in South Africa: a case study of the Yizo Yizo 3 series and soundtrack Musa Ndlovu and René Smith Abstract This paper presents an analysis of kwaito and hip-hop on television in South Africa. It employs the locally produced Yizo Yizo as a case study to explore the intertextual relationship between music and television. Yizo Yizo, a reality-based drama series, was groundbreaking in propelling the experiences of black youth onto the national agenda. In representing what can be described as ‘authentic township experiences’, the series utilizes kwaito, and to a lesser degree, hip-hop, as signifiers of township and ‘essentially’ black youth experiences. Soundtracks to the series utilize both genres and local kwaito and hip-hop artists feature as themselves. The paper adopts a discursive approach to exploring intertextuality and the ways in which meanings embedded in a television series are related to music and other secondary texts and vice versa.
    [Show full text]
  • 2006/2007 South Africa Yearbook: 5
    5 Arts and culture The Department of Arts and Culture seeks to The words of the first stanza were originally preserve and develop South Africa’s richly diverse written in isiXhosa as a hymn. Seven additional cultural, artistic and linguistic heritage. stanzas in isiXhosa were later added by the poet Samuel Mqhayi. It has been translated into most of Funding South Africa’s official languages. The department’s budget grew at an average annual rate of 22,9% between 2002/03 and National flag 2005/06, mainly due to additional resources South Africa’s national flag was launched and used for capital projects such as the development of for the first time on Freedom Day, 27 April 1994. The Freedom Park, and upgrading and maintenance design and colours are a synopsis of the principal of the Robben Island Museum. Transfers to heritage elements of the country’s flag history. and arts institutions still dominate expenditure. The The central design of the flag, beginning at the 2006 Budget increased the department’s allocation flag-pole in a ‘V’ form and flowing into a single to R84,1 million in 2006/07; R309,2 million in horizontal band to the outer edge of the fly, can be 2007/08; and R687,5 million in 2008/09. interpreted as the convergence of diverse elements within South African society, taking the road ahead National symbols in unity. The flag was designed by the State Herald. National anthem When the flag is displayed vertically against a South Africa’s national anthem is a combined wall, the red band should be to the left of the viewer, version of Nkosi Sikelel’ iAfrika and The Call of with the hoist or the cord seam at the top.
    [Show full text]
  • National Senior Certificate Grade 12
    NATIONAL SENIOR CERTIFICATE GRADE 12 MUSIC P1 NOVEMBER 2008 MEMORANDUM EXAMINATION NUMBER: MARKS: 125 This memorandum consists of 29 pages. Copyright reserved Please turn over Music/P1 2 DoE/November 2008 NSC – Memorandum INSTRUCTIONS AND INFORMATION 1. This question paper consists of TWO sections, namely SECTION A and SECTION B. 2. All questions must be answered on this question paper in the spaces provided. 3. It is recommended that Section A should be answered in pencil only. 4. Candidates that are accustomed to play their harmony on an instrument may request to do so. An invigilator must then accompany him/her to a separate music room for a short period of about 5 – 10 minutes. 5. The last page of this question paper is manuscript paper intended for rough work. This page may be removed by the candidate. Copyright reserved Music/P1 3 DoE/November 2008 NSC SECTION A: THEORY OF MUSIC QUESTION 1 Study the music excerpt and answer the following questions. Copyright reserved Please turn over Music/P1 4 DoE/November 2008 NSC 1.1 Choose one of the following terms for each of the musical patterns marked 1.1.1 to 1.1.4 on the music excerpt. Repetition; sequence; inversion; pedal point (inverted); chromatic; imitation; syncopation. Write the answer next to the appropriate number below. (4) 1.1.1 Inversion This mark will be given to the candidate, regardless of what answer was given, due to vagueness of question. 1.1.2 Chromatic 1.1.3 Pedal point (inverted) This mark will be given to the candidate, regardless of what answer was given, due to vagueness of question.
    [Show full text]
  • An Holistic Approach to Consumption Analysis in The
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by South East Academic Libraries System (SEALS) A HOLISTIC APPROACH TO CONSUMPTION ANALYSIS IN THE POPULAR MUSIC MARKET A thesis submitted in fulfilment of the requirements for the degree of MASTER OF COMMERCE of RHODES UNIVERSITY by JONATHAN SCHECKTER January 2006 i Abstract This thesis seeks to gain a holistic understanding of consumption issues in the popular music market, such that it needs to account for the influence of 1) technological factors, 2) institutional factors, 3) cultural factors, and 4) an ontological aspect; as these are identified to be the most prominent aspects in the literature on the market. While there is a bourgeoning literature on the market, there has been little formal attempt to link such issues in a comprehensive fashion. The methodology applied provides a critique of the literature on specific consumption theories which have apparent pertinence to the music market. Each of the sociological, psychological, and economic theories (neoclassical and radical) is found to be too generalized to provide such an understanding, in that many issues concerning the music market would need to be eschewed if these theories were to be applied in an orthodox fashion. Moreover, the theories tend to point towards each other for the possibility of a credible, holistic consumption analysis. The most useful and all-encompassing consumption theory reviewed is the systems of provision approach advanced by Fine and Leopold (1993), in that the approach aims to be sensitive to the difference between commodities in terms of the economic and social processes and structures by which they become commodities, and thus it can allow one to consider adequately the four requirements identified above for a holistic understanding of the market.
    [Show full text]
  • A Design of a South African Popular Music Degree Curriculum
    A Design of a South African Popular Music Degree Curriculum by Kirsten Nicole Adams Thesis presented in fulfilment of the requirements for the degree of Master of Music (Composition) in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr. Barry Ross April 2019 Stellenbosch University https://scholar.sun.ac.za 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. Kirsten Nicole Adams April 2019 Copyright © 2019 Stellenbosch University All rights reserved i Stellenbosch University https://scholar.sun.ac.za Abstract The study is a qualitative literature review that aims to propose a design of an ideal Bachelor of Music in South African Popular Music curriculum for South African universities. The purpose of this study is to design a degree curriculum that responds to the demands of the South African music industry, and that will hopefully advance the output of the South African music industry. Although not central investigation in the study, cognisance is taken of the financial limitations higher education in South Africa. The possibility of a Bachelor of Music in South African Popular Music degree curriculum is explored in research material focused on Western popular music literature, the demands of the South African music industry, how popular musicians learn, a comparison between existing Bachelor of Music in Popular Music degrees abroad (Berklee College of Music (US), Leeds Arts University (UK) and Griffith University (Australia)) as well as what is available in South Africa.
    [Show full text]
  • Name: Ayong Ameck Gillian Student Number: 0215594H
    NAME: AYONG AMECK GILLIAN STUDENT NUMBER: 0215594H RESEARCH TOPIC: MUSIC AS A VEHICLE IN CONFLICT TRANSFORMATION AND SOCIAL INTEGRATION IN SOUTH AFRICA DEPARTMENT: SOCIAL ANTHROPOLOGY FACULTY: SOCIAL SCIENCE SCHOOL: HUMANITIES SUPERVISOR: PROF. DAVID COPLAN DATE OF SUBMISSION: 07 FEBUARY 2005 1 ACKNOWLEDGMENT My sincere appreciation and gratitude are expressed to the following people for their assistance during the period of this study: Prof David Coplan, my supervisor, for all his advice, support, encouragement and above all, his patience. I am really grateful The teachers and students of various high schools in Soweto, Braamfontein and Fuba school of arts, which I was opportune to do my focus group, interview there, are well appreciated for their time and effort in answering my questions. To Patrick Mathebe, an arts teacher in Fuba School of Arts who did help me in identifying the songs used in this research as well as translating them. I really appreciate it. To ACTION for Conflict Transformation, my workplace which without, I would never have been inspired with the research topic and also wouldn’t have had materials to work from. To my colleagues, especially Colin and Joan who help me edit some of the work and Spencer and Elizabeth for their constant encouragement. To my family (Kenneth, Dora, Judith, Kitty, Carol, Adel) who have been constantly encouraging To all my friends especially to Millan Atam who also helped in editing this research and did provide a lot of contacts and support for the research. Mah your encouragement did not pass me by. Thanks. I will want to dedicate special thanks to God who has given me the grace and power to take this studies through.
    [Show full text]
  • Radio, Community and Identity in South Africa: a Rhizomatic Study of Bush Radio in Cape Town
    RADIO, COMMUNITY AND IDENTITY IN SOUTH AFRICA: A RHIZOMATIC STUDY OF BUSH RADIO IN CAPE TOWN A dissertation presented to the faculty of the College of Communication of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Tanja Estella Bosch November 2003 ©2003 Tanja Estella Bosch All Rights Reserved This dissertation entitled RADIO, COMMUNITY AND IDENTITY IN SOUTH AFRICA: A RHIZOMATIC STUDY OF BUSH RADIO IN CAPE TOWN BY TANJA E. BOSCH has been approved for the School of Telecommunications and The College of Communication by Jenny Nelson Associate Professor, Telecommunications Kathy Krendl Dean, College of Communication BOSCH, TANJA. E. PhD. November 2003. Telecommunications. Radio, community and identity in South Africa: A rhizomatic study of Bush Radio in Cape Town (289pp). Director of Dissertation: Jenny Nelson This dissertation deals with community radio in South Africa, before and after democratic elections in 1994. Adopting a case study approach and drawing on ethnographic methodology, the dissertation outlines the history of Bush Radio, the oldest community radio project in Africa. To demonstrate how Bush Radio creates community, this dissertation focuses on several cases within Bush Radio. The use of hip-hop for social change is explored. Framed within theories of entertainment-education and behavior change, the dissertation explores specific programs on-air and outreach programs offered by the station. This dissertation also looks at kwaito music, a new hybrid musical form that emerged in South Africa post- apartheid. In particularly, the dissertation argues that Bush Radio uses kwaito music in the consolidation of a black identity in South Africa.
    [Show full text]
  • Sounds of Freedom: Music, Taxis, and Racial Imagination in Urban South Africa
    present re-presented Sounds of Freedom: Music, Taxis, and Racial Imagination in Urban South Africa Thomas Blom Hansen At first sight, the major cities in South Africa do not appear to have changed much over the last decade. Their physical layouts still reflect the apartheid planners’ obsession with fixity — of identities, of space — and with control of movement. Yet cities like Johannesburg and Durban have experienced profound changes. The diverse spaces of the city are today used in radically dif- ferent ways and are imbued with a new set of meanings more related to the senses than to economic functions. A city like Johannesburg, as pointed out forcefully by Achille Mbembe and Sarah Nuttall (2004), has become the site of a radical het- erogeneity and proliferating desires. Its new dynamism both reinvents the city’s founding moment of creativity and moral transgression during the gold boom of the late nineteenth century and indicates its emergence as a new, immensely cre- ative African metropolis. The distinction between the erstwhile white centers of South Africa’s cities (clean, modern, and universal in aspiration) and the racially defined townships (designed as enclosed, stable, and quasi-domestic commu- nity spaces) have given way to what Mbembe and Nuttall call a new and radical “social velocity” (2004: 349). This essay focuses on how the kombi-taxi — the This essay is part of my ongoing work in one ethnographic site, a formerly Indian township in Durban. Much of this material will be included in my forthcoming book, Melancholia of Freedom: Nostalgia and Anxieties of Belonging in Postapartheid South Africa.
    [Show full text]
  • The Provision of Full Ownership Rights to Soweto Households As a Government Service Delivery Priority in the New Dispensation
    THE PROVISION OF FULL OWNERSHIP RIGHTS TO SOWETO HOUSEHOLDS AS A GOVERNMENT SERVICE DELIVERY PRIORITY IN THE NEW DISPENSATION by SIBUSISO RAYMOND DUBE submitted in accordance with the requirements for the degree of MASTER OF PUBLIC ADMINISTRATION at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: MR B.C. LEKONYANE January 2017 i DECLARATION Name: Dube Sibusiso Raymond Student number: 30530245 Degree: Master of Public Administration THE PROVISION OF FULL OWNERSHIP RIGHTS TO SOWETO HOUSEHOLDS AS A GOVERNMENT SERVICE DELIVERY PRIORITY IN THE NEW DISPENSATION. I declare that the above dissertation is my own work and that all the sources I have used or quoted have been indicated and acknowledged by means of complete references. _____________ ________________ SIGNATURE DATE ii ACKNOWLEDGEMENTS It would have been extremely difficult for me to reach the end of this academic journey at the University of South Africa without the support of certain individuals who fortified me as I was studying toward this Master’s Degree. I am immeasurably grateful to my supervisor, Mr B.C. Lekonyane for his academic encouragement and guidance. My gratitude also extends to the Gauteng Department of Human Settlements Officials and Management for their prodigious role in the success of this study. Special thanks to my special friends and colleagues, Ms Amina Wanda and Ms Refilwe Waterson, programme specialists and excellent typists, for their professional guidance and assistance. My sincere gratitude goes to my family “Ama-Ntima Amahle na- Zikhethayo”, my Dad, Mom, my wife, Lindi and my children, for their confidence in me which revived my strength for the study. I also thank everyone who supported me throughout my studies.
    [Show full text]
  • METZPROJECTS Portfolio 2018
    METZPROJECTS EXAMPLES OF WORK Our team specialises in the research, scripting, design, production, packag- ing and promotion of meaningful engagements in the form of interpreta- tion centres, heritage trails, exhibitions, films and interactive audio-visual experiences, and particularly for local and international visitors and tour- ists. We have successfully pioneered an approach and methodology which enables communities, as well as public and corporate entities to leverage their associated institutional memory so as to better advance their social, economic and business imperatives. INTERACTIVE KNOWLEDGE & INTERPRETATION CENTRE AT THE METROPOLITAN CENTRE Braamfontein, Johannesburg May 2017 – April 2018 The City of Johannesburg Brief The City of Johannesburg’s lnnovation and Knowledge Management Unit identified the establishment of an Interactive Knowledge Centre as a key mechanism for widening its reach among internal and exter- nal stakeholders and ensuring effective dissemination of information about what the city is currently doing and what its strategic objectives, priorities and key initiatives are. The brief was to create a technology- based centre to this end to be housed in a purpose-built space in the reception area of the Metropolitan Centre in Braamfontein, which is home to the City’s administration. Execution MONEY WALKS BUT PEOPLE TALK 1991 - 2000 Research, design, curate and install an interactive exhibition on cutting-edge digital displays telling the story of Johannesburg past, present and future. These consisted of the following: • Joburg Past: a touchscreen table with an interactive, illustrated timeline narrating the rich and contested history of Johannesburg. • Joburg Present: an interactive map table profiling key contempo- 10 APRIL 1993 28 MARCH 1994 27 APRIL 1994 1990s rary projects within the City of Joburg using video and text.
    [Show full text]
  • Swartz, S. (2008) 'Is Kwaito South African Hip Hop
    Kwaito ISSN 0043-8774 2/2008 VWB – Verlag für Wissenschaft und Bildung ISSN 0043-8774 ISBN 978-3-86135-816-9 2/2008 music of world the the world of music Editor: Jonathan P. J. Stock Book Review Editor: Helena Simonett Recording Review Editor: Dan Bendrups • Local Advisory Board: Andrew Killick, senior lecturer, University of Sheffield Kathleen Van Buren, lecturer, University of Sheffield • International Advisory Board: Linda Barwick, associate professor, Sydney Conservatorium of Music, University of Sydney, Australia Max Peter Baumann, professor of ethnomusicology, University of Bamberg Martin Boiko, lecturer, Faculty of Education and Psychology, University of Latvia, and Latvian Academy of Culture Rafael José de Menezes Bastos, professor, Department of Anthropology, Federal University of Santa Catarina, Florianopolis, Brazil Shubha Chaudhuri, director, Archives and Research Center for Ethnomusicology, New Delhi, India Scheherazade Qassim Hassan, lecturer, Department of Ethnology and Comparative Sociology, University of Paris X-Nanterre, Paris, France Josep Martí, professor, Department of Musicology, Instituto Mila i Fontanals, C.S.I.C., Barcelona, Spain Svanibor Pettan, professor, Music Academy, University of Ljubljana, Slovenia Adelaida Reyes, professor of music, Jersey City State College, Jersey City, N.J., USA Francis Saighoe, professor, Department of Music, University of Cape Coast, Cape Coast, Ghana Yosihiko Tokumaru, professor emeritus, Department of Music, Ochanomizu University, Tokyo, Japan Bonnie Wade, professor, Department of Music, University of California at Berkeley, Berkeley, CA, USA Bell Yung, professor, Department of Music, University of Pittsburgh, Pittsburgh, PA, USA Impressum: • the world of music (3 vols. per year) Journal of the Ethnomusicology Programme, Department of Music, University of Sheffield Editor: Jonathan P.
    [Show full text]