DOCSLIB.ORG

Biography Banele Khoza, Born 1994 in Hlatikulu, Swaziland. He Lives

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Biography Banele Khoza, Born 1994 in Hlatikulu, Swaziland. He Lives Biography Banele Khoza, born 1994 in Hlatikulu, Swaziland. He lives and works in Johannesburg, South Africa. Banele Khoza was in born in 1994 in Hlatikulu, Swaziland. In 2008 he moved to South Af- rica and schooled there, until 2011 when he enrolled at the London International School of Fashion for a year, studying Fashion Design. Khoza returned in 2012 and studied Fine Arts at Tshwane University of Technology. He opened up his own curatorial space BKhz in Johannesburg in 2018 where he is working and setting up curatorial projects. “I appreciate the freedom I get from living in South Africa, tackling gender norms and also the idea of painting. There is a rich culture and appreciation of the Arts in this country and it inspires me further. I would have been in a box if I was based in Swaziland - however li- ving in South Africa has allowed me to create my own identity that knows of no boundaries”. Education 2015 BTech in Fine Arts 2014 National Senior Certificate, with distinction in Design 2011 London International School of Fashion, Fashion Design Solo Exhibitions 2019 The boys I like - Talking about the girls they like, LKB/G, art berlin, Berlin, DE Seeking Love Tour, Johannesburg; Port Elizabeth; Bloemfontein; Stellenbosch; Pretoria; Durban, ZA 2018 To the Unknown, LKB/G, Hamburg, DE LGBTQI+, Zeitz MOCAA, Cape Town, ZA LOVE?, SMITH, Cape Town, ZA 2017 Lonely Nights, Lizamore & Associates, Johannesburg, ZA 2016 Temporary Feelings, Pretoria Art Museum, Pretoria, ZA Selected Group Exhibitions 2018 A Letter to my 22 year old self, Absa Gallery, Johannesburg, ZA 1718, LKB/G, Hamburg, DE 2017 Close Encounters, SMITH, Cape Town, ZA Salad, SMITH, Cape Town, ZA Le Jour Qui Vient, Galerie des Galeries, Paris, FR 2016 Jan Cilliers Exhibition, Lizamore and Associates Gallery, Johannesburg, ZA STELLAR, Salon 91, Cape Town, ZA From Whence They Came, SMITH/Kalashnikovv, Cape Town, ZA Arcadia, SMITH, Cape Town, ZA 1500, No End Contemporary, Johannesburg, ZA 2015 For Sale, Pretoria Art Museum, Pretoria, ZA No End To This, No End Contemporary, Johannesburg, ZA Multiple group exhibitions, Trent Gallery, Pretoria, ZA Curatorial Projects 2019 Gallery Lab section, Co-Curator FNB Art Joburg, Johannesburg, ZA The Zeitgeist, BKhz, Johannesburg, ZA Metamorphosis, BKhz, Johannesburg, ZA Descent into chaos, BKhz, Johannesburg, ZA A Letter to my 22 year old self, bkhz x Absa Gallery, Johannesburg, ZA Prizes 2017 „The Gerard Sekoto Foundation Award“ presented by Barclays L‘Atelier, including a 3 month residency at La Cité Internationale des Art in Paris, FR South African Taxi Foundation Art Award Barclays L‘Atelier Art Competiton - Finalist (Top 10) A Re Yeng TRT bus station artwork, Pretoria, ZA 2016 South Africa Taxi Foundation Art Award 2016 - Finalist (Top 30) 2015 Barclays L‘Atelier Art Competition - Finalist Part of the Johannes Stegmann Mentorship Programme, mentored by Colbert Mashile Thami Mnyele Fine Art Awards 2014 - Top 100 Finalist in the Top 100 of Sasol New Signatures Grants 2015 Reserve Bank of South Africa Art scholarship for BTech studies at Tschwane University of Technology Media 2019 Artist Banele Khoza looks at the future of fashion, Wanted Magazine, Nothemba Mkhondo, August 2019 Artists we love: Banele Khoza, Visi Magazine, Amelia Brown, Juli 2019 In Conversation with Banele Khoza - The Many Faces of Love, Contemporary And, Elisa Pierandrei, März 2019 2018 8 Artists to see at ICTAF, by Sean O’Toole #TheLIST: Up and upcoming artists you need to know, by Catinca Tabacaru, Harpers Bazaar 11 Art Exhibitions you need to see in 2018, by Garreth van Niekerk, Huffington Post SA 2017 Artist Banele Khoza Scoops Prestigious Gerard Sekoto Award, by Garreth van Niekerk, Huffington Post SA Artist Banele Khoza meditates on Love and Tech in a must-see solo exhibition, Between 10and5 One to Watch: Banele Khoza, Elle South Africa, June 2017 “My Dreams are Valid” - Visual artist Banele Khoza on winning the 2017 Gerard Sekoto Award, Between 10and5 A day in the life of Banele Khoza, by Layla Leiman, House and Leisure Pretoria to Paris: Banele Khoza is making big strides in the art world, Sunday Times, September 2017 Banele Khoza Wins First Prize, SA Art Times, May 2017 Riding high in the public domain, Tuesday Times by Mary Corrigall, April 2017 2016 Frieze Highlights: Sean O’Toole, by Sean O’Toole, December 2016.
Load more

Recommended publications
  • Grade 12 Visual Culture Studies Summaries
    GRADE 12 VISUAL CULTURE STUDIES SUMMARIES 1 Artists discussed QUESTION 1 Emerging artists of South Gerard Sekoto, The song of the Pick Africa Gerard Sekoto, Prison Yard George Pemba, Portrait of a young Xhosa woman George Pemba, Eviction – Woman and Child QUESTION 2 South African artists Irma Stern, Pondo Woman influenced by African and/or Irma Stern, The Hunt indigenous art forms Walter Battiss, Fishermen Drawing Nets Walter Battiss, Symbols of Life QUESTION 3 Socio-political – including Jane Alexander, Butcher Boys Resistance art of the ’70s and Jane Alexander, Bom Boys ’80s Manfred Zylla, Bullets and Sweets Manfred Zylla, Death Trap QUESTION 4 Art, craft and spiritual works John Muafangejo. Judas Iscariot betrayed our Lord Jesus for R3.00 mainly from rural South Africa John Muafangejo. New archbishop Desmond Tutu Enthroned Jackson Hlungwani. Large Crucifix and star Jackson Hlungwani, Leaping Fish QUESTION 5 Multimedia and New media – William Kentridge, Johannesburg, 2nd Greatest City after Paris alternative contemporary and William Kentridge. Shadow Procession popular art forms in South Van der Merwe, Biegbak/Confessional Africa Jan van der Merwe, Waiting QUESTION 6 Post-1994 democratic identity Churchill Madikida, Struggles of the heart in South Africa Churchill Madikida,Status Hasan and Husain Essop, Thornton Road Hasan and Husain Essop, Pit Bull Training QUESTION 7 Gender issues Penelope Siopis, Patience on a monument (Choose two artists) Penelope Siopis, Shame Mary Sibande, ‘They don’t make them like they used to do’ Mary Sibande, Conversation with Madame C.J. Walker Lisa Brice, Sex Show Works Lisa Brice, Plastic makes perfect Jane Alexander, Stripped (“Oh Yes” Girl) QUESTION 8 Architecture in South Africa Not included in these summaries.
    [Show full text]
  • Gerard Sekoto – Resistance Artist Posted on October 19, 2012
    From the art archive: Gerard Sekoto – resistance artist Posted on October 19, 2012 Gerard Sekoto. Photographer unknown. Source: Proud (ed), 2006: 102 When I think about figures from the art world who might qualify as heritage icons and cultural treasures, the artist who immediately comes to mind is Gerard Sekoto (1913- 1993), followed by Dumile Feni (1942-1991) and then perhaps Cecil Skotnes (1926- 2009). In all likelihood, many would agree with me here, particularly in respect of Sekoto, as he is fêted by just about everyone involved with the South African art world. Gerard Sekoto, ‘The artist’s mother and stepfather’, undated. Oil on canvasboard. 30 x 40 cm. The Campbell Smith Collection. Source: Proud (ed), 2006: 103 Thanks to some excellent research by Barbara Lindop and Chabani Manganyi, the details of Sekoto’s biography are relatively well known, especially to the cultural intelligentsia. In brief, Sekoto, a pioneer of African modernism and a highly skilled social realist painter, was born at the Lutheran Mission Station at Botshabelo (‘place of refuge’) in what is now Mpumalanga. Educated at the mission school there, he was reared according to the missionaries’ axiom that “to be Christian was to be civilised and to be civilised was to be Christian.” He studied at the Diocesan Teachers Training College in Pietersburg (now Polokwane), graduating to become a member of the growing black professional class of his time. In 1939, just a year after becoming a full-time artist, he forsook his rural roots for the bright lights of Johannesburg, where he benefited from the assistance, training and patronage of white liberal benefactors and collectors, without whom he probably would not have become such a significant figure in history.
    [Show full text]
  • Senong on Seriti
    Third Text Africa, No. 12, August 2020, 86-103 Comparative readings of seritiin the art of George Pemba, Gerard Sekoto, Nhlanhla Xaba and Zwelethu Mthethwa Kolodi Senong This essay presents the argument that conceptions of seriti can be read into works produced by black South African artists such as George Pemba (1912-2001), Gerard Sekoto (1913- 1993), Nhlanhla Xaba (1960-2003) and Zwelethu Mthethwa (b.1960).1 Dignity is called seriti in Sepedi, isidima in isiXhosa and isithunzi in isiZulu. Individually, people are imbued with seriti as an aura of respectability and equality, irrespective of personal standing within the hierarchy of life and society. Sekoto and Pemba were among the first black South African modernists, whereas Xaba and Mthethwa’s careers emerged in the years when the country transitioned to democracy. I discuss aesthetic techniques in selected works by these artists as a point of interrogation into modes of representation, interpretation and the subject of seriti. Among the four artists discussed in the essay, Mthethwa is the only one who talks explicitly about exploring a sense of dignity in his images. This reading of his work has been deeply compromised following his conviction for the brutal killing of Nokuphila Kumalo, a twenty- three-year-old sex worker. My intention, then, is to not only considerseriti as an aesthetic quality, but also as an idea impacting on the reading of particular works of art. Early expressions of seriti:Sekoto in Eastwood and Pembaʼs dramatic observations Several authors claim that both Sekoto and Pemba interpret people within their surroundings in a dignified manner.2 The two artists’ subject matter includes depictions of daily life, such as people reading books, riding on a bus or interacting socially.
    [Show full text]
  • Masterpiece 1 Index
    Masterpiece 1 Index 4 Foreword 40 Georgina Gratrix 76 Cecil Higgs Masterpiece 6 Nigel Mullins 42 Edoardo Villa 78 Alex Emsley 8 Irma Stern 44 Hennie Niemann Jnr 80 Alet Swarts 17 September - 15 October 2016 10 Gerard Sekoto 46 Ephraim Ngatane 82 Anton Gouws 12 Walter Battiss 48 Willie Bester 84 Marlene von Dürckheim 14 George Pemba 50 Ephraim Ngatane 86 Hennie Meyer 16 Neil Rodger 52 David Botha 88 Cecil Skotnes 18 Gregoire Boonzaier 54 Lucky Sibiya 90 Clementina van der Walt 20 Anton Karstel 56 JH Pierneef 92 Diane McLean 22 Joshua Miles 58 Pranas Domsaitis 94 Hanneke Benadé 24 Albert Coertse 60 Walter Meyer 96 MJ Lourens 26 Owusu-Ankomah 62 Jacobus Kloppers 98 Khaya Witbooi 28 Sanell Aggenbach 64 Joshua Miles 100 Richard Mudariki 30 Jaco Sieberhagen 66 JH Pierneef 102 Hussein Salim 32 Ben Coutouvidis 68 Irma Stern 104 Georgia Lane 34 Walter Battiss 70 Maud Sumner 106 Lars Fischedick johans borman 36 Gavin Rain 72 Francois Krige FINE ART 38 Anthony Lane 74 Gregoire Boonzaier Tel. +27 (0)21 683 6863 E-mail: art@ johansborman.co.za Website: www.johans- 2 3 Masterpiece Masterpiece? Isn’t that a bit presumptuous? was the piece of formless clay from which to create a work of art that Those few individuals who become “masterful” at their craft - In all our differences a golden thread runs through us all that standard reaction from most artists we approached to participate will be able to capture and communicate magical emotions the “masters” - have learned how to produce the results with enables the recognition of something sublime or of a higher in this exhibition – and yes, they are of course all quite correct and powerful messages is most intimidating.
    [Show full text]
  • The Democratisation of Art: Cap As an Alternative Art Space In
    THE DEMOCRATISATION OF ART: CAP AS AN ALTERNATIVE ART SPACE IN SOUTH AFRICA BY EBEN LOCHNER SUBMITTED IN FULFILMENT OF THE REQUIREMENT FOR MASTER OF ARTS AT RHODES UNIVERSITY. 02 JUNE 2011 SUPERVISOR: PROF. RUTH SIMBAO. Declaration of originality. I declare that this thesis is my own work and that all the sources I have used have been acknowledged by complete references. This thesis is being submitted in fulfilment of the requirement for Master of Art at Rhodes University. I declare that it has not been submitted before for any degree or examination at another university. __________________ __________________ Signature Date This thesis is dedicated to the late Dr. Michael Herbst who made me enthusiastic about Art History during my 1st year at university. He supported me with his time and his advice and his presence is sorely missed. Abstract While formal arts education was inaccessible to many during Apartheid, community-based centres played a significant role in the training of previously disadvantaged artists. By engaging in a socio-political critique of the history of South African art, this thesis argues that even though alternative art spaces are often marginalised, they remain essential to the diversification and democratisation of contemporary South African art today with its re-entry into the international art scene. According to Lize van Robbroeck (2004:52), “some of the fundamental ideals of community arts need to be revised to enrich, democratize and diversify [South Africa's] cultural practice.” The aim of my Thesis is to investigate this statement in relation to the contribution the Community Arts Project (CAP) in Cape Town (1977-2003).
    [Show full text]
  • Sam Nhlengethwa
    Goodman Gallery Sam Nhlengethwa Biography Sam Nhlengethwa was born in the black township community of Payneville near Springs (a satellite mining town east of Johannesburg), in 1955 and grew up in Ratanda location in nearby Heidelberg. In the 1980s, he moved to Johannesburg where he honed his practice at the renowned Johannesburg Art Foundation under its founder Bill Ainslie. Nhlengethwa is one of the founders of the legendary Bag Factory in Newtown, in the heart of the city, where he used to share studio space with fellow greats of this pioneering generation of South African artists, such as David Koloane and Pat Mautloa. Despite Nhlengethwa’s pioneering role in South Africa art, his work has received rare visibility in London. A major survey exhibition, titled Life, Jazz and Lots of Other Things, was hosted by SCAD Museum of Art in Savannah, Georgia in 2014, which was then co-hosted in Atlanta by SCAD and the Carter Center. Other notable exhibitions and accolades in South Africa and around the world include: in 1994 – the year South Africa held its first democratic elections – Nhlengethwa was awarded the prestigious Standard Bank Young Artist of the Year award; in 1995, his work was included in the Whitechapel Gallery’s Seven Stories About Modern Art in Africa in London; in 2000, he participated in a two-man show at Seippel Art Gallery in Cologne. Other significant international group exhibitions include Constructions: Contemporary Art from South Africa at Museu de Arte Contemporanea de Niteroi at in Brazil in 2011, Beyond Borders: Global Africa at the University of Michigan Museum of Art in 2018.
    [Show full text]
  • 3 Eloff Et Al.Indd
    1 URBAN BLACK LIVING AND WORKING CONDITIONS IN JOHANNESBURG, DEPICTED BY TOWNSHIP ART (1940s TO 1970s) Sumarie Eloff & Karina Sevenhuysen Department of Historical and Heritage Studies, University of Pretoria Pretoria, 0002 Stedelike swartes se lewens- en werksomstandighede in Johannesburg, soos uitgebeeld deur Township-kuns (1940’s tot 1970’s) Die doel van hierdie artikel is om beter begrip vir die lewe in swart stedelike gebiede te bewerkstellig deur gebruik te maak van kunswerke deur swart kunstenaars wat van die vroeë 1940’s tot die middel van die 1970’s in Soweto en die omliggende gebiede gewoon en gewerk het. Hierdie kunstenaars het die volgende ingesluit: Gerard Sekoto, Durant Sihlali en John Mohl. Werke deur hierdie kunstenaars sal ontleed word ten einde die lewe in die woonbuurtes uit te beeld, veral die lewens- en werksomstandighede van die swart inwoners. ‘n Ontleding van hierdie werke, wat deel van Township-kuns uitmaak, behoort die leser aan ‘n belewenis van die lewe in die woonbuurtes bekend te stel en kan as ‘n beginpunt vir verdere ondersoek dien. Dit kan die leser en aanskouer van die kuns voorts ook tot beter begrip vir die sosiologie van verstedeliking in die woonbuurtes lei. Dié artikel sal die kultuurhistoriese waarde van Township-kuns onomwonde beklemtoon. Sleutelwoorde: Durant Sihlali, Gerard Sekoto, Johannesburg se stedelike swart woonbuurtes, John Mohl, lewensomstandighede van stedelike swartes, Soweto, Township-kuns; werksomstandighede van stedelike swartes The aim of this article is to form a better understanding of life in black urban areas, using art that was created by black artists who lived and worked in Soweto and surrounding areas from the early 1940s up to the mid 1970s.
    [Show full text]
  • PR Mancoba January 2014
    16 January – 22 February 2014 EWS – ERNEST MANCOBA, WONGA MANCOBA, SONJA FERLOV MANCOBA STEVENSON CAPE TOWN is pleased to present an exhibition in partnership with Galerie Mikael Andersen, Copenhagen and Berlin, of works from the Estates of Ernest Mancoba, his wife Sonja Ferlov and their son Wonga. When Sonja Ferlov Mancoba wrote letters from her and her family, she always signed them with the letters EWS – for Ernest, Wonga and Sonja. It is these three letters that give the exhibition its title and theme. Mancoba is arguably the most important modern artist from South Africa, and perhaps Africa, yet unlike some of his contemporaries like Gerard Sekoto, his work has not received widespread critical revaluation. The British artist and activist Rasheed Araeen, in a keynote address to the South African Visual Arts Historians in 2008, described Mancoba as one of the most important artists in any genealogy of African modernism: [H]e is Africa’s most original modern artist, but, more importantly, he enters the space of modernism formed and perpetuated by the colonial myth of white racial supremacy and superiority and demolishes it from within. Ernest Mancoba was born in 1904 in Johannesburg, and died in 2002 in Paris, France. He trained as a teacher in Pietersburg, and received a Bachelor of Arts degree from the University of Fort Hare. In 1938 he left South Africa for Paris, where he studied at the École des Arts Décoratifs. The outbreak of World War II prevented him from leaving Paris and, in 1940, Ernest was interned by the Germans in St Denis where he married Danish artist Sonja Ferlov in 1942.
    [Show full text]
  • A Good Education Sets up a Divine Discontent': the Contribution of St Peter's School to Black South African Autobiography
    `A GOOD EDUCATION SETS UP A DIVINE DISCONTENT': THE CONTRIBUTION OF ST PETER'S SCHOOL TO BLACK SOUTH AFRICAN AUTOBIOGRAPHY Catherine Anne Woeber A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Doctor of Philosophy. Potchefstroom, 2000 ii Abstract This thesis explores in empirical fashion the contribution made by St Peter's Secondary School to South African literary history. It takes as its starting point the phenomenon of the first black autobiographies having been published within a ten-year period from 1954 to 1963, with all but one of the male writers receiving at least part of their post-primary schooling at St Peter's School in Johannesburg. Among the texts, repositioned here within their educational context, are Tell Freedom by Peter Abrahams, Down Second Avenue by Es'kia Mphahlele, Road to Ghana by Alfred Hutchinson, and Chocolates for My Wife by Todd Matshikiza. The thesis examines the educational milieu of the inter-war years in the Transvaal over and against education in the other provinces of the Union, the Anglo-Catholic ethos of the Community of the Resurrection who established and ran the school, the pedagogical environment of St Peter's School, and the autobiographical texts themselves, in order to plot the course which the autobiographers' subsequent lives took as they wrote back to the education which had both liberated and shackled them. It equipped them far in advance of the opportunities available to them under the colour bar, necessitating exile, even as it colonised their minds in a way perhaps spared those who never attended school, requiring a continual reassessment of their identity over time.
    [Show full text]
  • A Historical Archaeological Investigation Into Two Recent Households of the Motse, Botshabelo Mission Station, Middelburg, Mpumalanga, South Africa
    A HISTORICAL ARCHAEOLOGICAL INVESTIGATION INTO TWO RECENT HOUSEHOLDS OF THE MOTSE, BOTSHABELO MISSION STATION, MIDDELBURG, MPUMALANGA, SOUTH AFRICA. by CAROLINE ROSINE CLAUDE CHRISTIANE CHISLAINE BOOTH submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject ARCHAEOLOGY at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: DR. NJ SWANEPOEL JANUARY 2017 DECLARATION Name: Caroline Rosine Booth Student number: 0802-673-4 Degree: Master of Arts in Archaeology. “A historical archaeological investigation into two recent households of the Motse, Botshabelo Mission Station, Middelburg, Mpumalanga, South Africa.” I declare that the above dissertation is my own work and that all sources that I have used or quoted have been indicated and acknowledged by means of complete references. I further declare that I have not previously submitted my work, or part of it, for examination at UNISA for another qualification or at any other higher education institution. Caroline Rosine Booth 13 January 2017 ___________________ ________________ Signature Date SUMMARY The archaeological research discussed in this dissertation was conducted at Botshabelo, a nineteenth century Berlin Mission Society station located outside Middelburg, Mpumalanga. It focuses primarily on the collection of residential houses and homesteads in the area known as the Motse, meaning “village” in Sotho. This is where the mission station’s African residents lived. This research used archaeology to refine the chronology of changes to settlement in this area and to study the associated cultural material through analysis. It was through survey of the area, careful excavation of two of the houses of the Motse, together with the analysis of the architecture and associated material culture, that these households could be explored.
    [Show full text]
  • The Archaeology of Botshabelo Natalie Swanepoel, Department
    The political economy of a nineteenth century mission station: the archaeology of Botshabelo Natalie Swanepoel, Department of Anthropology & Archaeology, University of South Africa PO Box 392, Unisa, 0003; [email protected] , 012 429 6348 Missions are, as yet, an understudied topic in South African, indeed, African archaeology. The proposed research at Botshabelo, a nineteenth century Berlin Missionary Society station situated outside Middelburg, Mpumalanga will investigate both the internal and external political, economic and social relations of the people who lived there. Drawing on archaeological, documentary and oral sources the history and chronology of settlement, as well as the changing settlement patterns at the site will be uncovered. The role of Botshabelo in the regional economy and political landscape will be delineated and placed within the broader context of missionary activity in southern Africa as a whole. The current value of Botshabelo as a heritage resource will be evaluated. Discussion will be held with Botshabelo management as to how the research can help to increase this value. In 1904 South Africa was home to over 600 mission stations, with over 4 000 mission outstations (Japha et al 1993). By that time, missionaries from a wide variety of mission societies originating from a number of different countries had helped to transform the way of life of numerous South African communities, forging social, political and economic ties with local leaders and inhabitants, introducing new forms of architecture, consumption and ways in which people related to one another, in addition to new forms of worship. The proposed archaeological study will comprise a sustained enquiry into the political economy of one of the most iconic and important mission sites of the nineteenth century – the Berlin Missionary Society mission station at the site of Botshabelo in what is today Mpumalanga.
    [Show full text]
  • John Kani Combatant from the Stage Gerard Sekoto a Perspective On
    0 . 0 . SSN 0258-7211 Vol.7No.1,1988 R3.95(excl.GST) John Kani Combatant from the Stage Gerard Sekoto A Perspective on his Art Don Mattera From the Oral Tradition Martin Trump Socialist Explorations in SA Fiction Gary Rathbone Contemporary Popular Music Poetry and Short Stories C C i\j CD C V co I" rIQ C (N-, Staffrider magazine is published by Ravan Press Pty Ltd P 0 Box 31134 Braamfontein 2017 South Africa Editor Andries Walter Oliphant Assistant Editor Ivan Vladislavic. Editorial Advisors Njabulo S Ndebele, Nadine Gordimer, Kelwyn Sole, Paul Weinberg, David Koloane, Gary Rathbone, Christopher van Wyk. Designer Jeff Lok. Staffrider is-published quarterly by Ravan Press 23 O'Reilly Road Berea. Copyright is held by the individual contributors of all material, including all visual and graphic material published in the magazine. Anyone wishing to reproduce material from the magazine should approach the individual contributors c/o the publishers. Typeset by Industrial Graphics (Pty) Ltd. Printed by Sigma Press (Pty) Ltd. Contributions and correspondence should be sent to The Editor, PO Box 31134, Braamfontein 2017. Manuscripts should be accompanied by a stamped, self-addressed envelope. A short, two-line biography should accompany all contributions. NOTES ON SOME CONTRIBUTORS: Don Mattera is a poet and editor of The Business Magazine. His autobiography Memory is the Weapon was recently published by Ravan Press. Ingrid de Kok, is attached to the Department of Adult Education and Extra-Mural Studies at UCT. Her first collection of poetry Familiar Ground is to be published by Ravan Press in May this year.
    [Show full text]