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The Characteristics of Trauma
DIPLOMARBEIT Titel der Diplomarbeit „Music and Trauma in the Contemporary South African Novel“ Verfasser Christian Stiftinger angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, 2011. Studienkennzahl lt. Studienblatt: A 190 344 Studienrichtung lt. Studienblatt: UF Englisch Betreuer: Univ. Prof. DDr . Ewald Mengel Declaration of Authenticity I hereby confirm that I have conceived and written this thesis without any outside help, all by myself in English. Any quotations, borrowed ideas or paraphrased passages have been clearly indicated within this work and acknowledged in the bibliographical references. There are no hand-written corrections from myself or others, the mark I received for it can not be deducted in any way through this paper. Vienna, November 2011 Christian Stiftinger Table of Contents 1. Introduction......................................................................................1 2. Trauma..............................................................................................3 2.1 The Characteristics of Trauma..............................................................3 2.1.1 Definition of Trauma I.................................................................3 2.1.2 Traumatic Event and Subjectivity................................................4 2.1.3 Definition of Trauma II................................................................5 2.1.4 Trauma and Dissociation............................................................7 2.1.5 Trauma and Memory...……………………………………………..8 2.1.6 Trauma -
UNSUNG: South African Jazz Musicians Under Apartheidunsung
UNSUNG: South African Jazz Musicians under Apartheid outh African jazz under apartheid has in recent years been the subject of numerous studies. The main focus, however, has hitherto been on the musicians who went into exile. Here, for the first time, those who stayed behind are allowed to tell their stories: the stories of musicians from across the colour spectrum who helped to keep their art alive in South Africa during the years of state oppression. CHATRADARI DEVROOP &CHRIS WALTON CHATRADARI Unsung South African Jazz Musicians under Apartheid EDITORS Chatradari Devroop & Chris Walton UNSUNG: South African Jazz Musicians under Apartheid Published by SUN PReSS, an imprint of AFRICAN SUN MeDIA (Pty) Ltd., Stellenbosch 7600 www.africansunmedia.co.za www.sun-e-shop.co.za All rights reserved. Copyright © 2007 Chatradari Devroop & Chris Walton No part of this book may be reproduced or transmitted in any form or by any electronic, photographic or mechanical means, including photocopying and recording on record, tape or laser disk, on microfilm, via the Internet, by e-mail, or by any other information storage and retrieval system, without prior written permission by the publisher. First edition 2007 ISBN: 978-1-920109-66-9 e-ISBN: 978-1-920109-67-7 DOI: 10.18820/9781920109677 Set in 11/13 Sylfaen Cover design by Ilse Roelofse Typesetting by SUN MeDIA Stellenbosch SUN PReSS is an imprint of AFRICAN SUN MeDIA (Pty) Ltd. Academic, professional and reference works are published under this imprint in print and electronic format. This publication may be ordered directly from www.sun-e-shop.co.za Printed and bound by ASM/USD, Ryneveld Street, Stellenbosch, 7600. -
Wszystkie 2013
29/12/2013 [ Radio RAM ] === THE CACTUS CHANNEL / Who Is Walt Druce? [HopeStreet (LP)] EX-FRIENDLY f/ Rich Medina / Journey Man (Jonno & Tommo remix) [People Are Looking At You (12")] ANTHONY JOSEPH & THE SPASM BAND / Griot (live) [Heavenly Sweetness (LP)] THE CACTUS CHANNEL / Laika [HopeStreet (LP)] J-BOOGIE'S DUBTRONIC SCIENCE f/ Rich Medina / Same Ol Thang [Om (LP)] DJ MITSU THE BEATS f/ Rich Medina / Do Right [Planetgroove (LP)] DA LATA f/ Rich Medina / Monkeys And Anvils [Agogo (LP)] NATH & MARTIN BROTHERS / Livingstone [Voodoo Funk/Honest Jon's (LP)] NATH & MARTIN BROTHERS / Livingstone (highlife) [Voodoo Funk/Honest Jon's (LP)] CHARLES MINGUS / II B.S. (RZA's Mingus Bounce remix) [Verve (LP)] GANG STARR / I'm The Man [Chrysalis (LP)] DONNY HATHAWAY / Sugar Lee [Atlantic (LP)] THE FUTURE SOUND / Star Struck (Caterpillar Style) [EastWest (LP)] KWEST THA MADD LAD / I Ain't The Herb [No Sleep (LP)] IKE & TINA TURNER / Cussin', Crying And Carryin' On [Unio Square (LP)] KWEST THA MADD LAD / Disk And Dat [American/BMG (LP)] DAS EFX / Here We Go [Eastwest (LP)] DENIECE WILLIAMS / How'd I Know That Love Would Slip Away [Sony BMG (LP)] BIZ MARKIE / Games [Groove Attack (12")] THE MIKE SAMMES SINGERS & THE TED TAYLOR ORGANSOUND / He Who Would Valient Be [Trunk (LP)] SOUNDSCI / Remedy [Crate Escape (EP)] YOUNG-HOLT UNLIMITED / Wah Wah Man [Rhino (LP)] SHOWBIZ & A.G. / Hard To Kill [London/Payday (LP)] LORD FINESSE & DJ MIKE SMOOTH / Baby, You Nasty [Wild Pitch (LP)] THE FUTURE SOUND / Jungle-O [EastWest (LP)] IDRIS MUHAMMAD / Crab Apple [Strictly Breaks (LP)] KWEST THA MADD LAD / Blasé Blah (Off That Head) [American/BMG (LP)] RUN-D.M.C. -
Greenpeace Annual Report 2017 – Laying the Groundwork for An
© Greenpeace / Pierre Gleizes . Taziazet 1 alongside the Esperanza in West Africa, Mauritania-Western Africa. 2017. Editorial Team: Mbong Akiy, Nchemty Metini Ozongashu, Hellen Dena Contributors: Ahmed Diame, Bodhisattva Gupta, Deshanta Naidoo, Dr Ibrahima Cisse, Gerhard Combrink, Leola Abraham, Lindlyn Moma, Melita Steele, Nhlanhla Sibisi, Renee Olende, Toko Tomita, Victorine Che Thorner and Zane Ford Commissioned by: Greenpeace Africa Published: June 2018 by Greenpeace Africa Greenpeace Africa: 293 Kent Avenue, Randburg, Johannesburg, South Africa Designed by: Kaitoma Creatives Printed on 100% recycled post-consumer paper with vegetable based inks. Cover photos: © Greenpeace. For more information contact: [email protected] © Greenpeace / Pierre Gleizes. Village on beach in Turtle Islands, Sierra Leone. 2017. on beach in Turtle Gleizes. Village / Pierre © Greenpeace Contents Executive Director’s Summary 04 Campaigns: Oceans Fighting Illegal, Unregulated and Unreported Fishing in West African Waters 06 Forests The World Dances for a Pristine Forest 12 Climate and Energy Bringing Light and Hope to Diepsloot – Project Sunshine 20 Food for Life Revamping the Food System in Kenya 28 Towards an Environmental Movement in Africa 34 What did our Volunteers Get Up to? 36 Working with Partners– Together we are Stronger 38 Maiden Internship Voyage in Greenpeace Africa 40 The Year in Numbers: FR Acquisitions 2017 and Sign-ups at a Glance 42 Finance 44 2017 : Looking Back at Greenpeace Globally 46 © Greenpeace / Philip Schedler. Njeri Kabeberi Greenpeace Africa Executive Director. South Africa. 2017. Executive Director’s Summary “To settle in” must be an alien concept at Greenpeace, because after 1 year and 2 months, I can honestly say I am still waiting for that moment. -
EU/UNESCO Expert Facility Inception Meeting List of Participants 12‐14 February 2019, Bangkok, Thailand
With funding from the European Union EU/UNESCO Expert Facility inception meeting List of Participants 12‐14 February 2019, Bangkok, Thailand Members of the 2019/2022 Expert Facility: 40 Jordi Baltà Portolés (Spain) [email protected] Jordi is a consultant, researcher and trainer in cultural policy and international affairs, with a particular interest in the role of culture in sustainable development, cultural diversity and international cultural cooperation. He is an advisor on culture and sustainable cities for the United Cities and Local Governments (UCLG) Committee on Culture and regularly works for several other organizations, including the Asia‐Europe Museum Network (ASEMUS) and Trànsit Projectes (Barcelona). He has experience working in several Latin American, African and European countries. Between 2001 and 2014, he was a researcher and project coordinator at the Interarts Foundation, where he coordinated the European Expert Network on Culture (EENC). He teaches at the MA in Cultural Management at the Open University of Catalonia (UOC) and the University of Girona (UdG), as well as the Degree in International Relations at the Universitat Ramon Llull (URL). Jordi holds a BA in Political Science (Autonomous University of Barcelona, UAB) and an MA in European Cultural Policy (University of Warwick). Languages: Spanish, English, French, Catalan Alexandra Bensamoun (France) alexandra.bensamoun@u‐psud.fr Alexandra is a professor of Private Law at the University of Rennes 1 (IODE‐CNRS) and a member of the Board of Directors for the Center for Studies and Research in Immaterial Law (CERDI – University Paris‐Sud/Paris‐Saclay). She specializes in intellectual property law and digital law, which she teaches in France and in foreign universities. -
Speech by Gauteng Mec for Finance, Barbara Creecy, on the Occasion of the 2016/17 Budget Presentation, Gauteng Provincial Legislature, 8 March 2016
SPEECH BY GAUTENG MEC FOR FINANCE, BARBARA CREECY, ON THE OCCASION OF THE 2016/17 BUDGET PRESENTATION, GAUTENG PROVINCIAL LEGISLATURE, 8 MARCH 2016 Madam Speaker and Deputy Speaker Premier David Makhura and fellow members of the Executive Council Chief Whip Member Brian Hlongwa Leaders of Political Parties Members of the Provincial Legislature MMCs of Finance Councillors Distinguished guests Comrades and Friends I am honoured to present to this esteemed House, the second budget of our Administration, under the leadership of Premier David Makhura. I want to start by wishing all women in this House and in our Province a very Happy International Women’s Day. Today is especially significant for South African women as it falls in the year of our 60th Anniversary of the Woman’s March to the Union Buildings. It is a day on which we can pause to pay tribute to great South African women: Charlotte Maxeke, Lillian Ngoyi, Helen Joseph, Albertina Sisulu, Sophie de Bruyn, Amina Cachalia, Bertha Gxowa, and Francis Baard. 1 These women set a powerful example of personal courage and fortitude in the face of adversity; they led with humility and selfness; they were unwavering in their principled commitment to non racialism, democracy and equality of all South Africans. We salute them! Their greatest victory was achieved 20 years ago, with the signing into law, of our Democratic Constitution. The Bill of Rights explicitly enshrines equality of all our citizens; requires the state to actively promote equality ,and outlaws discrimination by the state or individuals directly or indirectly against anyone on the basis of race, gender, sex, pregnancy, marital status, ethnic or social origin, colour, sexual orientation, age, disability, religion, conscience, belief, culture, language and birth. -
South Africa Political Snapshot New ANC President Ramaphosa’S Mixed Hand Holds Promise for South Africa’S Future
South Africa Political Snapshot New ANC President Ramaphosa’s mixed hand holds promise for South Africa’s future South Africa’s ruling party, the African National Congress, yesterday (20 December) concluded its 54th National Conference at which it elected a new leadership. South African Deputy President Cyril Ramaphosa was announced the ANC’s new leader against a backdrop of fast-deteriorating investor confidence in the country. The new team will likely direct the ANC’s leadership of the country for the next five years and beyond. Mr Ramaphosa’s victory is not complete. The election results have been the closest they have been of any ANC leadership election in recent times. The results for the top six leaders of the ANC (Deputy President, National Chairperson, Secretary-General, Treasurer-General and Deputy Secretary-General) and the 80-member National Executive Committee (NEC - the highest decision-making body of the party between conferences) also represent a near 50-50 composition of the two main factions of the ANC. Jacob Zuma, Mr Ramaphosa’s predecessor, still retains the presidency of South Africa’s government (the next general election is still 18 months away). It enables Mr Zuma to state positions difficult for the new ANC leadership to find clawback on, and to leverage whatever is left of his expanded patronage network where it remains in place. A pointed reminder of this was delivered on the morning the ANC National Conference commenced, when President Zuma committed the government to provide free tertiary education for students from homes with combined incomes of below R600 000 – an commitment termed unaffordable by an expansive judicial investigation, designed to delay his removal from office and to paint him as a victim in the event it may be attempted. -
Mary Benson's at the Still Point and the South African Political Trial
Safundi The Journal of South African and American Studies ISSN: 1753-3171 (Print) 1543-1304 (Online) Journal homepage: https://www.tandfonline.com/loi/rsaf20 Stenographic fictions: Mary Benson’s At the Still Point and the South African political trial Louise Bethlehem To cite this article: Louise Bethlehem (2019) Stenographic fictions: Mary Benson’s AttheStillPoint and the South African political trial, Safundi, 20:2, 193-212, DOI: 10.1080/17533171.2019.1576963 To link to this article: https://doi.org/10.1080/17533171.2019.1576963 © 2019 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. Published online: 08 May 2019. Submit your article to this journal Article views: 38 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rsaf20 SAFUNDI: THE JOURNAL OF SOUTH AFRICAN AND AMERICAN STUDIES 2019, VOL. 20, NO. 2, 193–212 https://doi.org/10.1080/17533171.2019.1576963 Stenographic fictions: Mary Benson’s At the Still Point and the South African political trial Louise Bethlehem Principal Investigator, European Research Council Project APARTHEID-STOPS, The Hebrew University of Jerusalem, Jerusalem, Israel ABSTRACT KEYWORDS From the mid-1960s onward, compilations of the speeches and trial South African political trials; addresses of South African opponents of apartheid focused atten- Mary Benson; the Holocaust; tion on the apartheid regime despite intensified repression in the Eichmann trial; wake of the Rivonia Trial. Mary Benson’s novel, At the Still Point, multidirectional memory transposes the political trial into fiction. Its “stenographic” codes of representation open Benson’s text to what Paul Gready, following Foucault, has analyzed as the state’s “power of writing”: one that entangles the political trialist in a coercive intertextual negotiation with the legal apparatus of the apartheid regime. -
February 10, 2012 9:30Am & 11:30Am
SDCDArtsNotes An Educational Study Guide from San Diego Civic Dance / San Diego Park & Recreation School Shows – February 10, 2012 9:30am & 11:30am Casa del Prado Theatre, Balboa Park “It had long since come to my attention that people of accomplishment rarely sat back and let things happen to them. They went out and happened to things.” Defining Moments --Leonardo da Vinci Welcome! The San Diego Civic Dance Program welcomes you to the school-day performance of Collage 2012: Defining Moments, featuring the acclaimed dancers from the San Diego Civic Dance Company in selected numbers from their currently running theatrical performance. The City of San Diego Park and Recreation Department’s Dance Program has been lauded as the standard for which other city-wide dance programs nationwide measure themselves, and give our nearly 3,000 students the ability to work with excellent teachers in a wide variety of dance disciplines. The dancers that comprise the San Diego Civic Dance Company serve as “Dance Ambassadors” for the City of San Diego throughout the year at events as diverse as The Student Shakespeare Festival (for which they received the prize for outstanding Collage entry), Disneyland Resort and at Balboa Park’s December Nights event, to name but a few. In addition to the talented City Dance Staff, these gifted dancers also are given the opportunity to work with noted choreographers from Broadway, London’s West End, Las Vegas, and Major Motion Pictures throughout the year. Collage 2012: Defining Moments represents the culmination of choreographic efforts begun in the summer of 2011. Andrea Feier, Dance Specialist for the City of San Diego gave the choreographers a simple guideline: pick a moment, a time, or an event that inspired you – and then reflect that moment in choreography. -
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant -
Music to Move the Masses: Protest Music Of
The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Music to Move the Masses: Protest Music of the 1980s as a Facilitator for Social Change in South Africa. Town Cape of Claudia Mohr University Dissertation submitted in partial fulfilment of the requirements for the degree of Masters of Music, University of Cape Town. P a g e | 1 A project such as this is a singular undertaking, not for the faint hearted, and would surely not be achieved without help. Having said this I must express my sincere gratitude to those that have helped me. To the University of Cape Town and the National Research Foundation, as Benjamin Franklin would say ‘time is money’, and indeed I would not have been able to spend the time writing this had I not been able to pay for it, so thank you for your contribution. To my supervisor, Sylvia Bruinders. Thank you for your patience and guidance, without which I would not have been able to curb my lyrical writing style into the semblance of academic writing. To Dr. Michael Drewett and Dr. Ingrid Byerly: although I haven’t met you personally, your work has served as an inspiration to me, and ITown thank you. -
The Jazz Epistles
2018 Winter/Spring Season Brooklyn Academy of Music Adam E. Max, Chairman of the Board William I. Campbell, Vice Chairman of the Board Katy Clark, President BAM and World Music Institute present Joseph V. Melillo, Executive Producer The Jazz Epistles BAM Howard Gilman Opera House Apr 18 & 19 at 8pm Running time: approx. one hour & 30 mins, no intermission Featuring Abdullah Ibrahim & Ekaya With special guests Ravi Coltrane (Apr 19) & Freddie Hendrix Season Sponsor: Leadership support for music programs at BAM provided by the Baisley Powell Elebash Fund. Viacom is the major sponsor of Music Programming at BAM Support for the Signature Artist Series provided by the Howard Gilman Foundation The Jazz Epistles EKAYA Abdullah Ibrahim piano Noah Jackson cello, bass Will Terrill drums Cleave Guyton alto saxophone, flute, clarinet Lance Bryant tenor saxophone Andrae Murchison trombone, trumpet Marshall McDonald baritone saxophone GUESTS Freddie Hendrix trumpet, flugelhorn Ravi Coltrane tenor saxophone (Apr 19) South African jazz legend Abdullah Ibrahim, then known as Dollar Brand, first heard the call of modern jazz in the late 1950s, and along with saxophonist Kippie Moeketsi, trumpeter Hugh Masekela, Jonas Gwangwa, Johnny Gertze on bass, and Early Mabuza and/or Makaya Ntshoko on drums, founded the pioneering Jazz Epistles—a hard bop ensemble modeled on Art Blakey’s Jazz Messengers that was the first black jazz combo to record in South Africa. On June 15 & 16, 2016 at the Emperors Palace in Johannesburg, for the first time in over 50 years, Abdullah Ibrahim and Hugh Masekela reunited for two sold-out concerts honoring the Jazz Epistles, making a profound impact on the audiences and the artists themselves.