DOCSLIB.ORG

UOVS - SASOL -8 I\BLI DTEEK Fiiiêrrne ËKSP~1PÏ:4.Fo:~~~Rl:R.:~~Gê:7N5~.'7~

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UOVS - SASOL -8 I\BLI DTEEK Fiiiêrrne ËKSP~1PÏ:4.Fo:~~~Rl:R.:~~Gê:7N5~.'7~ UOVS - SASOL -8 I\BLI DTEEK fiiiÊRrnE ËKSP~1PÏ:4.fo:~~~rl:r.:~~Gê:7N5~.'7~ . 111111111111111111111111111111111111111111111111111111IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII~IIIIIIIIIIIIIIIIII11III1 IGEEN OlVi$ TANO IGHEO E lJ'T ["lO! 1997052814012201600019 ~. J01..E·.t=.:vs ~,~IVPFR I.V.Ol")-" f'-'p: ~ . r:.t\ .. _'. VII •. '...1__ \I l.U ..• oL • w .....,'._-c -':'''_~~.l:lilt~~\o~'':J:.~ THE lLllBERATIlON SONG, WITH SPECIAlL REFERENCE TO \ THOSE USED BY THE AFRICAN NATIONAlL CONGRESS, THE iNKATHA FREEDOM PARTY AND THE PAN AFRXCANiST CONGRESS. by ANNE-MARIE GRAY (student number: 9430059) submitted in accordance with the requirements for the degree: MAGISTER MUSICOLOGIAE in the FACULTY OF ARTS (DEPARTMENT OF MUSIC) at the " UNIVERSITY OF THE ORANGE FREE STATE SUPERVISOR: DR G.J.L. HEUNIS 'NOVEMBER 1996 Univer~it~it van die Cran j :.:·~·v(.~/:=:,1:.?: ~ t B~..~;·.·_;'·i'··~:·;i,\jfLl N 09 DEC 1997 , uovs S !\SCL Bl BLIOTEEK ~.".oSI5"'""' 11 • .., . .,_.......,:111----....1 782.421590968 BRA SOJLI DEO GLORIA + ACKNOWLEDGEMENTS o My supervisor Dr GJ.L. Heunis for his guidance throughout the study. Without his knowledge this project would not have been accomplished. o Prof. D.P. Wessels of the Political Science Faculty at the University of the Orange Free State for the critical insight he provided for Chapter 3. His guidance was essential for this section and I am most grateful for his willingness to assist. o Adie Pretorius, for reading the various drafts so fastidiously. Her critical insight was of immense value at such a late stage in the research procedure. o Dr L. Stears for his enthusiasm, encouragement and help in the initial stages of the research. o Christo Kotzé for his help with transcriptions, final editing, and typesetting. Without his assistance this thesis would not have been printed. o The Suid-Afrikaanse Onderwysersunie (KZN) for financial assistance. Opinions expressed in this publication and conclusions arrived at, are those of the author and are not attributed to this union. o Librarians and archivists at several institutions in South Africa, who were always willing and helpful. A special word of appreciation to Graham Goddard at the Mayibuye Centre (University of the Western Cape), for his help with the videos and the fact that he granted me permission to spend so much time in the video centre. o To my family and friends for their encouragement and forbearance throughout this project. A special word of thanks to my husband, David for his support and encouragement in all manner of circumstances. -ii- TABlLE OF CONTENTS ACKNOWLEDGEMENTS i CHAPTER 1 FOUNDATIONS OF THE STUDY 1.1 INTRODUCTION. .. 1 1.2 RATIONALE FOR THE STUDY . .. 1 1.3 RESEARCH PROBLEM 2 1.4 SPECIFIC AIMS 2 1.5 RESEARCH METHODOLOGY . .. 2 1.6 LIMITATIONS OF THE STUDY 3 1.7 TERMINOLOGY. .. 5 1.8 RELATED STUDIES 6 1.9 RESEARCH CONVICTION . .. 7 CHAPTER 2 AN OVERVIEW OF WORLD LIBERATION SONGS 2.1 INTRODUCTION 9 2.2 UNDERLYING ASPECTS OF LIBERATION MUSIC 10 2.2.1 CATHARSIS 10 2.2.2 MUSIC AS AN INSTRUMENT OF POWER. .. 11 2.2.2.1 Music Energises and Empowers 12 2.2.2.2 Music Manipulates Emotionally 12 2.2.2.3 Music Creates Unity . .. 13 2.3 DIFFERENT GENRES OF LffiERATION MUSIC . .. 14 2.3.1 FOURTEENTH TO SIXTEENTH CENTURY POPULAR STRUGGLES ... 14 2.3.2 REVOLUTIONARY AND DEMOCRATIC MOVEMENTS IN EUROPE AND BRITAIN. SEVENTEENTH TO NINETEENTH CENTURIES 16 2.3.2.1 French Revolution (1789 -1799) . .. 16 2.3.2.2 Industrial Revolution and the Growth of Trade Unions in Britain ............................................ 18 -iii- 2.3.3 PROGRESSIVE AND IMPERIALIST EUROPE AND BRITAIN, 1871 TO 1914 20 2.3.3.1 Industrial Workers in France 21 2.3.3.2 Industrial Workers in Britain 22 2.3.3.3 Industrial Workers in Ireland 23 2.3.4 FIGHT AGAINST EXPLOITATION IN AMERICA - INDUSTRIAL . .. 24 2.3.4.1 Early Songs (before 1900) .. .. 24 2.3.4.2 Wobbly Songs 25 2.3.5 WORLD WAR I AND ITS AFTERMATH IN EUROPE 28 2.3.5.1 Struggle Against Fascism. .. 28 2.4 BLACK FOLK MUSIC IN AMERICA 31 2.4.1 SONGS OF THE SLAVES 31 2.4.1.1 Work Songs . .. 33 2.4.1.2 Anti-pass Songs 33 2.4.1.3 War Songs. .. 33 2.4.1.4 Abolitionist Songs 35 2.4.1.5 Songs of the American Civil War (1861 to 1865) . .. 38 2.4.1.6 White Spirituals 41 2.4.2 SONGS OF THE CIVIL RIGHTS MOVEMENT OF THE 1950s AND 1960s ....................................................... 42 2.5 LIBERATION AND PROTEST MUSIC INTHE PERFORMING ARTS 49 2.5.1 GOVERNMENT INFLUENCE 49 2.5.1.1 Soviet Union 50 2.5.1.2 People's Republic of China 51 2.5.2 COMPOSERS' EXPRESSION OF INJUSTICE 52 2.5.2.1 Opera 53 2.5.2.2 Musicals and Operettas 54 2.5.2.3 Modern Entertainers with Protest and Liberation As A Theme. 56 2.5.2.4 Reggae as Liberation Music. .. 58 2.5.2.5 Rap as Liberation Music 59 2.5.2.6 Groups Performing for the South African Liberation Struggle . 59 2.5.2.7 Folk and Protest Songs . '. .. 62 2.6 CONCLUSION ................................................. 62 -iv- CHAPTER 3 THE HISTORY OF THE DUTCH AND AFRIKAANS LIBERATION SONG IN SOUTH AFRICA 3.1 INTRODUCTION. .. 65 3.2 OBSTACLES PERTAINING TO AFRIKAANS FOLK SONGS 65 3.2.1 THE PROBLEM OF EXTINCTION OF THE AFRIKAANS FOLK SONG .. 65 3.2.2 OBSTACLES ENCOUNTERED IN THE COLLECTION OF AFRIKAANS FOLK SONGS 68 3.3 THE HISTORY OF THE AFRIKANERS AS REFLECTED IN THEIR LffiERATION SONGS 72 3.3.1 SONGS SUNG DURING AND AFTER THE GREAT TREK 72 3.3.2 SONGS SUNG DURING THE PERIOD OF THE EARLY AFRIKANER TRADE UNIONISM 79 3.4 AFRIKANERS SYMPATHISE WITH THE BLACK LIBERATION STRUGGLE .. 86 3.4.1 WHITE AFRIKANER STUDENTS QUESTION RACIAL DISCRIMINATION ....................................................... 86 3.4.2 ALTERNATIVE AFRIKANER PERFORMERS AND COMPOSERS 89 3.5 CONCLUSION. .. 96 CHAPTER 4 LIBERATION AND PROTEST SONGS AMONG BLACK SOUTH AFRICANS 4.1 INTRODUCTION. .. 98 4.1.1 THE BLACK CULTURE IS A PATRIARCHAL SOCIETY 98 4.1.2 SONGS USED AS A COMMUNICATING PHENOMENON 98 4.1.3 SOLIDARITY AND UNITY AS EXPERIENCED BY THE PARTICIPATING CROWD 99 -v- 4.2 LIBERATION SONGS AS PEOPLE'S ART AND RESISTANCE ART 100 4.2.1 PEOPLE'S ART 100 4.2.2 RESISTANCE ART 101 . 4.3 PEOPLE'S ART - CATEGORIES 102 4.3.1 SONGS SUNG FROM 1900 UNTIL 1950 102 4.3.1.1 Imusic 103 4.3.1.2 IRagtime 104 4.3.1.3 IsiZulu 104 4.3.2 SONGS SUNG AFTER 1950 107 4.3.2.1 Songs with Traditional African Musical Elements 107 4.3.2.2 Toyi-toyi 109 4.3.2.3 Liberation Chant or Slogan 110 4.4 RESISTANCE ART - CATEGORIES 111 4.5 THE HISTORY OF BLACK RESISTANCE IN SOUTH AFRICA AND THE HISTORICAL SIGNIFICANCE OF LIBERATION SONGS AS AN INTEGRAL PART OF THE LIBERATION PROCESS 113 4.5.1 INTRODUCTION 113 4.5.2 ESTABLISHMENT OF THE SANNC (SOUTH AFRICAN NATIVE NATIONAL CONGRESS) 114 4.5.3 GENERAL CIRCUMSTANCES AFFECTING ALL BLACKS 123 4.5.3.1 Dipping in Durban 124 4.5.3.2 Industrial Conciliation Act of 1924 124 4.5.3.3 Government-controlled beer halls 125 4.5.3.4 Slums Clearance Act of 1933 126 4.5.3.5 Group Areas Act of 1950 126 4.5.3.6 Bantu Education Act of 1953 .. ~ 128 4.5.3.7 Bantu Self-Government Act of 1959 128 4.5.4 THE ESTABLISHMENT OF THE SOUTH AFRICAN COMMUNIST PARTY (SACP) 130 4.5.5 NEW CHALLENGES FOR THE AFRICAN NATIONAL CONGRESS (ANC) ....................................................... 132 4.5.6 THE ESTABLISHMENT OF THE PAN" AFRICANIST CONGRESS (PAC) . 143 -vi- 4.5.7 ORGANISATIONS IN EXILE 144 4.5.7.1 The ANC in exile 144 4.5.7.2 The PAC in exile 150 4.5.7.3 The SACP in exile 151 4.5.8 INTERNAL BLACK POLITICS AFTER 1960 - WITHIN THE BROADER SOUTH AFRICAN CONTEXT 153 4.5.8.1 South African Students Organisation (SASO) 153 4.5.8.2 Black Peoples' Convention (BPC) 155 4.5.8.3 Azanian People's Organisation (Azapo) 160 4.5.8.4 Inkatha Freedom Party (IFP) 160 4.5.8.5 United Democratic Front (UDF) ~ 162 4.5.8.6 Mass Democratic Movement (MDM) 164 4.5.8.7 Unbanning of the ANC and PAC 165 4.5.8.8 Slogans or chants 171 4.5.9 THE ESTABLISHMENT OF BLACK LABOUR UNIONS 173 4.5.10 THE ROLE OF WOMEN IN THE STRUGGLE AND THE SONGS THEY SANG 182 4.6 RESISTANCE ART 186 4.6.1 INTRODUCTION 186 4.6.2 GROUPS 188 4.6.2.1 Amandla Group 188 4.6.2.2 ANC Choir 189 4.6.2.3 K-Team (Kelloggs workers) 189 4.6.2.4 Tsakane Drama Group and LKB group 190 4.6.2.5 Adams College Groups . 190 4.6.2.6 Soloists 191 4.6.3 CONCLUSION 197 -vii- CHAPTER 5 THE TRANSCRIPTION AND CATEGORISATION OF A COLLECTION OF BLACK LIBERATION SONGS IN SOUTH AFRICA. 5.1 INTRODUCTION 199 5.2 TRANSCRIPTION 199 5.2.1 NOTATIONAL PROBLEMS 200 5.2.1.1 Pitch 201 5.2.1.2 Rhythm 201 5.2.1.3 Scales 202 5.2.1.4 Harmony 202 5.2.2 METHOD OF TRANSCRIPTION 203 5.3 CATEGORISATION 204 5.3.1 HISTORICAL CATEGORISATION 204 5.3.2 STYLISTIC CATEGORISATION 205 5.4 TRANSCRIPTION AND CATEGORISATION OF LIBERATION SONGS 205 5.4.1 IMUSIC 205 5.4.1.1 Si Lu Sapo or i Land Act 206 5.4.1.2 Nkosi Sikelel'iAfrika 209 5.4.1.3 Bashuka Ndabazini 212 5.4.1.4 Yekan' u mona, Nenzondo, Namagqubu 216 5.4.1.5 Vul'indhlela, Mnta ka Dube or Vulindhlela Mtaka Dube 220 5.4.1.6 Sanibona 223 5.4.2 IRAGTIME 228 5.4.2.1 Ingoduso .
Load more

Recommended publications
  • 200 1. Voortrekkers Were Groups of Nineteenth- Century Afrikaners Who
    Notes 1. Voortrekkers were groups of nineteenth- century Afrikaners who migrated north from the Cape colony into the South African interior to escape British rule. 2. ‘Township’ is the name given by colonial and later apartheid authorities to underdeveloped, badly resourced urban living areas, usually on the outskirts of white towns and cities, which were set aside for the black workforce. 3. See, for example, Liz Gunner on Zulu radio drama since 1941 (2000), David Coplan on township music and theatre (1985) and Isabel Hofmeyr on the long- established Afrikaans magazine Huisgenoot (1987). 4. In 1984 the NP launched what it called a ‘tricameral’ parliament, a flawed and divisive attempt at reforming the political system. After a referendum among white voters it gave limited political representation to people classi- fied as coloured and Indian, although black South Africans remained com- pletely excluded. Opposition to the system came from both the left and right and voting rates among non- whites remained extremely low, in a show of disapproval of what many viewed as puppet MPs. 5. The State of Emergency was declared in 1985 in 36 magisterial districts. It was extended across the whole country in 1986 and given an extra year to run in 1989. New measures brought in included the notorious 90- day law, in which suspects could be held without trial for 90 days, after which many were released and then re- arrested as they left the prison. 6. According to André Brink, ‘The widespread notion of “traditional Afrikaner unity” is based on a false reading of history: strife and division within Afrikanerdom has been much more in evidence than unity during the first three centuries of white South African history’ (1983, 17).
    [Show full text]
  • Music and Inter-Generational Experiences of Social Change in South Africa
    All Mixed Up: Music and Inter-Generational Experiences of Social Change in South Africa Dominique Santos 22113429 PhD Social Anthropology Goldsmiths, University of London All Mixed Up: Music and Inter-Generational Experiences of Social Change in South Africa Dominique Santos 22113429 Thesis submitted in fulfillment of the requirements for a PhD in Social Anthropology Goldsmiths, University of London 2013 Cover Image: Party Goer Dancing at House Party Brixton, Johannesburg, 2005 (Author’s own) 1 Acknowledgements I owe a massive debt to a number of people and institutions who have made it possible for me to give the time I have to this work, and who have supported and encouraged me throughout. The research and writing of this project was made financially possible through a generous studentship from the ESRC. I also benefitted from the receipt of a completion grant from the Goldsmiths Anthropology Department. Sophie Day took over my supervision at a difficult point, and has patiently assisted me to see the project through to submission. John Hutnyk’s and Sari Wastel’s early supervision guided the incubation of the project. Frances Pine and David Graeber facilitated an inspiring and supportive writing up group to formulate and test ideas. Keith Hart’s reading of earlier sections always provided critical and pragmatic feedback that drove the work forward. Julian Henriques and Isaak Niehaus’s helpful comments during the first Viva made it possible for this version to take shape. Hugh Macnicol and Ali Clark ensured a smooth administrative journey, if the academic one was a little bumpy. Maia Marie read and commented on drafts in the welcoming space of our writing circle, keeping my creative fires burning during dark times.
    [Show full text]
  • Inventory of the Private Collection of R Meyer PV912
    Inventory of the private collection of R Meyer PV912 Contact us Write to: Visit us: Archive for Contemporary Affairs Archive for Contemporary Affairs University of the Free State Stef Coetzee Building P.O. Box 2320 Room 109 Bloemfontein 9300 Academic Avenue South South Africa University of the Free State 205 Nelson Mandela Drive Park West Bloemfontein Telephone: Email: +27(0)51 401 2418/2646/2225 [email protected] PV16 DJJ Mostert FILE NO SERIES SUB-SERIES DESCRIPTION DATES 1/1/1/1 1. SUBJECT FILES 1/1 CODESA (Convention Correspondence regarding matters 1991-1993 for a Democratic SA); concerning CODESA, which is an 1/1/1 General important forum (of bona fide political parties and organisations) for finding a peaceful resolution to South Africa's problems and a way to a democratic SA; names of the parties and their delegates to the different sub- committees and working groups and subgroups. 1/1/2/1 1. SUBJECT FILES 1/1 CODESA (Convention The CODESA Declaration of Intent and 1992 for a Democratic SA); amendments proposed to it 1/1/2 Declaration of Intent 1/1/3/1 1. SUBJECT FILES 1/1 CODESA (Convention Documentation regarding interaction 1991-1992 for a Democratic SA); between the different political parties 1/1/3 CODESA and various organisations on matters Management Committee concerning interaction between the different political parties and various organisations on matters concerning CODESA and its different sub- committees, working groups and sub- groups seeking resolutions for South Africa's problems and a way to a democratic SA and a new constitutional dispensation; documentation concerning the CODESA management committee inter alia suggestions from different political parties and organisations on various matters; Guidelines for chairpersons of working groups for CODESA; Standing rules and procedure for plenary sessions; Terms of reference for working groups of CODESA; Declaration of Intent by CODESA.
    [Show full text]
  • Afrikaans (Pdf)
    Historia, 64, 2, November 2019, pp156‐177 Koos Kombuis: Ikonoklas na ikoon Wouter de Wet Opsomming Die Afrikaanse skrywer en musikant Koos Kombuis word vandag wyd as ’n ikoon beskou. In die 1980’s was hy egter ’n randfiguur van die Afrikaner‐establishment. Hoe het hierdie transformasie van ikonoklas na ikoon oor tyd plaasgevind? Kombuis het sy loopbaan as digter en skrywer in die 1980’s begin. Hy het homself aan die spits van die sogenaamde Tagtigerbeweging in die letterkunde bevind, en in 1989 het hy aan die berugte Voëlvry‐toer deelgeneem wat sy status as dwarstrekker verskans het. Sy letterkunde en musiek van dié dekade het gepoog om die waardes en norme van die heersende Afrikaner‐establishment omver te gooi. Die vroeë 1990’s het bepaalde veranderinge in sowel die breër sosio‐politieke konteks van Suid‐Afrika as Kombuis persoonlik gesien. Sy beeld onder Afrikaners het stelselmatig begin verander, en soos sy loopbaan in die jare sedertdien ontwikkel het, het hy algaande ikoonstatus bekom. Hierdie artikel stel ondersoek in na Koos Kombuis se transformasie van ikonoklas na ikoon binne Afrikaner geledere. Sleutelwoorde: Koos Kombuis; ikoon; ikonoklas; Tagtigers; Voëlvry; Afrikaners; Suid‐Afrika. Abstract The Afrikaans author and musician, Koos Kombuis, is widely regarded as an icon today. In the 1980s, however, he was a fringe figure, arguably even an iconoclast of the Afrikaner establishment. How did this transformation from iconoclast to icon happen over time? Kombuis began his career as poet and author in the 1980s. He found himself as a leading figure of the so‐called Tagtiger movement in Afrikaans literature, and in 1989 he participated in the Voëlvry tour which entrenched his image as an Afrikaner iconoclast.
    [Show full text]
  • We Were Cut Off from the Comprehension of Our Surroundings
    Black Peril, White Fear – Representations of Violence and Race in South Africa’s English Press, 1976-2002, and Their Influence on Public Opinion Inauguraldissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Universität zu Köln vorgelegt von Christine Ullmann Institut für Völkerkunde Universität zu Köln Köln, Mai 2005 ACKNOWLEDGEMENTS The work presented here is the result of years of research, writing, re-writing and editing. It was a long time in the making, and may not have been completed at all had it not been for the support of a great number of people, all of whom have my deep appreciation. In particular, I would like to thank Prof. Dr. Michael Bollig, Prof. Dr. Richard Janney, Dr. Melanie Moll, Professor Keyan Tomaselli, Professor Ruth Teer-Tomaselli, and Prof. Dr. Teun A. van Dijk for their help, encouragement, and constructive criticism. My special thanks to Dr Petr Skalník for his unflinching support and encouraging supervision, and to Mark Loftus for his proof-reading and help with all language issues. I am equally grateful to all who welcomed me to South Africa and dedicated their time, knowledge and effort to helping me. The warmth and support I received was incredible. Special thanks to the Burch family for their help settling in, and my dear friend in George for showing me the nature of determination. Finally, without the unstinting support of my two colleagues, Angelika Kitzmantel and Silke Olig, and the moral and financial backing of my family, I would surely have despaired. Thank you all for being there for me. We were cut off from the comprehension of our surroundings; we glided past like phantoms, wondering and secretly appalled, as sane men would be before an enthusiastic outbreak in a madhouse.
    [Show full text]
  • Defend the Cuban Revolution!
    sOt No. 606 ~X-623 16 September 1994 WV Photo Yankee Imperialists Hands II Haiti, uba! voted for the Pentagon war machine to devastate Iraq for disturbing U.S. control Defend the over the Persian Gulf oil fields. This time, however, Clinton and his fellow Cuban Revolution! Democrats are bent on avoiding a Con­ gressional vote. An invasion of Haiti is SEPTEMBER 13-The Clinton adminis­ not popular in the U.S. Opposition tration's plans for an invasion of Haiti comes from both the Republican right, appear to be moving past the stage of which sympathizes with the junta, and threats to actual implementation, as the from many who are deeply skeptical dispatch of military transport ships and of U.S. military adventures. For exam­ readying of the 82nd Airborne make ple, today's New York Times comes clear. While the "limited" invasion is out against an invasion, clucking its pitched in terms of humanitarianism and tongue about the need for Congressional "restoring democracy," in fact the U.S. approval. military moves are a dire threat to the Meanwhile, the Haitian military is Haitian masses. The American imperial­ going about killing as usual. Since the ists want to stop the flow of "boat peo­ ouster of Aristide three years ago, some ple" by ousting the bloody junta initially 5,000 people have been killed by death supported by Washington, and clamping squads, savagely shot or tortured to death. a heavy-handed military rule on· the More than 10,000 have been arrested, country. No less important, an invasion the majority brutalized or tortured.
    [Show full text]
  • 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
    [Show full text]
  • Black Power, Black Consciousness, and South Africa's Armed Struggle
    Binghamton University The Open Repository @ Binghamton (The ORB) Graduate Dissertations and Theses Dissertations, Theses and Capstones 6-2018 UNCOVERING HIDDEN FRONTS OF AFRICA’S LIBERATION STRUGGLE: BLACK POWER, BLACK CONSCIOUSNESS, AND SOUTH AFRICA’S ARMED STRUGGLE, 1967-1985 Toivo Tukongeni Paul Wilson Asheeke Binghamton University--SUNY, [email protected] Follow this and additional works at: https://orb.binghamton.edu/dissertation_and_theses Part of the Sociology Commons Recommended Citation Asheeke, Toivo Tukongeni Paul Wilson, "UNCOVERING HIDDEN FRONTS OF AFRICA’S LIBERATION STRUGGLE: BLACK POWER, BLACK CONSCIOUSNESS, AND SOUTH AFRICA’S ARMED STRUGGLE, 1967-1985" (2018). Graduate Dissertations and Theses. 78. https://orb.binghamton.edu/dissertation_and_theses/78 This Dissertation is brought to you for free and open access by the Dissertations, Theses and Capstones at The Open Repository @ Binghamton (The ORB). It has been accepted for inclusion in Graduate Dissertations and Theses by an authorized administrator of The Open Repository @ Binghamton (The ORB). For more information, please contact [email protected]. UNCOVERING HIDDEN FRONTS OF AFRICA’S LIBERATION STRUGGLE: BLACK POWER, BLACK CONSCIOUSNESS, AND SOUTH AFRICA’S ARMED STRUGGLE, 1967-1985 BY TOIVO TUKONGENI PAUL WILSON ASHEEKE BA, Earlham College, 2010 MA, Binghamton University, 2014 DISSERTATION Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Sociology in the Graduate School of Binghamton University State University of New
    [Show full text]
  • Objecting to Apartheid
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by South East Academic Libraries System (SEALS) OBJECTING TO APARTHEID: THE HISTORY OF THE END CONSCRIPTION CAMPAIGN By DAVID JONES Submitted in fulfilment of the requirements for the degree of MASTER OF ARTS In the subject HISTORY At the UNIVERSITY OF FORT HARE SUPERVISOR: PROFESSOR GARY MINKLEY JANUARY 2013 I, David Jones, student number 200603420, hereby declare that I am fully aware of the University of Fort Hare’s policy on plagiarism and I have taken every precaution to comply with the regulations. Signature…………………………………………………………… Abstract This dissertation explores the history of the End Conscription Campaign (ECC) and evaluates its contribution to the struggle against apartheid. The ECC mobilised white opposition to apartheid by focussing on the role of the military in perpetuating white rule. By identifying conscription as the price paid by white South Africans for their continued political dominance, the ECC discovered a point of resistance within apartheid discourse around which white opposition could converge. The ECC challenged the discursive constructs of apartheid on many levels, going beyond mere criticism to the active modeling of alternatives. It played an important role in countering the intense propaganda to which all white South Africans were subject to ensure their loyalty, and in revealing the true nature of the conflict in the country. It articulated the dis-ease experienced by many who were alienated by the dominant culture of conformity, sexism, racism and homophobia. By educating, challenging and empowering white citizens to question the role of the military and, increasingly, to resist conscription it weakened the apartheid state thus adding an important component to the many pressures brought to bear on it which, in their combination, resulted in its demise.
    [Show full text]
  • “Rocking the Boat”? the “Voëlvry” Music Movement in South Africa: Anatomy of Afrikaans Anti-Apartheid Social Protest in the Eighties
    “Rocking the boat”? The “Voëlvry” music movement in South Africa: Anatomy of Afrikaans anti-apartheid social protest in the eighties Albert Grundlingh University of Stellenbosch The British social and cultural historian, Arthur Marwick, concluded his magisterial book on the cultural revolution of the sixties in the West with a very brief final sentence on the transformation: “there has been nothing quite like it; nothing will be quite the same again”.1 This deceptively simple and deliberately vague assertion masks an array of nuanced historical judgments in which Marwick teased out the complexities and contradictions of the sixties. In trying to characterise the decade, American author, Hunter Thompson, has succinctly formulated the analytical problem inherent in the dynamics of the period: History is hard to know --- but even without being sure of ‘history’ it seems entirely reasonable to think that every now and then the energy of a whole generation comes to a head in a long fine flash, for reasons that nobody really understands at the time – and which never explain, in retrospect, what actually happened ---. You could strike sparks anywhere.2 While there seems to be a firm understanding that the sixties represent the confluence of meaningful social forces, there are some explanatory doubts as to how and why it happened. The conundrum invites historical analysis; the outlines of the phenomenon may appear clear, but the reason for that are not immediately apparent nor is its historical significance self-evident.3 In a similar vein Afrikaans anti-apartheid social protest music during the eighties was reminiscent, albeit in a much more muted form, of the cultural and social challenges to the status quo in the West two decades earlier.
    [Show full text]
  • DOCUMENT RESUME Proceedings of the Annual Meeting of The
    DOCUMENT RESUME ED 423 566 CS 509 910 TITLE Proceedings of the Annual Meeting of the Association for Education in Journalism and Mass Communication (81st, Baltimore, Maryland, August 5-8, 1998). International--Part II INSTITUTION Association for Education in Journalism and Mass Communication. PUB DATE 1998-08-00 NOTE 611p.; For other sections of these Proceedings, see CS 509 905-922. PUB TYPE Collected Works Proceedings (021) Reports Research (143) EDRS PRICE MF03/PC25 Plus Postage. DESCRIPTORS Civil Liberties; Democracy; Economic Factors; *Foreign Countries; Government Role; Higher Education; *International Communication; *Journalism Education; Language Skills; Marxian Analysis; *Mass Media Use; Media Research; *News Reporting; Newspapers; Public Opinion; Radio; Telecommunications; Television IDENTIFIERS *Media Coverage ABSTRACT The International--Part II section of the Proceedings contains the following 20 papers: "An Economic Imperative: Privatization as Reflected in Business Reporting in the Middle East. Egypt as a Case Study" (Leonard Ray Teel, Hussein Amin, Shirley Biagi, and Carolyn Crimmins); "Broadcasting in South Africa: The Politics of Educational Radio" (Paul R. van der Veur); "Why Beijingers Read Newspapers?" (Tao Sun, Xinshu Zhao, and Guoming Yu); "News about Korea and Japan in American Network Television Evening News: A Content Analysis of Coverage in 1996" (Jowon Park); "Political Parties and Changes in Taiwanese Electronic Media in the 1990s" (Wei-Kuo Lin); "State Control on Television News in Post-War Lebanon" (Marwan
    [Show full text]
  • 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.
    [Show full text]