Goema’s Refrain: Sonic anticipation and the Musicking Cape

Philosophiae Doctor - PhDThis thesis traces the making of a social world of the musicking Cape through sound, which it calls sonic anticipation. Sonic anticipation is threaded through a Cape-based musicking milieu called goema in the Nineteenth century, and through the regional jazzing culture that emerged in Cape Town in the latter part of the Twentieth century. A key concern is to read the sonic archive of Cape music without folding into a representational discourse of (apartheid) group identity or of a Cape exceptionalism. First, the thesis explores goema's emergence as folk music. In a central example, sonic anticipation is discernible in the intensities of a song called Daar Kom die Alibama [translated as ‘There Comes the Alibama’]. This song enabled goema to secure a status as racialised folk memory. Later in the Twentieth century, the song set the scene for a rearticulation that laid claim to the city as a response to the 'anxious urbanity' of race formation. This shift from the Nineteenth to Twentieth century musicking tradition is at the heart of what we have come to know as Cape jazz. In its genealogical construction of Cape jazz, the thesis traces a prefigurative aesthetics and politics that proposes new ways of thinking about the political significance of jazz. It traces the pedagogic strategies that musicians – Tem Hawker, Winston Mankunku, Robbie Jansen and Alex van Heerden - used in pursuing ‘ethical individuation’ with this racialised folk memory. By the early 1960s, jazz had become a method ‘archive’ or formative canon for these musicians. The thesis outlines how musicians used ‘nomadic’ pedagogies; following the energies that moved through the city, inside the technological, and discursive formations by which the social world was made. This thesis on goema’s refrain and the musicking Cape offers a way to consider a ‘difference that is not apartheid’s difference’

A history of dance and jazz band performance in the Western Cape in the post-1945 era

Bibliography: leaves 173-184.This thesis considers aspects of jazz and dance band performance in Cape Town between the 1930s and the 1960s, with special reference to the post-1945 period. It examines ways in which local dance and jazz musicians and audiences responded to political, social and cultural change in this period by considering key institutional constraints, the impact of broader political, social and cultural change, and local responses to this change. Primary data was collected from oral biographical material, archives, official printed sources, and newspaper reports

Performing the struggle against apartheid opposing apartheid on stage: King Kong the musical

Tyler Fleming’s book provides an account of the first production of ‘King Kong’ — a musical theatre production based on the life of the boxer Ezekiel Dlamini — in 1959. This musical rankled the apartheid state partly because it affirmed the aspirations of a Black urban class against an official state narrative which preferred a Black rural population. As a story of Black urban life that crossed over for mainstream white audiences, and became part of the canon and lore of South African theatre and popular music, the play stands as a landmark in South African cultural history. Fleming’s well-researched study considers the ways in which the multiracial production confronted petty apartheid legislation. The author offers an abundance of empirical detail on the play’s production, its human and sociopolitical context, and furthers our understanding of African participation in cultural trends — in this case, musical theatre — by invoking Paul Gilroy’s ‘Black Atlantic’ to argue for a multiplicity of perspectives on cultural production. Yet Fleming’s narrative exegesis remains firmly within the discipline of social history, at the expense of accounting for broader theoretical implications of the work

Last Night at the Bassline: A Conversation with David Coplan

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Indivisa : boletín de estudios e investigación

Proyecto sobre la aplicación de un plan de comunicación en un centro escolar, que representa múltiples ventajas para las personas que trabajan en él o reciben sus servicios: alivia el ambiente interno, mejora el orden y la organización, evita la repetición de tareas, previene el rumor y las falsas interpretaciones, consigue un servicio más eficaz y amable y genera compromiso y responsabilidad. Se ha realizado para un colegio en concreto, pero puede servir de inspiración para otros centros escolares, aunque adaptándolo al Proyecto Educativo de cada uno, así como al contexto socio-cultural en que se sitúe .Biblioteca de Educación del Ministerio de Educación, Cultura y Deporte; Calle San Agustín, 5 - 3 Planta; 28014 Madrid; Tel. +34917748000; [email protected]