Sounding the Cape Music, Identity and Politics in South Africa
Publication Year: 2013
Published by: African Books Collective
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Title Page, Copyright
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This book is the outcome of a project that began to take shape through conversations with Professor Simon Bekker (Department of Sociology and Social Anthropology, University of Stellenbosch), in the course of which he suggested that I submit a research proposal to the Stellenbosch Institute of Advanced Study (STIAS). I then discussed the idea with Professor Bernard Lategan, the then ...
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The project which resulted in the present book would probably never have been envisioned if Professor Simon Bekker had not invited me to submit a research proposal to the Stellenbosch Institute of Advanced Studies (STIAS). It would not have been realised without the support of STIAS. I wish to express my gratitude to Simon Bekker, Bernard Lategan, who was in 2007 the Director of STIAS and ...
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Part OneThe Emergence of Creolised Identities
chapter oneMusic and Identity:A Theoretical Prologue
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In his Memories of Slavery, Édouard Glissant, the Martiniquean philosopher who proposed a comprehensive conception of creolisation, suggests that: “Maybe we should be suspicious of the idea of identity, but even more of keeping silent about it” (Glissant 2007: 35). Identity has emerged, during the past 50 years, as a key topic in the social sciences. Since Erik Erikson started studying “identity crises” ...
chapter twoCape Town’s Musics:A Legacy of Creolisation
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The history of Cape Town’s musics has been underpinned by a long process of creolisation, which probably began as soon as Vasco da Gama set foot on the shore of what is today known as Mossel Bay, on 2 December 1497. His party was entertained by a group of Khoikhoi musicians using the hocket technique on their flutes, which had been extremely popular among European composers, ...
Part TwoThe Dialectics ofSeparation and Interweaving
chapter threeSeparation and Interweaving in the20th Century: Futile Separations
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In 1901, the authorities took the pretext of an outburst of plague to expel Africans from the centre of Cape Town. Most of them had been living in District Six and were removed to Uitvlugt, which was renamed Ndabeni, before they were transferred again to Langa in the 1920s and 1930s. The displacement of the small number of Africans inhabiting Cape Town at the dawn of the 20th ...
FIRST INTERLUDEVincent Kolbe’s Childhood Memories
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...had suffered during the struggle. As a musician, he played in dance bands and jazz bands and was one of the early exponents of be-bop in Cape Town, with Harold Jephta and Johnny Gertze. He participated in the creation of MAPP (Music Action for People’s Power) in the 1980s, was involved in the foundation of the community station Bush Radio, and was a trustee of the District Six Museum. Vincent Kolbe ...
chapter fourSeparation and Interweaving in the20th Century: Fertile Intertwining
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Vincent Kolbe’s childhood memories exemplify the wealth and diversity of musics that could be heard, appreciated and appropriated in Cape Town. His contention was that Cape Town was a creole city because it was a port city through which echoes of the world could enter South Africa, and be transformed to nourish local processes of creation. Singer Sathima Bea Benjamin mentioned other repertoires ...
second INTERLUDEChris McGregor Talks about theBlue Notes, Jazz andSouth African Society
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One had to be rash to play in a group like the Blue Notes at the time. We managed to not really infringe the laws. In the Cape the areas we played weren’t the object of strict racial segregation at that time. There was a zone which had not yet been really classified racially and it was there that we played, in one of the ...
third INTERLUDE“Soweto Sun”: An Interviewwith Rashid Vally byDenis-Constant Martin
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...invisible barrier: on one side, a mixed crowd, and large colonial buildings; on the other, African passers-by and Indian shops. Rashid Vally’s record shop is set up in one of these small streets. This forty-something Indian man, passionate about jazz, has an inventory that would be the envy of many a European or American colleague. He’s also a producer and, in that capacity, he’s considered responsible for bringing ...
chapter fiveTwo Decades of Freedom
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On 11 February 1990, Nelson Mandela walked out of the Victor-Verster Prison in Paarl a free man. A few days before, State President F.W. de Klerk had announced that the African National Congress (ANC), the Pan Africanist Congress (PAC) and the South African Communist Party (SACP) were unbanned. This ushered in a new era, and after protracted and difficult negotiations a new constitutional ...
chapter sixThe Musicians’ Discourse:Cape Town as a Musical Potjiekos
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The history of music in Cape Town is undeniably a history of interweaving, interlacing and cross-fertilisation; in other words, a history of creolisation. Yet, after three centuries of slavery, segregation and apartheid, how is that history actually understood by the musicians themselves? After decades of categorising music according to separate identities ascribed by racist powers, how do musicians ...
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It is December 2007, in Netreg Road, on the fringe of Bonteheuwel, one of these townships that was developed by the apartheid government to relocate coloured Capetonians who were expelled from the city centre. The Netreg Superstars, a small community Klopse troupe, are practising. They are gathered under a makeshift shed, in front of a small house, and are learning a moppie brought by their coach, ...
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Musicians Interviewedin 2007 and 2009
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Hlanganani Marimba Band (Andile Kraai, Simpiwe Mkaza, “Steve” Mvuzo Ndengezi, Luyanda Libertas Choir (Laura Dutoit, Sarene Langenegger, Vuyiswa [family name unknown], Vuyo Pamela Mtati, Titi Tsira and musicians friends, 17 October 2007, NyangaYoung members of the Tulips Malay Choir, 16 November 2007, Mitchell’s Plain• “What is Cape Town music?” (participants: Anwar Gambeno, Phumi Tsewu, Timon ...
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Page Count: 472
Publication Year: 2013