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5
Contents
editorial
KHADIJA TRACEY HEEGER
Redefined
GEORGE LEWIS
New Music Decolonization in Eight Difficult Steps
GIORGIO AGAMBEN
The Supreme Music. Music and Politics
Theme Social Impact
SAIDIYA HARTMAN
Riot and Refrain
THOMAS BERNHARD
Executioners
WILLEMIEN FRONEMAN & STEPHANUS MULLER
Music’s “non-Political Neutrality”: When race dare not speak its name
STEVEN ROBINS
Spectres of Racial Science at Stellenbosch University: From Eugen Fischer’s Eugenics to the Department of Sport Sciences’ Retracted Article
MOHAMMAD SHABANGU
Education as the Practice of Freedom: Towards a Decolonisation of Desire
CHUMANI MAXWELE
The Solitary Protest That Gave Birth To #RhodesMustFall
SISCA JULIUS
Chappies bubblegum
EMILE YX? JANSEN
Heal the Hood & World with Afrocation
MESULI NALE
Move For Two: Educating for Leadership Through Dance
SARAH MALOTANE HENKEMAN
On the Social Impact of Telling Your Own Story in Your Own Way
ACHMAT DAVIDS
The Social Impact of Language: The "Coloured" Image of Afrikaans in Nineteenth Century Cape Town
JACKIE SHANDU
On the Social Impact of Self Hatred
AZOLA DAYILE
Imbamba – Uthunyiwe: On the Social Impact of Migrant Labour
YAMKELA F. SPENGANE
On the Social Impact of Name Changes
ANELE NZIMANDE
On the Social Impact of Motherhood
ZIYANA LATEGAN
Problems of and for Philosophy
galleri
JOAN OTIENO
Art as the Social Impact of Repurposing Waste Materials
GARTH ERASMUS
Xnau
GARTH ERASMUS
Virulent Strain
ANDREA ROLFES
Not the Paradise Garden
MZOXOLO VIMBA
Sunday best, kakade!
ROCHÉ VAN TIDDENS
Four Compositions
JAMES OATWAY & ALON SKUY
[BR]OTHER
borborygmus
ZIYANA LATEGAN
Invention as Ideological Reproduction
LETTA MBULU
Not Yet Uhuru (Amakhandela)
TUMI MOGOROSI
De
ANDREA LEIGH FARNHAM
A bad relationship with the truth
DAVID MWAMBARI
On the Social Impact of Reading Radical Literature
PHIWOKAZI QOZA
Choreographies of Protest Performance: 2. Somatic Communication and the experience of intensity
DUANE JETHRO
Shangaan Electro: shaping desire @180bpm
CLARE LOVEDAY
WOMEN IN MUSIC.co.za - A website for South African women music practitioners
ERNIE LARSEN
Escape Routes
LIZ SAVAGE
Myanmar: a post-colonial tale of fear, treachery and hope
STEVEN CRAIG HICKMAN
Weird Literature as Speculative Philosophy
frictions
VANGILE GANTSHO
"we have forgotten who we are"
JETHRO LOUW & GARTH ERASMUS
21st Century Khoisan Man
LUCY VALERIE GRAHAM
Seven settler poems
SERGIO HENRY BEN
Some Monday shit.
RIAAN OPPELT
The Boys in the Box
TRICIA WARDEN
Five Poems Two Songs and a Video
JOHAN VAN WYK
Man Bitch
ARI SITAS, GEORGE & DEBBIE MARI
Cold was the ground - A Requiem for Elephants Too**
ARI SITAS, GEORGE & DEBBIE MARI
Cold Was The Ground- A Requiem For Elephants Too* Part I
ARI SITAS, GEORGE & DEBBIE MARI
Cold was the ground - A Requiem for Elephants Too** Part II
claque
JANNOUS NKULULEKO AUKEMA
Something of Inexplicable Value: A Resurrection
FRANK MEINTJIES
From collective to corrective: South African poems of decolonisation
KNEO MOKGOPA
“This Bloodless Wound” - A Review of Kirsty Steinberg’s Confrontation
RONELDA S. KAMFER
Avoiding the obvious routes: Jolyn Phillips deconstructs the legend of Bientang
UNATHI SLASHA
Partaking in the Séance: Preliminary Remarks on Lesego Rampolokeng’s Bird-Monk Seding
WAMUWI MBAO
There are no barbarians: Michel Leiris - more phantom than Africa
ESTHER MARIE PAUW
Jess Auerbach's From Water to Wine: Becoming Middle Class in Angola
MBE MBHELE
Not nearly a review of Ontologicial Terror: Blackness, Nihilism, and Emancipation by Calvin L. Warren
MBALI KGAME
Mphutlane wa Bofelo's Transitions: from Post-Colonial Illusions to Decoloniality What went wrong and what now?
MALAIKA WA AZANIA
Why Do I Scream at God for the Rape of Babies?
TOAST COETZER
Country Conquerors: van blikkiesband tot firebrands – on the Social Impact of Rastafari
GEORGE KING
One Disc, Two Composers, Four Works: When Seven Defines the Music of Friendship
ERNESTO GARCIA MARQUES
Live Jimi Presley: white noise a la Neubauten
ekaya
DEREK DAVEY
Dodging the sjambok
CHRISTINE LUCIA
A Reflection on the Mohapeloa Edition
THEMBELA VOKWANA
Towards a Decolonial South African Musicology: Reflections on Christine Lucia’s Michael Mosoeu Moerane Scholarly Edition.
ANKE FROEHLICH & INGE ENGELBRECHT
Genadendal Music Collections Catalogue: an introduction
off the record
PETER DELPEUT
The Forgotten Evil pilot project digital version
PETER DELPEUT
The Forgotten Evil pilot chapter 5 charisma
PETER DELPEUT
The Forgotten Evil pilot chapter 9 The Forest of Astravas
PETER DELPEUT
The Forgotten Evil, pilot chapter 11 character
LOUIS CHUDE-SOKEI
When Echoes Return: roots, diaspora and possible Africas (a eulogy)
VEIT ERLMANN
The Disappearance of Otherness: ‘Africa Civilised, Africa Uncivilised’: Local Culture, World System and South African Music
IGNATIA MADALANE
From Paul to Penny: The Emergence and Development of Tsonga Disco (1985-1990s)
NIKLAS ZIMMER
Basil Breakey: Jazz contacts, Jazz culture.
OLIVIER LEDURE
Ted Joans
SAM MATHE
NDIKHO DOUGLAS XABA
CAN THEMBA
The Bottom of the Bottle
DANFORD TAFADZWA CHIBVONGODZE
Jonah Sithole’s Sabhuku
feedback
ALEXANDRA DODD
herri: a plenitude of material, ideas, sounds and voices
FACEBOOK FEEDBACK
Social Media Responses to herri issues 1 - 4
the selektah
ZARA JULIUS
A call for renewed internationalism: A sonic liberation front
PhD
DECENTERING THE ARCHIVE:
Visual Fabrications of Sonic Memories
NICOLA DEANE
FRAGMENTS By Way of Introduction
NICOLA DEANE
PASSAGE I: SURFACES A Surface Reading of the DOMUS Archive: framing space & time
NICOLA DEANE
PASSAGE II: INVAGINATION A Subjective Fold of the DOMUS Archive: a pocket of one’s own
NICOLA DEANE
PASSAGE III: NOISE A Hauntological Reconstruction of the DOMUS Archive: the noise remains
NICOLA DEANE
PASSAGE IV: THE MASK (De)Scripting the DOMUS Archive as Faceless Protagonist
NICOLA DEANE
ELISABETH UNMASKED by Nicola Deane
NICOLA DEANE
CONCLUSION Irresolution
hotlynx
shopping
SHOP
Purchase or listen
KOLEKA PUTUMA
Black Girl Live
contributors
the back page
MIKE VAN GRAAN
Covid-19 and its Existential Challenge to Theatre
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ALEXANDRA DODD

herri: a plenitude of material, ideas, sounds and voices

Artist friends (and by that I mean writers, performers, creators, thinkers, makers, live-action doers, shapers and seizers of the moment’s headline) … If you haven’t yet laid your eyes on or opened your ears to HERRI please do yourselves a huge vitalising favour. Go there for an adventure in seeing, reading, hearing and frequently changing your mind in a shared and communal online context. Be provoked. Be stirred. Be pissed off, confused or turned on. Get lost. Undo yourself.

HERRI is a recent discovery for me. I don’t know how this platform passed me by until now. But Issue #4: Africa Synthesized just went live and features writing, artworks and sonic interventions by many fine minds – Neo Muyanga, Warrick Swinney, Sindiswa Busuku, Niklas Zimmer, Lindelwa Dalamba, Ibukun Sunday, Koleka Putuma, Gabriel Germaine De Larch, to name just a few. So I am sharing it with y’all in case you’ve somehow missed it.

Gonzo journalist and photographer Neville Dube thus concludes his kicking editorial “What shall we do with the tools?”: “This is a call to arms; as liberally and as politically correct as it may present itself. It’s a call to take the reins of our Africa. If art is our preferred weapon as African youth, then let it be drawn for change. As African artists we have done the work, we’ve banded together, we’ve created, and we’ve multiplied and we’ve changed our societies, but what shall we do with the tools? We cannot wallow in circumstances and cradle ourselves in the comfort of mediocrity, the global mediocrity we constantly find ourselves replicating. We should be striving to keep Africa as the source of Africanism if we are truly the agents of a new age. Let us not find ourselves late for the delivery of a rebirthed Africa. We know our imperfections and we’ve identified our shortcomings. With our tools in hand, let us say something that means something, and the world will not only listen, it will surely follow.”

Dube’s piece is followed (although that might not be the right word, as the format is far from linear) by a crucial framing piece by Palesa Motsumi & Tariro Mudzamiri entitled ‘The Impact of Covid-19 on the Arts’ which contextualises the issue in the urgency of the here and now. It opens with a stinging statement by performance artist and theatre practitioner Chuma Sopotela: “We have become more of who we are because governments all around the world are showing us exactly who they are.”

The authors sound off on the following burning note: “In her popular love song Weekend Special, late South African musical royalty Brenda Fassie sang about broken trust and unfulfilled promises. Similarly, artists neither want to be coddled through the pandemic nor be made to believe falsities about their fledgling relationship with the South African government. It cannot be that an industry that once helped bring down the Apartheid regime is completely obliterated while the government sits back.

Many artists … agree that a substantial amount of time should be spent on establishing a reliable, supportive, and professional body that thoroughly represents the varying interests of artists across the country. This body needs leadership that is trustworthy, reliable, and transparent in its efforts to provide the best relief for the industry.”

I’ve only just started exploring the current issue and haven’t even scratched the surface yet, but I’m finding it an extraordinarily generative, provocative, inter-sensory platform. I’m enlivened by the interplay of still and moving images, animation, documentary, text and sound recordings.

Conceived, curated and edited by Aryan Kaganof, herri is an attempt to answer the question: “What does decolonisation look like in this age of hybridity?” And it’s clear that he and his co-creators have poured quantum amounts of time and labour into making it. It is a beautiful (designed by Andrea Rolfes, Jurgen Meekel and Martijn Pantlin), communalistic, choral creation offering up a plenitude of material, ideas, sounds and voices in a single pumping edition. Long live HERRI, long live!        

August 14, 2020

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