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Issue #07
Contents
editorial
DJO BANKUNA
Pissing On The Rainbow Nation
NATHAN TRANTRAAL
Ôs haatie wit mense nie. Hoekô haat julle vi ôs?
GLENN HOLTZMAN
The Music Department in South Africa as a Mirror of Racial Tension and Transformative Struggle: A Critical Ethnographic Perspective
TENDAYI SITHOLE
Black artists and the paradox of the gift
Theme Johnny Mbizo Dyani
ZWELEDINGA PALLO JORDAN
JOHNNY DYANI: A Portrait
JOHNNY MBIZO DYANI
A Letter From Mbizo
ARYAN KAGANOF
Johnny Dyani Interview 22-23 December 1985
SALIM WASHINGTON
“Don’t Sell Out”
LOUIS MOHOLO-MOHOLO & HERBIE TSOAELI WITH JOHNNY DYANI
In Conversation with Mbizo
ZOLISWA FIKELEPI-TWANI & NDUDUZO MAKHATHINI
When Today Becomes The Past: The Archive as a Healing Process
ASHER GAMEDZE
Tradition as improvisation | Continuity and abstraction
GILBERT MATTHEWS & LEFIFI TLADI
An Interview with Lars Rasmussen
EUGENE SKEEF
The Musical Confluence of Johnny Dyani and Bheki Mseleku in Exile
TENDAYI SITHOLE
Blue Scripts For Johnny Mbizo Dyani - Script i: The Figure
TENDAYI SITHOLE
Blue Scripts For Johnny Mbizo Dyani - Script ii: Ontology Of The Bass
TENDAYI SITHOLE
Blue Scripts For Johnny Mbizo Dyani - Script iii: Musical Offering
TENDAYI SITHOLE
Blue Scripts For Johnny Mbizo Dyani - Script iv: Home And Exile
TENDAYI SITHOLE
Blue Scripts For Johnny Mbizo Dyani - Script v: Experimental Philosophic Incantations
TENDAYI SITHOLE
Blue Scripts For Johnny Mbizo Dyani - Script vi: The Posthumous Life
ED EPSTEIN
Spiritual
CAROL MULLER
Diasporic musical landscapes: Abdullah Ibrahim, Johnny Dyani, and Sathima Bea Benjamin in an African Space Program (1969-1980)
BENJAMIN ZEPHANIAH
Riot in Progress (Legalize Freedom)
S’MAKUHLE BOKWE MAFUNA
Notes on the Exile Years
KEI MURRAY MONGEZI PROSPER MCGREGOR
Who the Son was?
ARYAN KAGANOF
Somebody Blew Up South Africa
JONATHAN EATO
Interludes with Bra’ Tete Mbambisa
MAX ANNAS
Morduntersuchungskommission. Der Fall Daniela Nitschke
SHANE COOPER
Lonely Flower
THANDI ALLIN DYANI
"I love you. You don’t have to love me but I love you."
galleri
SLOVO MAMPHAGA
Shades of Johnny Dyani
HUGH MDLALOSE
Jazz is my Life
TJOBOLO KHAHLISO
Shebeening
FEDERICO FEDERICI
Notes (not only) on asemic phenomenology
ANDRÉ CLEMENTS
Vita-Socio-Anarcho
DEREK DAVEY
Verge
borborygmus
MUSTAPHA JINADU
Trapped
VUSUMZI MOYO
From Cape-to-Cairo – AZANIA
MALAIKA WA AZANIA
In a foreign tongue...
SHARLENE KHAN
Imagining an African Feminist Press
DILIP MENON
Isithunguthu (A conversation in Joburg)
CATHERINE RUDENT
Against the “Grain of the Voice” - Studying the voice in songs
GEORGE LEWIS
Amo (2021), for five voices and electronics
STEVEN SHAVIRO
Exceeding Syncopation?
BRUCE LABRUCE
Notes on camp/anti-camp
PATRICIA PISTERS
Set and Setting of the Brain on Hallucinogen: Psychedelic Revival in the Acid Western
frictions
KHADIJA TRACEY HEEGER
Doctor Patient
KNEO MOKGOPA
Vuleka Mhlaba (What Would Happen if Madiba Returned?)
CHURCHIL NAUDE
Die mooi mooi gedig en anner massekinners ….
OSWALD KUCHERERA
Travelling on the Khayelitsha Train
SISCA JULIUS
Islands in the stream
FAEEZ VAN DOORSEN
Nobody’s Mullet
GADDAFI MAKHOSANDILE
The Face of Hope
VONANI BILA
Extracts from Phosakufa (the epic)
NIQ MHLONGO
Mistaken Identity
OMOSEYE BOLAJI
People of the Townships part 2
SIMBARASHE NYATSANZA
How to Become an African President
JEAN RHYS
The Doll
OSCAR HEMER
Coyote
MICHALIS PICHLER
Bibliophagia
claque
LINDELWA DALAMBA
From Kippie to Kippies and Beyond: the village welcomes this child
GWEN ANSELL
Zim Ngqawana: A child of the rain
MKHULULI
Black Noise: Notes on a Semanalysis of Mogorosi’s DeAesthetic
LIZE VAN ROBBROECK
DECOLONIZING ART BOOK FAIRS: Publishing Practices from the South(s).
DYLAN VALLEY
The Future lies with folk art: Max Schleser’s smartphone filmmaking THEORY AND PRACTICE
PAUL KHAHLISO
Riding Ruins
DIANA FERRUS
Ronelda Kamfer’s Kompoun: unapologetic and honest writing.
UNATHI SLASHA
Piecing Together the Barely Exquisite Corpse: On Tinashe Mushakavanhu’s Reincarnating Marechera: Notes on the Speculative Archive
WANELISA XABA
One from the heart: Dimakatso Sedite's Yellow Shade
BLAQ PEARL (JANINE VAN ROOY-OVERMEYER)
Uit die Kroes: gedigte deur Lynthia Julius
FRANK MEINTJIES
Wild Has Roots: thinking about what it means to be human
MPHUTHUMI NTABENI
The Land Wars: The Dispossession of the Khoisan and AmaXhosa in the Cape Colony - a discourse on the unrelenting and ruthless process of colonial conquest
ekaya
MKHULU MNGOMEZULU
Call Me By My Name: Ubizo and Ancestral Names for Abangoma
HILDE ROOS
In Conversation with Zakes Mda: "The full story must be told."
INGE ENGELBRECHT
Tribute to Sacks Williams: A composer from Genadendal
ESTHER MARIE PAUW
A tribute to Hilton Biscombe
WILLEMIEN FRONEMAN
Resisting the Siren Song of Race
off the record
SANDILE MEMELA
Things My Father Taught Me
HEIDI GRUNEBAUM
On returning to my grandmother’s land (notes for a film)
HILTON BISCOMBE
A boytjie from Stellenbosch
KHOLEKA SHANGE
Art, Archives, Anthropology
RITHULI ORLEYN
On Archives, Metadata and Aesthetics
KEYAN G. TOMASELLI
The Nomadic Mind of Teshome Gabriel: Hybridity, Identity and Diaspora
FINN DANIELS-YEOMAN & DARA WALDRON
Song For Hector - the utopian promise of the archive
TREVOR STEELE TAYLOR
Censorship, Film Festivals and the Temperature at which Artworks and their Creators Burn - episode 2
GEORGE KING
Sustaining an Imagined Culture: Some Reflections on South African Music Research in Thirty-Five Years of Ars Nova
RAFI ALIYA CROCKETT
Loxion Fabulous: Temporality and Spaciality in South African Kwaito Performance
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MOHAMMAD SHABANGU
Monday 20 January 2020
ANDILE KHUMALO
22 July 2021
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RAMPOLOKENG, MUYANGA, OOSTERLING, VD BRINK, GRUNEBAUM & KAGANOF
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Archive About Contact Africa Open Institute
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    #07
  • editorial

NATHAN TRANTRAAL

Ôs haatie wit mense nie. Hoekô haat julle vi ôs?

Baie jare trug sit ek en my ouer broe in my pa se geel Peugeot en wag vi my ma en pa wat by ʼn winkel êrens ingehaloep et. Ookant ie straat waa ôs gepark staan isse Adult World. ʼn Golfie mette drop top trek op voorie porn winkel, binne in ʼn klomp wit laities about ôs oudedom− ek skat hie vyftien, sestien jaa oud. Saam hulle isse ou swat antie in haa check overalls−evidently die maid. Hulle stuu vi haa innie winkel in, tewyl hulle byte sit en lag. Is vi my en my broe soes omme documentary te kyk van privileged wit laities innie wild. Is fascinating en brutal. Ek sit en dink, joh dai is ieman se ma.

Wat my nou soe vê lat dink is die wit laitie wat op die swat student se goed gepis et nou innie wiek, daa by Stellenbosch University. Elk kee asse wit pesoon iets weird soes dai doen, dai borderline deviant behaviour op display sit, remind et my net van allie vorige kere wattit gebeerit. Ek vestaan et ie. Why are you being weird? ʼn Bra wattie k-wood rondgooi byrie braai, tewyl hy complain oorie ANC vestaan ek. Hy is maa net racist. Maarie bra wattie swat worker virrie leeus feed, wat gan daa an? Waa kom die need vandaan om swat mense te humiliate? It issie normal racism ie. Is dieper.

As ek al die racism ignore wat regoo die land gebee elkedag, en ek vattit net vanaf my vriende wat by Stellenbosch gestudy et, issie stories van humiliation endless. Elke Coloured pesoon wat ek ken wat daa gestudy et, lyk asof ʼn part van hulle daa begrawe lê. En ôs ammel ken racism, ôs raakie klein voorit ie, ôs skud it af. Maa as Stellenbosch opkom, dan gie dai mense vi my war veteran vibes. My vrou het virre jaa in Stellenbosch gebly ennit het haa letterlik ampe doodgemaak. En dai was maa nettie mense ennie plek nie ees die University nie. Ek het gewêk innie art department daa virre paa maande, maa ek was alright. Wan ek het my office dee geslyt, en my music kliphad gespeel en gewag ieman moet my iets kô sê. Lunch tye, het ek gewag tot ammel klaa ge-iet et, en yt die staff kombys is, dan gan iet ek my lunch. Wan my broe hette paa jaa voo dai daa gestudy, en toe vetel hy my van die een swat lecturer wat daityd daa was wat eenkee by hom kô sit oppie trappies vannie Matie, met sy kop in sy hanne. Dai man het nog meer dejected en rejected as my broe gevoel. Soe daityd wat ek daa wêk, het ek gou beslyt, vi jou moet jy eenkant hou. Wan is die wit mense met dai humiliation thing kô na jou toe, kan ienagge iets happen. Wan ek is unpredictable, even vi myself.

Wat wit mense in general nie vestaan van ôsie is dat ôsie complain vi ôs sake ie. Baie van ôs kô yt ghettos yt, ôs wiet van ôsself defend. En ôs wiet van beslyt, ek gan nou mang vi wat ek nex gan doen, en ammel gan sê violence is nooit ie antwoord ie, maa dai’s niks ek gan nou maak wat ek wil maak. Maa jy kee jouself wan jy wiet jy issie al een wat voel soes jy voel ie. En al die anger isse recipe vi destruction. Soe jy sluk et maa, wan jy hou nie van violence ie, en jy wil eintlik maa net kan saamliewe met wit mense.

In sy poem “Is altyd Lente in Stellenbosch,” beskryf Ashwin Arendse wanne,

ʼn dikgesypte boeġ elke twiede Woensdag
inne sponsored-by-Pappa Hilux veby ġy
en vi jou skġie jyse hotnot.
Elke jaa se ding, al hoe hadder en mee volbôs
soesie jaa anstap.

En ek praat met Ashwin nourie dag, en hy sê vi my wat hy nie vestaanie, is elke kee as hy dai poem by ʼn show lies, kô daa wit mense narie tyd en vra vi hom hoekô hy wit mense haat. En dan smaak hy nie ees om vi hulle te antwood ie. Wan ôs haatie wit mense nie. Die regte vraag is, hoekô haat julle vi ôs? Ôs het vi julle niks gemaakie.  

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DJO BANKUNA
GLENN HOLTZMAN
© 2023
Archive About Contact Africa Open Institute