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Rodney Trudgeon's Concert Notes is a collection of essays on famous classical, orchestral compositions. The pieces in this collection have appeared in concert programmes that have accompanied performances by the Cape Town and Johannesburg Philharmonic Orchestras.
Rodney Trudgeon is a well-known radio host and presenter on Fine Music Radio. He is an expert on the range of musical genres that broadly fall under the category "classical music". The text that comprises Rodney Trudgeon's Concert Notes is structured alphabetically according to composer and gives a broad overview of the development of classical music, starting with the Baroque period and ending with modern, atonal music. Each piece is dedicated to a particular musical composition, describing its highlights, its history, and what makes it unique.
Broadly, the pieces are grouped together according to the following three broad categories: ouvertures, concertos, and symphonies, mimicking the structure of concert programmes. Each entry also includes a short biography of its composer. Trudgeon's style is easy to read and accessible to all readers: from those who listen to classical music regularly to those who are unfamiliar with it. Overall, this collection is a useful and informative musical guide, making a case for listening to orchestral music.
Showcasing the work of more than 200 women writers of African descent, this major international collection celebrates their contributions to literature and international culture.
Twenty-five years ago, Margaret Busby’s groundbreaking anthology Daughters Of Africa illuminated the “silent, forgotten, underrated voices of black women” (Washington Post). Published to international acclaim, it was hailed as “an extraordinary body of achievement… a vital document of lost history” (Sunday Times). New Daughters Of Africa continues that mission for a new generation, bringing together a selection of overlooked artists of the past with fresh and vibrant voices that have emerged from across the globe in the past two decades, from Antigua to Zimbabwe with numerous South African contributors. Key figures join popular contemporaries in paying tribute to the heritage that unites them. Each of the pieces in this remarkable collection demonstrates an uplifting sense of sisterhood, honours the strong links that endure from generation to generation, and addresses the common obstacles women writers of colour face as they negotiate issues of race, gender and class, and confront vital matters of independence, freedom and oppression.
Custom, tradition, friendships, sisterhood, romance, sexuality, intersectional feminism, the politics of gender, race, and identity—all and more are explored in this glorious collection of work from over 200 writers. New Daughters Of Africa spans a wealth of genres—autobiography, memoir, oral history, letters, diaries, short stories, novels, poetry, drama, humour, politics, journalism, essays and speeches—to demonstrate the diversity and remarkable literary achievements of black women.
New Daughters Of Africa features a number of well-known South African contributors including Gabeba Baderoon, Nadia Davids, Diana Ferrus, Vangile Gantsho, Barbara Masekela, Lebogang Mashile and Sisonke Msimang.
This book celebrates the rich, varied and untold history of investigative journalism in southern Africa and the crucial role it has played in shaping the region over the last 300 years.
It tells of the escapades of those who exposed atrocities of the British colonial rulers, the seizure of land from black owners, apartheid death squads, prison conditions, farm labour, government and corporate corruption, environmental travesty and health issues. Young journalists who have previously studied the likes of the Watergate scandal will have access to African journalists who faced huge risks to expose the abuse of power, ranging from the undercover exploits of the legendary ‘Mr Drum’, through to the recent #Guptaleaks exposé, of which it was said, ‘Seldom have journalists played such a crucial role in bringing a country back from the brink.’ The book highlights the long record of accountability journalism in countries such as South Africa, Namibia and Zimbabwe, and the recent surge of such work in others such as Botswana and Malawi.
It breaks new ground in stretching the history of this type of journalism decades further back than previously recorded, including largely ignored work such as John Dube’s coverage of the Zulu Bambatha Rebellion and Richard Msimang’s documentation of the impact of land confiscation in the early 20th century.
The book includes an introduction by Anton Harber, editor and professor, and each case study is written up by an expert in the area.
The Love Diary of a Zulu Boy is a fable of lust, love, sex, obsession, loss, friendship, betrayal and fantasy. By turns erotic, romantic, tragic and comic, it is inspired by the real-life drama of a romantic relationship between a Zulu boy and an Englishwoman.
A series of diary entries takes us on a whirlwind tour of a relationship that has not only survived, but thrived for 17 years. As the author reflects on love across the colour line, it triggers memories of failed affairs and bizarre experiences: love spells, wet dreams, infidelity, sexually transmitted diseases, a phantom pregnancy, sexless relationships, threesomes and prostitution.
A unique book for the South African market, The Love Diary of a Zulu Boy is written with an honesty rarely encountered in autobiographical writing.
Duduza. Bopha. Imbiza. Phapha. Asixoliseni. Amapopeye . . . What is the power of a single word?
Six days a week, advertising creative Melusi Tshabalala posts a Zulu word on his Everyday Zulu Facebook page and tells a story about it. His off-beat sense of humour, razor-sharp social observations and frank political commentary not only teaches his followers isiZulu but also offer insight into the world Melusi inhabits as a 21st century Zulu man.
Over the past few months he has built up a big and a loyal following that include radio host Jenny Crwys-Williams and Afrikaans author Marita van der Vyfer. He pokes fun at our differences and makes us laugh at ourselves and each other.
Melusi asks critical questions of everyone, from Aunty Helen, Dudu-Zille to Silili (Cyril Ramaphosa) and even Woolworths (why are their aircons always set on ‘jou moer’?). His fans love him for his honesty and commitment to pointing out subtle and overt forms of prejudice and racism.
Melusi’s Everyday Zulu holds up a mirror that shows South African society in all its flaws and its sheer humanity. Most importantly, he shows the power of words and that there’s umzulu in all of us!
The healing power of life writing, one shared story at a time
This Is How It Is a “refreshing, poignant and wide-ranging” (Helen Moffett) collection of real life experiences: 52 stories, prose and poetry, that tell of a man who is anxious about an HIV test; a child with an alarming nose for gossip and a girl who is saved by the enemy in a war zone. Some of the writers are grieving the loss of a child or struggling with addiction, abuse, bullying or betrayal. Most of these writers have never been published before. They wrote these stories primarily to bear witness to their lives and the troubled times in which we live. Putting traumatic experiences down on paper can help people work through shame, guilt and fear, releasing them from the traps they lay. Writing is sometimes able to turn a painful incident into something more manageable, even beautiful.
Sharing stories can also heal both the writer and the reader. When we first meet a stranger, we make assumptions about them. When we hear of their life in their own words, we find that many of our negative assumptions are wrong. Often we discover that we are more alike than we are different. Our magnificent world is in trouble, much of it because we are not paying attention to what is right in front of us. When the facts don’t stir us to reconsider, story can. This anthology invites us to become curious and reflective rather than fearful and defensive. It encourages us to climb down from the ladder of hierarchy and competition and to join the circle of relationship and humanity by becoming vulnerable enough to share and listen to our own and each other’s half-hidden stories.
But equally importantly, Bongani Kona, 2016 Caine Prize finalist, reminds us: “We forget that the most daring thing we can do is to allow ourselves to be seen. To stand before the world and to say this is who I am. This is how it is.”
About THE LIFE RIGHTING COLLECTIVE: The Life Righting Collective (LRC) runs courses for anyone who wants to learn to write about their experiences. The approach promotes self-discovery, self-recovery and more effective communication. It raises funds to make courses available to those in need of sponsorship and to provide platforms for these life stories to be published. Sharing experiences with a wide readership can help reduce discrimination and promote mutual understanding. Visit the website: www.liferighting.com
When the Soweto uprisings of June 1976 took place, Sifiso Mxolisi Ndlovu, the author of this book, was a 14-year-old pupil at Phefeni Junior Secondary School. With his classmates, he was among the active participants in the protest action against the use of Afrikaans as a medium of instruction.
Contrary to the generally accepted views, both that the uprisings were ‘spontaneous’ and that there were bigger political players and student organisations behind the uprisings, Sifiso’s book shows that this was not the case. Using newspaper articles, interviews with former fellow pupils and through his own personal account, Sifiso provides us with a ‘counter-memory’ of the momentous events of that time.
This is an updated version of the book first published by Ravan Press in 1998. New material has been added, including an introduction to the new edition, as well as two new chapters analysing the historiography of the uprisings as well as reflecting on memory and commemoration as social, cultural and historical projects.
This collection brims with the imaginative, informative and comic personal narratives of Hedley Twidle. Twidle brings a sense of lightness, play and comedy to subjects that are often dealt with in predictable or self-righteous ways.
It chronicles South Africa during the ‘second transition’ – one in which the foundations of the post-apartheid settlement are being shaken and questioned in all kinds of ways.
Enemy Of The People is the first definitive account of Zuma’s catastrophic misrule, offering eyewitness descriptions and cogent analysis of how South Africa was brought to its knees – and how a nation fought back.
When Jacob Zuma took over the leadership of the ANC one muggy Polokwane evening in December 2007, he inherited a country where GDP was growing by more than 6% per annum, a party enjoying the support of two-thirds of the electorate, and a unified tripartite alliance. Today, South Africa is caught in the grip of a patronage network, the economy is floundering and the ANC is staring down the barrel of a defeat at the 2019 general elections. How did we get here?
Zuma first brought to heel his party, Africa’s oldest and most revered liberation movement, subduing and isolating dissidents associated with his predecessor Thabo Mbeki. Then saw the emergence of the tenderpreneur and those attempting to capture the state, as well as a network of family, friends and business associates that has become so deeply embedded that it has, in effect, replaced many parts of government. Zuma opened up the state to industrial-scale levels of corruption, causing irreparable damage to state enterprises, institutions of democracy, and the ANC itself.
But it hasn’t all gone Zuma’s way. Former allies have peeled away. A new era of activism has arisen and outspoken civil servants have stepped forward to join a cross-section of civil society and a robust media. As a divided ANC square off for the elective conference in December, where there is everything to gain or to lose, award-winning journalists Adriaan Basson and Pieter du Toit offer a brilliant and up-to-date account of the Zuma era.
Paul Kruger: Toesprake en korrespondensie van 1881–1900 probeer om die klem te plaas op minder bekende briefwisseling en optredes van Kruger om sodoende ’n verteenwoordigende beeld van staatspresident Kruger se werksaamhede en standpunte aan te bied. Die teks is deeglik toegelig met ophelderende voetnote. Verder is ’n algemene inleiding, agtergrondsinligting en -ontleding verskaf by elke toepaslike breër tydperk in Kruger se lewe tot 1900.
Die beeld wat van Kruger na vore kom uit ’n deeglike ontleding van veral sy minder bekende korrespondensie en toesprake, verskil dikwels ingrypend van dit wat oor ’n lang tydperk in publikasies oor hom aangebied is. Hierdie publikasie vervul daarom ’n belangrike behoefte: Dit stel die leser in staat om regstreeks deur die lees en bestudering van Kruger se standpunte tot eie en nuwe gevolgtrekkings te kom.
‘Miskien issit omdat poverty my define en nie die racial politics vannie land ie.’
Wit issie ’n colour nie is ’n versameling verhale oor grootword en die lewe in die buitewyke van die Kaapse Vlakte. Dit dek identiteit, rassepolitiek, sosio- ekonomiese kwessies en bruin kultuur, en bevraagteken die Suid-Afrika waarin ons ons bevind. Dit is gevul met galgehumor, rou eerlikheid en hartverskeurende vertellings van pogings om die lewe op die Vlakte te navigeer. Hierdie versameling is diep persoonlik en ’n ontstellend waar weergawe van die lewe aan die ander kant van die spoor, geskryf in Kaapse Afrikaans.
Bafana Republic And Other Satires is a selection of monologues from a series of one-person satirical revues. Using the 2010 FIFA World Cup as an entry point for satirical commentary, the sketches focus on various issues facing democratic South Africa: state 'vanity' projects, land issues, abuse of women and state capture.
In any deeply polarised society, satire provides an effective means for challenging audiences. Van Graan's potent mix of comedy, poetry and drama compels audiences to reflect on controversial topics in a non-alienating, thought-provoking and thoroughly entertaining way. The collection tackles themes of corruption, colonialism, violence against women, AIDS denialism, violent crime, racism and inequality head on. Readers or audience members cannot remain unaffected by the use of humour, exaggeration, irony and ridicule in the sketches to highlight social and political issues and human foibles. They will laugh and cringe and sometimes cry, but ultimately they will appreciate more deeply the beauty and humanity of their country, and perhaps feel recharged with hope.
The sketches in the collection come from six one-person revues:
The compilation can be used as monologues for exam purposes or as acting exercises for drama students, or selections can be made from the sketches to make up one-person shows of varying lengths.
Letters Of Alchemy is a journey which unveils various cycles of growth from the darkness of fear, grief and heartbreak to the light of love, self-awareness and empowerment - expressed through the art of poetry and prose.
This thought-provoking collection of words pulls the reader into new worlds of expanse bringing strong images, memories and feelings to mind resulting in a visceral adventure. For best results, savour each sentence and brace yourself for a heart- and mind-opening experience.
Shakeela Kingzley is a South African writer and filmmaker who has profound love for the arts. She received her BA Degree in Motion Picture Medium in 2010 and has since worked in the South African film industry and explored the world whenever adventure called her soul.
“Writing this piece of art was a beautiful journey in itself. In my mindfulness I discovered that I am a translator - when I receive the visuals I need to translate it into the English language as best I can so that when you read it you see it and feel it.” - Shakeela Kingzley
Arrested in 1962 as South Africa’s apartheid regime intensified its brutal campaign against political opponents, forty-four-year-old lawyer and African National Congress activist Nelson Mandela had no idea that he would spend the next twenty-seven years in jail. During his 10,052 days of incarceration, Mandela wrote hundreds of letters to unyielding prison authorities, fellow activists, government officials, and most memorably to his courageous wife, Winnie, and his five children.
Now, 255 of these letters, a majority of which were previously unseen, provide the most intimate portrait of Mandela since Long Walk to Freedom. Whether writing about the death of his son Thembi after a request to attend the funeral was ignored, providing unwavering support to his also-imprisoned wife, or outlining a human-rights philosophy that resonates today, The Prison Letters Of Nelson Mandela reveals the heroism of a man who refused to compromise his moral values in the face of extraordinary human punishment.
Ultimately, they position Mandela, along with Mahatma Gandhi and Martin Luther King Jr., among the most inspiring historical figures of the twentieth century.
Reflecting Rogue is the much anticipated and brilliant collection of experimental autobiographical essays on power, pleasure and South African culture by Professor Pumla Dineo Gqola, author of the bestelling Rape: A South African Nightmare.
In her most personal book to date, written from classic Gqola anti-racist, feminist perspectives, Reflecting Rogue delivers fourteen essays of deliciously incisive brain food, all extremely accessible to a general critical readership, without sacrificing intellectual rigour.
This groundbreaking, multi-genre anthology answers the question: what did the literary landscape look like in South Africa at the start of the twenty-first century?
It documents a slice of this landscape by bringing together the writings of over twenty contributors through literary critique, personal essays and interviews. The book tells the story of the seismic shift that transformed national culture through poetry and is the first of its kind to explore the history and impact of poetry by Black women, in their own voices. It straddles disciplines: literary theory, feminism, history of the book and politics – thus decolonising literary culture.
Our Words, Our Worlds covers expansive reflections: from the international diplomacy-transforming poem, ‘I Have Come to Take You Home’ by Diana Ferrus, to the pioneering publisher duduzile zamantungwa mabaso; from the self-confessed closeted poet Sedica Davids, to the fiery unapologetic feminist Bandile Gumbi; from the world-renowned Malika Ndlovu, to the engineer and award-winning Nosipho Gumede; from the formidable foursome Feela Sistah, to feminist literary scholars V.M. Sisi Maqagi and Barbara Boswell. The collective contributions are a testimony to the power of creativity and centrality of poetry in a changing society.
This book is an assertion of Black women’s intellectual prowess and – as Gabeba Baderoon puts it – black women’s visions of ‘a world made whole by their presence’.
The remarkable, and often touching, friendship between Winston Churchill and Jan Smuts is a rich study in contrasts.
In youth they occupied very different worlds: Churchill, the rambunctious and thrusting young aristocrat; Smuts, the ascetic, philosophical Cape farm boy who would go on to Cambridge. Brought together first as enemies in the Anglo-Boer War, and later as allies in the First World War, the men forged a friendship which spanned the first half of the twentieth century and endured until Smuts’s death in 1950. Richard Steyn, author of Jan Smuts: Unafraid of Greatness, examines this close friendship through two world wars and the intervening years, drawing on a maze of archival and secondary sources including letters, telegrams and the voluminous books written about both men.
This is a fascinating account of two remarkable men in war and peace: one the leader of the Empire, the other the leader of a small fractious member of that Empire who nevertheless rose to global prominence.
From Rupi Kaur, the top ten Sunday Times bestselling author of Milk And Honey, comes her long-awaited second collection of poetry.
Illustrated by Kaur, The Sun And Her Flowers is a journey of wilting, falling, rooting, rising and blooming. It is a celebration of love in all its forms.
Die gedigte handel onder meer oor 'n byna uitgestorwe plattelandse lewe met tradisionele gebruike en ambagte. Tog word dit haarskerp en klokhelder verwoord sodat ook die moderne stadsmens aanklank daarby kan vind. Maar hy skryf ewe meevoerend oor die stad (Kaapstad).
Daar is ook aktuele gedigte oor Suid-Afrikaanse toestande, tydlose verse oor die dood en prikkelende maar ook skreiende uitbeeldings van die liefde. Die verse het 'n eie, unieke klank en styl. Die minimalistiese woordgebruik is besonder suggestieryk en skep dikwels meerduidighede - betekeniseggo's wat naklinkend in die leser se kop bly draai.
Die beelde en klanke klou inderdaad aan jou soos knapsekêrels.
In this quite extraordinary sequence of poems, P.R. Anderson discombobulates and re-assembles the image and idiom of the various nations, landscapes and earthscapes of central South Africa.
From first peoples, to those who took and settled on their ancestral lands, and to those for whom that land would come ancestral, In a Free State encompasses and compresses centuries of human drama into a fleeting and temperamental poetic narrative.
Yet this is no drudge, nor is it a historical yarn. With an easy mastery of form and metre, coupled with swashbuckling metaphorical and -textual flourish, Anderson's new "music" is a bold and visionary work. A piece of South African poetry - and South African storytelling - unlike any other.
At the end of Fantastic Beasts and Where to Find Them, the powerful Dark wizard Gellert Grindelwald was captured in New York with the help of Newt Scamander. But, making good on his threat, Grindelwald escapes custody and sets about gathering followers, most unsuspecting of his true agenda: to raise pure-blood wizards up to rule over all non-magical beings.
In an effort to thwart Grindelwald's plans, Albus Dumbledore enlists Newt, his former Hogwarts student, who agrees to help once again, unaware of the dangers that lie ahead. Lines are drawn as love and loyalty are tested, even among the truest friends and family, in an increasingly divided wizarding world.
This second original screenplay from J.K. Rowling, illustrated with stunning line art from MinaLima, expands on earlier events that helped shaped the wizarding world, with some surprising nods to the Harry Potter stories that will delight fans of both the books and films.
(Please note: This is the screenplay edition, so it's written in a movie script format and not a novelized format.)
Although Olga Kirsch’s is the only Jewish voice in Afrikaans poetry, it is scarcely known among members of the South African Jewish community. Olga Kirsch was, after Elisabeth Eybers, only the second woman to publish a collection of poetry in Afrikaans.
The aims of this biography are to reverse this slide into obscurity and to show why her work is important not only in South Africa but also in Israel.
It does not only investigate Kirsch’s role as Afrikaans Jewish poet but also examines her as an example of a cross-cultural, multi-lingual immigrant poet. As such some of her English and Hebrew poetry are included in this work.
Told with the immediacy of a diary, which is where the book began, Patrick takes us on a journey to the highest mountain in the world, where one of the greatest tragedies in climbing history was about to unfold. Filled with photographs and sketches from his notebooks we become part of the Radio 702 team sent to cover the South African Everest Expedition of 1996. It would turn out to be the deadliest climbing seasons in the peak’s history.
Twenty years later the controversy around what truly happened on the mountain continues to rage. Conroy kept a meticulous diary and recorded many hours of radio communications between the climbers. Now, two decades later, his memoirs reveal a remarkable and untold story of what happened on the mountain that fateful year. Everest Untold includes hidden insights and never before revealed transcripts that shed new light on the 1996 disaster, including the mysterious disappearance of one of the South African team members in the death zone.
Conroy’s hidden story reopens the debate on the risks of high-altitude mountaineering and what it meant to a young democratic South Africa unaware of the dangers that lay ahead.
This volume uniquely draws together seven contemporary plays by a selection of the finest African women writers and practitioners from across the continent, offering a rich and diverse portrait of identity, politics, culture, gender issues and society in contemporary Africa.
Niqabi Ninja by Sara Shaarawi (Egypt) is set in Cairo during the chaotic time of the Egyptian uprising.
Not That Woman by Tosin Jobi-Tume (Nigeria) addresses issues of violence against women in Nigeria and its attendant conspiracy of silence. The play advocates zero-tolerance for violence against women and urges women to bury shame and speak out rather than suffer in silence.
I Want To Fly by Thembelihle Moyo (Zimbabwe) tells the story of an African girl who wants to be a pilot. It looks at how patriarchal society shapes the thinking of men regarding lobola (bride price), how women endure abusive men and the role society at large plays in these issues.
Silent Voices by Adong Judith (Uganda) is a one-act play based on interviews with people involved in the LRA and the effects of the civil war in Uganda. It critiques this, and by implication, other truth commissions.
Unsettled by JC Niala (Kenya) deals with gender violence, land issues and relations of both black and white Kenyans living in, and returning to, the country.
Mbuzeni by Koleka Putuma (South Africa) is a story of four female orphans, aged eight to twelve, their sisterhood and their fixation with death and burials. It explores the unseen force that governs and dictates the laws that the villagers live by.
Bonganyi by Sophia Kwachuh Mempuh (Cameroon) depicts the effects of colonialism as told through the story of a slave girl: a singer and dancer, who wants to win a competition to free her family.
Each play also includes a biography of the playwright, the writer's own artistic statement, a production history of the play and a critical contextualisation of the theatrical landscape from which each woman is writing.
Dead Zone takes the reader on a journey around the world, travelling from the rainforests of the Amazon to the Midwest plains of America; the palm plantations of Sumatra to the volcanic diversity of Galapagos; the grasslands of England to the Malaysian jungle. In a global safari focussing on some of the world’s most endangered species, it exposes a little known but key factor in their demise: the cheap meat on supermarket shelves. This sequel to Farmageddon lays bare the myths that prop up factory farming and shows what we can do to save the planet with healthy food.
Some may see intensive farming as a necessary evil. After all, we need to produce more food for a growing global population and are led to believe that squeezing animals into factory farms and growing crops in vast, chemical-soaked prairies, is efficient and leaves land free for wildlife – but this is far from the truth. With the limits of the planet’s resources now seemingly within touching distance, awareness is growing about how the well-being of society depends on a thriving natural world. Through the lens of a dozen iconic and endangered species, Dead Zone examines the role of industrial farming in their plight and meets the people doing something about it.
Philip Lymbery is the CEO of leading international farm animal welfare organisation, Compassion in World Farming, and a prominent commentator on the effects of industrial farming.
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