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These `interventions’ are spurred by what in South Africa today
is a buzz-phrase: social cohesion. The term, or concept, is bandied
about with little reflection by leaders or spokespeople in
politics, business, labour, education, sport, entertainment and the
media. Yet, who would not wish to live in a socially cohesive
society? How, then, do we apply the ideal in the daily round when
diversity of language, religion, culture, race and the economy too
often supersedes our commitment to a common citizenry? How do we
live together rather than live apart? Such questions provoke the
purpose of these interventions. The interventions – essays, which
are short, incisive, at times provocative – tackle issues that
are pertinent to both living together and living apart:
equality/inequality, public pronouncement, xenophobia, safety,
chieftaincy in modernity, gender-based abuse, healing, the law,
education, identity, sport, new `national’ projects, the role of
the arts, South Africa in the world. In focusing on such issues,
the essays point towards the making of a future, in which a
critical citizenry is key to a healthy society. Contributors
include leading academics and public figures in South Africa today:
Christopher Ballantine, Ahmed Bawa, Michael Chapman, Jacob Dlamini,
Jackie Dugard, Kira Erwin, Nicole Fritz, Michael Gardiner, Gerhard
Maré, Monique Marks, Rajend Mesthrie, Bonita Meyersfeld, Leigh-Ann
Naidoo, Njabulo S. Ndebele, Kathryn Pillay, Faye Reagon, Brenda
Schmahmann, Himla Soodyall, David Spurrett and Thuto Thipe.
This is the updated and substantially expanded second edition of
Christopher Ballantine's classic Marabi Nights, which offers a
fascinating view of the triumphs and tragedies of South Africa's
marabi-jazz tradition. Based on conversations with legendary
figures in the world of music - as well as a perceptive reading of
music, the socio-political history, and social meanings - this book
is one of sensitive and impassioned curatorship. New chapters
extend the book's in-depth account of the birth and development of
South African urban-black popular music. They include a powerful
story about gender relations and music in the context of forced
migrant labor in the 1950s, a critical study of the legendary
Manhattan Brothers that uniquely positions their music and words in
relation to the apartheid system, and an account of the musical,
political, and commercial strategies of the local record industry.
A new afterword looks critically at the place of jazz and popular
music in South Africa since the end of apartheid, and argues for
the continued relevance of the robust, questioning spirit of the
marabi tradition. The book includes an illustrative CD of historic
sound recordings that the author has unearthed and saved from
oblivion.
First Published in 1984. This is the second volume in a series on
musicology and related areas edited by F. Joseph Smith. Deciphering
the specific social characteristics of music has long lagged behind
the analytical dissection of musical composition and biographical
musicology. The essays in this volume have been produced in an
attempt to redress the balance. The sociology of music as examined
here is an investigation into the ways social formations come
together in musical structures. These essays specifically address
the problem of our neutralized music consciousness, the separation
of music from the social context and the artificial insulation of
musical understanding from the realms of social meanings. One theme
in these essays concerns the struggle against ideological
distortions arising from the insulation of music from its
sociological context. The author argues that there is a stronger
connection between music and society than is generally assumed.
Deciphering the specific social characteristics of music has lagged
behind the analytical dissection of musical composition and
biographical musicology. These essays address the issue. The
sociology of music as examined here is an investigation into the
ways in which social formations come together in musical
structures. The essays specifically address the problem of our
neutralized musical consciousness, the separation of music from its
social context and the artificial insulation of musical
understanding from social significance. A particular theme in this
work concerns the struggle against ideological distortions arising
from the insulation of music from its sociological context. The
author argues that there is a stronger connection between music and
society than is generally assumed.
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