- ZA MEDU MEDU-4-4.5-4.5.2
- Subsérie
- 1982
Parte de 4-MEDU CULTURAL WORK
Shades of Change ticket and flyer for Medu play with a portrait of Bochana Mokwena, artwork by Judy Seidman.
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Parte de 4-MEDU CULTURAL WORK
Shades of Change ticket and flyer for Medu play with a portrait of Bochana Mokwena, artwork by Judy Seidman.
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Parte de 4-MEDU CULTURAL WORK
Copy of a photograph by Mike Kalin, Gaborone, Botswana.
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Parte de 4-MEDU CULTURAL WORK
Drawing of Florence Matamela at Federation of South African Women launch in 1954. T-shirt design was made by Judy Seidman. The drawing is to mark 30th anniversary of launch of Federation of South African Women (FEDSAW).
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Membership Cards for the Culture and Resistance Conference.
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Bringing the Struggle into Focus
"There is an undeniable responsibility of photographers in South Africa to use photography as a medium to establish a democratic country". The author argues that a sensitivity to everyday experiences is key to realising this responsibility. The paper deals with the "role of culture in photographic communication, the formation of our [South Africa's] resistance culture, our country's uniqueness and how this affects the level of awareness of people, the relevance of technique and the outlets for committed photography".
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Critical Perspectives: The Role of the Visual Artist
What is the role of the visual artist in the struggle and how is it judged as "art"? Gavin Jantjes discusses how visual art should challenge the interiorisation of Western artistic evaluation (and its pressures on artistic quality) and rather appeal to instill in ones own community a meaningful interest in both their culture and art. He regards black artists as being sidelined on the global stage and urges artists to fight racism and eurocentricism in art.
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Neccessity of a National Art for Liberation
Art should be a cognitive process, rather than transfer of skills and technique. In the context of an artistic culture which is afflicted by oppression and exploitation, art must be a process which people can relate to, identify with and be a part of. The article argues that art must teach people, "in the most vivid and imaginative ways ... how to take control of their own experience and observations" and how to link these to a just and free society.
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Strategies for an Independent Radical Cinema
Keya Tomaselli proposes strategies for independent and radical cinema to grow in South Africa, especially considering the oppressive context of Apartheid. He argues for "Ter Cinema", a radical tradition of filmmaking which would create films for the oppressed majority. Tomaselli critiques a range of films and proposes new directions for filmmaking, starting with more engaged and radical film departments in universities. He reflects that cinema has often been called the "dream factory" and that "dreams are to be found in all levels of filmmaking, including those productions which set out to challenge the status quo".
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Parte de 6-MEDU MEMBER COLLECTIONS
Original solidarity file folder for Botswana orientation center, Gaborone, designed by Judy Seidman (Medu).
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Parte de 6-MEDU MEMBER COLLECTIONS
Uncorrected first draft of Albie Sach's book titled murals of Maputo sent to Medu for comments in 1981.
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