- ZA MEDU MEDU-6-6.1
- Série organique
Fait partie de 6-MEDU MEMBER COLLECTIONS
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189 résultats avec objets numériques Afficher les résultats avec des objets numériques
Fait partie de 6-MEDU MEMBER COLLECTIONS
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Plays during the Culture and Resistance Conference
Fait partie de 5-CULTURE & RESISTANCE CONFERENCE 1982
Photo of plays during the Culture and Resistance Conference taken by Mike Kahn.
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Hugh Masekela performing during the Culture and Resistance Conference
Fait partie de 5-CULTURE & RESISTANCE CONFERENCE 1982
Photo of Hugh Masekela playing his trumpet during the Culture and Resistance Conference taken by Mike Kahn.
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Fait partie de 5-CULTURE & RESISTANCE CONFERENCE 1982
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Fait partie de 5-CULTURE & RESISTANCE CONFERENCE 1982
This document, composed by the Medu Art Collective, is a political input calling for a cultural boycott against Apartheid. This boycott aims at foreign artistic or cultural groups touring South Africa, boycotting the Apartheid government's cultural events and for progressive organisations to collectively and diligently organise these boycotts against Apartheid.
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Fait partie de 5-CULTURE & RESISTANCE CONFERENCE 1982
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Fait partie de 5-CULTURE & RESISTANCE CONFERENCE 1982
Role of Culture in the Process of Liberation
Fait partie de 5-CULTURE & RESISTANCE CONFERENCE 1982
Culture and liberation are intimately related. Life, according to the authors, is a process of struggle to reach higher levels of civilisation, a process in which art is deeply embedded. The struggle against Apartheid and different forms of colonial violence is one which is intertwined with culture and artistic expression. Even once equality is reached within society, a further cross-pollination of cultural ideas and forms will occur leading to a richer, popular and more universal culture.
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Relevance and Commitment: Apprentices of Freedom
Fait partie de 5-CULTURE & RESISTANCE CONFERENCE 1982
Nadine Gordimer writes this insightful paper on the key concepts of "relevance" and "commitment" in relation to black and white writers. She argues that black writers write from their communities and have daily lives which are embedded within relevant contexts. So too, their commitment to black liberation is innate. She suggests that white writers ought to break out of white value systems and a false consciousness to create relevant art and to openly admit that their experience as being white is of a different order to being black. These are the imperatives which both black and white writers face. The whole aim of art, in its attainment of truth and essence, requires the white writer to attain a true consciousness so that both black and white writers may work for the same end.
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Neccessity of a National Art for Liberation
Fait partie de 5-CULTURE & RESISTANCE CONFERENCE 1982
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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