- ZA MEDU MEDU-4-4.1-4.1.2
- Subsérie
- 1981
Parte de 4-MEDU CULTURAL WORK
Various exhibition materials by individuals and Medu Collective.
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Parte de 4-MEDU CULTURAL WORK
Various exhibition materials by individuals and Medu Collective.
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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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Our grief will fuel our struggle
Parte de 2-MEDU POSTERS
Artists: Judy Seidman and Thami Mnyele
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SWAPO will make the sun rise...
Parte de 2-MEDU POSTERS
Artists: Thami Mnyele
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Parte de 4-MEDU CULTURAL WORK
An art exhibition catalogue titled 'Statements in spring' by Thami Mnyele and Medu Collective at National Museum and Art Gallery, Gaborone, Botswana, 3 to 12 September 1980.
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Parte de 1-ORGANISATIONAL BACKGROUND
This statement is made for 9 August 1981 celebrating twenty fifth anniversary of women's march in Pretoria, written by Medu collective. A reflection of women who took to the streets during that event was a show piece of a militant struggle against fascist rule in South Africa.
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The courage of the youth ensures our victory
Parte de 2-MEDU POSTERS
Artists: Heinz Klug
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The people vote for Nelson Mandela
Parte de 2-MEDU POSTERS
Artists: Judy Seidman
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Newsletter 1981, Vol. 3, No. 3, Ngugi wa Thiong'o on culture
Parte de 3-MEDU NEWSLETTERS
What is the place of artists, cultural activists and writers in the struggle against Apartheid? This edition of the Medu Art Ensemble newsletter, the last of 1981, shares experiences of artists and their range of cultural activities. The issue consists of poetry, articles, short stories and book reviews. The first poem is about the silences imposed by Apartheid, composed by John Donne. Ngugi Wa Thiong'o's article on "Education for a national culture" focuses on the importance of understanding your background and culture, particularly in the context of a liberation struggle. It is certain that artists have a role to play in this process! A short story about "The New Place" by Mongane Serote focuses on an experience of forced removals and resettlement that many black South Africans faced. Front page graphic by Mike Kahn on silkscreen.
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Art and Revolution in South Africa: The Theatre of Athol Fugard
In this paper, it is argued that the theatre of Athol Fugard very rarely engages with the experiences of the proleteriat and the oppressed. The author argues that while Fugard did manage to transcend racial categories in his early work and engaged extensively with the scene and identities of the black working classes, he has failed to consistently produce meaningful plays which engage these audiences.
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