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.

Membership Cards for the Culture and Resistance Conference.

Information page given to conference delegates giving details of the rules, meal arrangements, venues and a map of the conference site.

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.

This is the first issue of 1983. This edition, the first since the Culture and Resistance Conference, aims to prioritise the work of local artists. The edition consists of Medu Art Ensemble interviewing John Selolwane, a guitarist for the band Kgalagadi in Botswana, who has a wide experience of playing music in various parts of Africa. John Donne's poem, "After Maseru", follows the Maseru Raid on 9 December 1982 where 42 people suspected of being activists and members of the ANC were killed. Donne gives a sense of the ignorance and apathy of many South Africans to this gruesome massacre by the Apartheid government. There is also a review of the photographic exhibition "Art Towards Social Development" by Tim Williams. He showceses photographs that capture the "cultural reality of Apartheid" and "the vulerability of South African fascism". A second photographic exhibition "Portrait of people", a graphic record of the South African liberation struggle, is reviewed in this issue. It is explained that history of the people is incomplete without pictorial records of the people who made that history. Another interesting piece is an article about culture and resistance in South Africa by Keorapetse Kgositsile. The author explains that the determination and commitment to life which is reflected in arts and cultural resistance is not as new a development in South Africa as some people might think. Front page graphic by Mike Kahn on silkscreen print.

The theme of poetry and music is about the world-wide and age-old oppression. It is a participation of different countries such as South America, Europe and Southern Africa.

Performance of Woza Albert in Gaborone hosted by Medu.

Copy of a photograph by Mike Kalin, Gaborone, Botswana.

Fresh footsteps is a play that is developed by four women who are Medu members, Theresa Devant and Lulu Emmig. The play is about South African liberation struggle affected women living in Botswana and the issues facing them as women, the workshop facilitation by Mongane Serote.

Medu collaborated with the Botswana National Museum and Art Gallery to design an art handbook for teachers as part of education. The handbook was designed by Ellen Forrester on behalf of Medu and used in Botswana schools.