A list of the various artists who produced and displayed work at the Art Toward Social Development Exhibition. It includes a list of the artists, photographers and poster makers and a brief background of these cultural workers.

The opening remarks of Art Towards Social Development Exhibition were delivered by Thami Mnyele on 9 June 1982. He gave an idea of the structure of the exhibition; a collection of paintings, sculptures and photographs would be displayed. The second part will be a symposium/festival held on the 5 July to the 9 July 1982. He also mentioned that symposium/festival would be dealing with literature and performing arts such as music, film, theatre and dance. This exhibition is a step towards being hopeful and practical about creating an alternative for artists in South Africa. The main question posed at the exhibition is: how to cultural workers and artists partake in the struggle for national liberation and self determination?

The title of this Medu special edition is "No to the White Republic, Yes to the People's Republic". While PW Botha held celebrations for the anniversary of the Apartheid republic, Medu used this edition to say "Stop the Republic Day Festival". Bachana Mokwena's article on the 20th anniversary of the "bloodthirsty republic" gives a strong historical background to the processes of the republics formation, and the united opposition against it. Further, John Donne writes about Grigori Oganov's insight into the relationship between culture and resistance and between art, artists and their communities. Artworks by Thami Mnyele and Judy Seidman are included throughout the publication, including a sharp and graphic description of black life in South Africa entitled "Fragments: A Brief Comment on Black Lives in South Africa" by Thami Mnyele. Front page graphic by Judy Seidman and the Medu Art Collective.

The title of this Medu special edition is "No to the White Republic, Yes to the People's Republic". While PW Botha held celebrations for the anniversary of the Apartheid republic, Medu used this edition to say "Stop the Republic Day Festival". Bachana Mokwena's article on the 20th anniversary of the "bloodthirsty republic" gives a strong historical background to the processes of the republics formation, and the united opposition against it. Further, John Donne writes about Grigori Oganov's insight into the relationship between culture and resistance and between art, artists and their communities. Artworks by Thami Mnyele are included throughout the publication. Front page graphic by Judy Seidman and the Medu Art Collective.

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.

Men, women, the youth and children from all sections of the South African society, from all colours, through various activities, this year, stated clearly their rejection of the racist republic. This edition of Medu adds artistic expression to the struggle against Apartheid through the poetry of Mongane Serote and James Pitse. Pitse's poem entitled "Writing on the Wall" speaks about an event in 1981 when a white women shot and killed a black worker. The poem's constant refrain "writing is on the wall" speaks to the absolute fury that people have towards Apartheid and the collective clarity that it should be destroyed. This edition also reflects on the role of culture in the struggle through articles by Judy Seidman and Robert Moloi as well as through book reviews by John Donne and Mongane Serote. Front page graphic by Gordon Metz on lithograph.

The central thrust behind this newsletter by the Medu Art Ensemble is the need to do art collectively and with a consciousness about community. The poetry section includes "Out of the faceless ghettos" by Bachana Mokwena. In this poem, his constant refrain to "Momma" reflects on the personal and structural pain of Apartheid through alternating between the words "momma", "mother" and "motherland". Here he laments the long history of racial oppression, the scars on Momma's back and the near-freedom which he grasps. A short story by Tebogo Mosabako entitled "Moshupa Story" relays a story of a young man in Moshupa Botswana, who through an act of goodwill receives care and reciprocity. In the section "Art Review", Dimakatso Dimakatso reviews Penny Miller's "Myths and Legends of Southern Africa", which, it is argued, reinforces the racist myths and legends of southern Africa. Es'kia Mpahlele's "Chirundu", a novel about the "entire process of life" in an (un-named) newly independent African state, is reviewed by Njabulo Ndebele. Each of these artforms presented in this edition speak to community, change, resistance and creativity.

Cultural Bodies are a means for artists to learn from and communicate with their communities. How is it done? This edition of Medu opens discussion on the inter-communication between artists and communities. To this end, a "Graffiti Page" has been added to allow for public comments on Thami Mnyele's exhibition, which was held at the Gaborone Museum. Critical artistic reflection is included in this issue through reviews of the art of Thami Mnyele, Maselwa Malatji, Bachana Mokwena and Dennis Brutus. Like all Medu Newsletters, this includes exciting poetry by Mongane Serote and Keorapetse Kgositsile. Front page graphic by Heinz Klug on lithograph.