- ZA MEDU MEDU-5-5.1-5.1.4
- Subserie
- 1982
Membership Cards for the Culture and Resistance Conference.
Sin título
Membership Cards for the Culture and Resistance Conference.
Sin título
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".
Sin título
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.
Sin título
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.
Sin título
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".
Sin título
Parte de6-MEDU MEMBER COLLECTIONS
Original solidarity file folder for Botswana orientation center, Gaborone, designed by Judy Seidman (Medu).
Sin título
Minutes of Graphics Unit Meeting
Parte de1-ORGANISATIONAL BACKGROUND
Sin título
Minutes of Publishing and Research Unit
Parte de1-ORGANISATIONAL BACKGROUND
Sin título
Minutes of Publishing and Research Unit
Parte de1-ORGANISATIONAL BACKGROUND
Sin título
Pre-Seminar Paper from P & R: Suggestion for a 1982 Theme
Parte de1-ORGANISATIONAL BACKGROUND
This pre-seminar paper from the Publishing and Research Unit entitled "Opening the Doors of Culture" suggests ideas for the a paper to be presented at a seminar in 1982. It gives reflections on how to bring culture to the people and how to use it as a tool for resistance. Handwritten notes on the paper.
Sin título