Uncorrected first draft of Albie Sach's book titled murals of Maputo sent to Medu for comments in 1981.

Original solidarity file folder for Botswana orientation center, Gaborone, designed by Judy Seidman (Medu).

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.

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.

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.

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.

In this paper, Barry Gilder argues that it is impossible for musicians to be separate from the struggle against Apartheid in South Africa. He suggests that musicians have two options; to be part of the struggle against Apartheid as "revolutionaries who make music" or as musicians who participate in the "revolution as musicians". Musicians can fight Apartheid through holding benefit concerts, creating their own record labels, organising into a collective musical organisation and boycotting the Apartheid state. These methods of resistance and artistic expression, the author argues, will all contribute to a necessary and genuinely popular and progressive musical culture.

Is the concept of "black poetry" valid? James Matthews argues that black poetry has become a powerful force in South Africa. He suggests that poetry by and about the black majority is locally grounded and people no longer look toward America for such inspiration. Matthews draws links between black poetry, black consciousness and black power.