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.

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".

What is a progressive song? In this paper entitled "Song and Struggle", Muff Andersson argues that musicians (primarily lyrical musicians) should write songs that "keep the cogs of the struggle moving on". This can be done through writing progressive songs or ensuring that a communities' consciousness is reflected in a song and its ideas.

The black writer holds a key position in liberating South Africa. Richard Rive believes that black writers personalise individual experience and that this plays a role in showing what society was, what it is and what it is heading towards. Rive argues that black writers owe allegiance to their own writing, their society and to their humanity.

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.