Performance of Woza Albert in Gaborone hosted by Medu.

Volume five number two magazine includes culture and resistance festival that took place in Gaborone, six stories by different writers, poetry by Frank Chipasula, Andries Oliphant. Photographs of various artists such as Hugh Masikela, Abdullah Ebrahim, Mongane Serote, photographers including Lesley Lawson, Peter Mckenzie and Paul Weinberg who later became members of 'AFRAPIX' which was focusing on social documentary photography.

A tribute to Thami Mnyele was compiled by Department of Sport, Recreation,Arts and Culture. The booklet covers his lifetime and work that he was involved in.

An exhibition catalogue at Warren Siebrits Gallery, Rosebank in 2006. The catalogue has some of Medu posters.

The night keeps winking , poem by Mongane Serote and artwork was done by Thami Mnyele and was published by Medu in Gaborone in 1982.

Pamphlet of Thami Mnyele and Medu Art Ensemble Retrospective at Johannesburg Art Gallery. It covers topics about Thami Mnyele's biography, various Units of Medu which includes the relevance and commitment of Medu that provided training workshops in a range of arts skills including creative writing, theatre, music, photography, film and graphic art. Medu had The Graphics Unit which was responsible for producing Medu newsletters and posters with political messages. in addition, the Publication and Research Unit as a centre of Medu to contact with South African arts groups.

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

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".

This is the original draft of the article by Thami Mnyele for Staffrider in 1984. He explains how Bongiwe Dlomo's exhibition at the Botswana Museum and Gallery showcases the growth of art in South Africa at the Bostwana Museum and Art Gallery. Mnyele stresses that visual artists in his country [South Africa] should take action or express their thoughts about their struggle - a failure to do so might imply the grave of ignorance that could break their lives as people. Mnyele argues that the country is in need of of new calibre of cultural worker, one who is committed to their community and to struggle in both visual arts and song. In conclusion, Mnyele quoted the call that was made at the gathering of the Art Toward Social Development Exhibition and Culture and Resistance Symposium in 1982: "Forward with the creation of a new calibre of cultural worker!"

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.