first published here: http://jazztimes.com/articles/143381-taylor-ho-bynum-on-mongezi-feza-and-barbara-donald
October 22, 2014
October 11, 2014
this review was first published here: http://www.netwerk24.com/vermaak/2014-10-11-geheimenisse-van-komponis-opgediep?vc=93f74b6153866c9ddd6d7eaa28d691fc
October 8, 2014
Laduma knew it was better to take than give. Better to steal than receive. But Laduma did not know how to get started. Then Dorothy put a spanner in the works of his great contemplation. She organised a job for him. Laduma is nonplussed. How did she manage that? I am Laduma the Unemployable. But she pleads with him to take the job. At the 7-11 in Four Ways.
“How will I get there?”
“That’s not the point. Please take the job.”
Dorothy gives him the R7,50 taxi fare. It is a forty minute ride into the depths of the northern suburbs. The mini-bus taxi is bursting at its seams, filled with those misfortunate enough to have jobs, on their way to the poorly paying prisons that entitle the workers their claim to a “class” of sorts. But the taxi is also bursting with the rough gritty rythmn of Mzeke Zeke’s kwaito hit S’Guqa Ngamadolo. Laduma is normally immune to the pull of popular music. He prefers silence and the complex syncopations of the myriad thought patterns inside his head to the banal four four beats of the marketplace, but Mzeke Zeke, the masked bandit of kwaito, has such an unashamedly sepulchral grain in his chanting voice that Laduma is compelled to smile, and then, slowly, to sway his mantis body from side to side, along with the other travelling workers. Laduma raises his arms and looks out at the world through a frame made up of the bony fore fingers and thumbs of both hands. When these fingers touch and the left and right hands are allowed to communicate, to inform each other of the other’s activities, Laduma experiences a sudden burst of transgressive power. He is ignoring Christ’s admonition to be humble, he is denying his mother’s Zionist christian tradition of self-abnegation in the face of the almighty creator. Laduma himself is now the Creator. He is the lord of this frame. Only he decides where this frame ends and the world begins. His own perception is his kingdom, he rules his own thoughts and his many senses, masters them. Laduma grins broadly and although his fellow travellers are not privy to the distinguished train of his thought they know a grin of enjoyment when they see one. The grin infects the other members of this elite taxi coven and spreads like a virus, hectically. By the time Laduma alights, deep in the north of Jozi, there is a feeling of communion in the taxi cab that Laduma would describe as congregational, were he not disparaging of those believing individuals who still needed to congregate. Laduma the mantis spirit is his own congregation, wherever he is are his Angels gathered, his body is the house of his Lord, himself.
The taxi continues to Rivonia, pumping its urban mix of house and township rhythms, loudly, rudely, carrying the slaves to their masters, but not without rampant tendrils of dissent uncoiling in the very texture of those grating and jarring kwaito rhythms that are codified exhortations to the slave people to stand up and assert their destiny, to reclaim their land and their power. Laduma stands still for a while watching the stars undulate as they listen to the Abagan Dub mixed by DJ S’bu. The stars understand the oral history of kwaito’s description of the lives that black people are leading in Mzansi. The stars are not fooled by Einstein’s drab prediction that nothing can travel faster than the speed of light. Laduma grins at the dancing stars, clicks his tongue and clicks his fingers and gets an instantaneous response from on high. Kwaito moves faster than the speed of light. It moves with the speed of who-feels-it-knows-it. The stars know this. The moon knows this. Dirty stinking Jozi-love knows this. Iqiniso! The truth! Laduma laughs as he trudges towards the centre where the 7-11 is situated. He is laughing because he knows what he feels and he feels what he knows and it is enough! This knowledge completes him. This feeling repletes him.
excerpted from the novel laduma by a.k. thembeka
October 6, 2014
September 29, 2014
September 28, 2014
September 24, 2014
September 18, 2014
keep reading this article here: http://www.litnet.co.za/Article/tien-vrae-stephanus-muller-oor-nagmusiek
September 12, 2014
CONFERENCE: COMPOSITIONAL AESTHETICS AND THE POLITICAL
Call for Papers / Performances
Contemporary Music Research Unit
Department of Music, Goldsmiths, University of London
20th – 22nd February 2015
The increasing growth of the field of Music and Politics has recently seen quite a few turns in Music Studies, materialized in articles, books, and journals. The natural tendency to themes such as feminism, post-colonialism, the culture industry, war, censorship, resistance, etc., have irreversibly affected thinking about music and music-making of several genres, including that of ‘contemporary classical’. However, perhaps as a reaction to traditional musicology (with its insistence on the musical work and on authorship), the study of compositional practices against contemporary political dimensions, has hitherto received less scholarly attention. In the—ostensibly distant—sixties, figures like Xenakis or Nono represented two typical examples of politicized compositional attitudes: the former’s radical abstraction was a coup against the dominance of serialism, the latter’s thematization of textuality and location constituted gestures of resistance. Their epigones still produce work that challenges traditional conceptions (including those of their progenitors); this symposium’s foremost aim is to advance such contemporary practices. One such example is the impact that (free) improvisation has had on recent composition. To the extend that improvisation is the correlative of composition (as ‘material’, listening attitude, style, etc.), this symposium aims to examine both creative practices in their political dimension—either explicit or implied. Thus, this gathering will focus primarily on practice-based research, its underlying politics, the explicit or implicit theme of the political, and how these translate into to the praxis of composition.
The following is a list of suggested themes, but these should only be taken as indicative springboards. However, please note that these will be considered against the symposium’s focus on compositional praxis.
Problematics of the musical work
Absolute music, programmatic music and claims to representation
Progress, tradition and originality
Politicising the aesthetic / aestheticising the political
Composition & ecology
Crisis in politics & aesthetics
Feminism & queer theory
Situationism & psychogeography
Contemporary composition, improvisation and activism
The politics of notation
Proposals of up to 300 words are invited for 20 minute presentations with 10 minutes questions. Please also include a short biographical note of around 100 words.
In addition, proposals involving practice are encouraged. These may take the form of a 30-minute presentation split between practice, speaking and questions as desired by the proposer/performer, or pieces which could be performed as concert items. In the case of these presentations, please supply a full list of equipment needed for the presentation/performance.
Details via Golden Pages:
Please send proposals and indications of interest to either Professor Roger Redgate: email@example.com, Dr Dimitris Exarchos: firstname.lastname@example.org, or Alistair Zaldua: email@example.com
Deadline for proposals: 29th of September 2014
Notifications of result: October 2014
July 22, 2014
July 18, 2014
keep reading this article here: http://african78s.wordpress.com/2014/07/17/focus-no-15-dudu-pukwana-on-78/
July 15, 2014
July 7, 2014
June 23, 2014
June 16, 2014
June 12, 2014
keep reading this article here: http://www.mediaclubsouthafrica.com/culture/3869-mcgregor-s-music-captures-the-african-village
June 5, 2014
June 4, 2014
June 1, 2014
more info is here: http://stage16.aquaonline.com/Gallery/Blog.aspx