Social and political relations are central to land and agricultural production. Unlike in the resettlement areas, where new institutions and relations had to be built following land reform, those in the communal areas draw on longer traditions. Like in the resettlements, institutions are often hybrids, combining ‘traditional’ (such as chiefs and headmen) and ‘modern’ (such as village committees and councillors). In the communal areas, party officials and war veterans are less of a feature, although very often party structures have melded with other arrangements; something that is also happening in the resettlements twenty years on.
Informal institutions: the social fabric of rural life
These officially-recognised institutions may however not be the most important. In fact, churches were often referred to as the most important institution, providing support in various ways. Across our sites, the presence of evangelical churches is noticeable. In Mwenezi, the top two churches attended by households…
View original post 1,144 more words
Vatiswa Ndara’s open letter to the Minister of Sport, Arts and Culture https://www.iol.co.za/entertainment/tv/local/vatiswa-ndaras-open-letter-to-nathi-mthethwa-stop-exploiting-actors-34292050 was long overdue. Set aside the specifics of the actor’s beef with Ferguson Films, and the general picture she describes resonates across all the creative industries, including music.
No doubt some fresh idiot at the next funeral will repeat the question, “Why do artists die in poverty?” (The person to whom she addressed her letter is very fond of asking it.) The answer is twofold.
First, artists are part of the people, and most South Africans still live and die in poverty. That’s a much bigger discussion, and one we have postponed for far too long.
Second, artists are also workers, and the labour, contract, and conditions of production issues Ndara raised make the situation even worse.
People outside the industry are often fooled by headlines on the showbiz pages about an artist’s fee for…
View original post 641 more words
“When the Ivory Coast poet Bernard B. Dadie’ writes: “Stars in profusion, pure as the eyes of Sages, will be as brilliant as the destiny of men.” this is not a description of a future occurance, but an invocation of it. The stars are to shine. The event is created in the vision. The vision is always an imperative addressed to time; the future is commanded how it is to be. For ‘time-and-space-in-one’, Hantu, constitutes a force of its own and is as such, like all forces, subject to the command of the muntu. Thus when he puts his vision even back into the past, the poet is commanding time, as if the order were already executed and irrevocably accomplished. In the alternation of future, imperfect and present, the incantation acquires its greatest force and becomes a single imperative:
Farmer strike the soil with your daba:
in the soil there…
View original post 73 more words
I have just been listening to brilliant music of the late Sisa Sopazi for the first time. It is incredible how I have always heard his name mentioned by his peers, but have never really listened to him. I was really moved by the songs Ekomani, Intlombe and the cleverly titled The Sight of Sound.
Please look for this name. He may be gone, but he will hardly be forgotten by those who had a chance to hear his sound.