Wrestling with the present, beckoning to the Past: Contemporary Zulu radio drama

Journal of Southern African Studies

Volumn 26, Issue 2, 2000, Pages 223-237

  Gunner, Liz ^a  

^a UNIVERSITY OF KWAZULU NATAL   (South Africa)

Author keywords

[No Author keywords available]

Indexed keywords

APARTHEID; LANGUAGE; MEDIA ROLE; RADIO;

SOUTH AFRICA;

EID: 0034031344     PISSN: 03057070     EISSN: None     Source Type: Journal    
DOI: 10.1080/03057070050010084     Document Type: Article

References (67)

1. E. Rosenthal, You Have Been Listening ... A History of the Early Days of Radio Transmission in South Africa (Johannesburg, 1974), p. 97.
2. D. Coplan, In Township Tonight. Soulh Africa's Black City Music and Culture (London, 1985) p. 160; H. Tracey and K.E. Masinga, Chief Above and Chief Below (Pietermaritzburg, 1945).
3. D. Coplan, In Township Tonight. Soulh Africa's Black City Music and Culture (London, 1985) p. 160; H. Tracey and K.E. Masinga, Chief Above and Chief Below (Pietermaritzburg, 1945).
4. Interview, Masonto Buthelezi, Head of Radio Drama, UKhozi FM, with Liz Gunner and Wiseman Masango, Durban, SABC, 4 June 1999.
5. R. Carver, 'South Africa', in R. Carver and A. Naughton (eds), Who Rules the Airwaves? Broadcasting in Africa (London, 1995), pp. 76-98.
6. Fuchs quoted in Carver, 'South Africa', p. 78.
7. See D. Coplan, 'The African Musician and the Development of the Johannesburg Entertainment Industry, 1900-1960', Journal of Southern African Studies, 6, 1 (1979), p. 149; In Township Tonight, p. 194. On State control and the media in South Africa see also R. Nixon, Homelands, Harlem and Hollywood: South African Culture and the World Beyond (New York, 1994).
8. See D. Coplan, 'The African Musician and the Development of the Johannesburg Entertainment Industry, 1900-1960', Journal of Southern African Studies, 6, 1 (1979), p. 149; In Township Tonight, p. 194. On State control and the media in South Africa see also R. Nixon, Homelands, Harlem and Hollywood: South African Culture and the World Beyond (New York, 1994).
9. See D. Coplan, 'The African Musician and the Development of the Johannesburg Entertainment Industry, 1900-1960', Journal of Southern African Studies, 6, 1 (1979), p. 149; In Township Tonight, p. 194. On State control and the media in South Africa see also R. Nixon, Homelands, Harlem and Hollywood: South African Culture and the World Beyond (New York, 1994).
10. International Broadcasting Authority (IBA), Report on the Protection and Viability of Public Broadcasting Services; Cross-Media Control of Broadcasting Services; Local Television Content and South African Music (Pretoria, 1995), p. 68.
11. Ibid.
12. The South African Broadcasting Corporation Sound Archives, Auckland Park.
13. B. Meyer, 'Popular Ghanaian Cinema and the "African Heritage"', Unpublished paper, Amsterdam, 1999, p. 18.
14. See for instance H.I.E. Dhlomo, Valley of a Thousand Hills (Durban, 1941). On H.I.E. Dhlomo, see B. Peterson, Monarchs, Missionaries and African Intellectuals. African Theatre and the Unmasking of Colonial Marginality (Johannesburg, 2000). For more on Dhlomo and early Zulu language radio, see L. Gunner, 'Chakijane, Trickster in the System: Radio Drama in Zulu', in S. Nuttall and C.A. Michael (eds), Openings: Reimagining South African Cultural Studies (Johannesburg, 2000).
15. See for instance H.I.E. Dhlomo, Valley of a Thousand Hills (Durban, 1941). On H.I.E. Dhlomo, see B. Peterson, Monarchs, Missionaries and African Intellectuals. African Theatre and the Unmasking of Colonial Marginality (Johannesburg, 2000). For more on Dhlomo and early Zulu language radio, see L. Gunner, 'Chakijane, Trickster in the System: Radio Drama in Zulu', in S. Nuttall and C.A. Michael (eds), Openings: Reimagining South African Cultural Studies (Johannesburg, 2000).
16. See for instance H.I.E. Dhlomo, Valley of a Thousand Hills (Durban, 1941). On H.I.E. Dhlomo, see B. Peterson, Monarchs, Missionaries and African Intellectuals. African Theatre and the Unmasking of Colonial Marginality (Johannesburg, 2000). For more on Dhlomo and early Zulu language radio, see L. Gunner, 'Chakijane, Trickster in the System: Radio Drama in Zulu', in S. Nuttall and C.A. Michael (eds), Openings: Reimagining South African Cultural Studies (Johannesburg, 2000).
17. Coplan, 'The African Musician', p. 139; V. Erlmann, 'But Hope Does Not Kill: Black Popular Music in Durban 1913-1939', in P. Maylam and I. Edwards (eds), The People's City: African Life in Twentieth Century Durban (Pietermaritzburg, 1996), p. 77.
18. Coplan, 'The African Musician', p. 139; V. Erlmann, 'But Hope Does Not Kill: Black Popular Music in Durban 1913-1939', in P. Maylam and I. Edwards (eds), The People's City: African Life in Twentieth Century Durban (Pietermaritzburg, 1996), p. 77.
19. Coplan, 'The African Musician', p. 149; see also V. Erlmann, Nightsong (Chicago, 1996), pp. 251-255.
20. Coplan, 'The African Musician', p. 149; see also V. Erlmann, Nightsong (Chicago, 1996), pp. 251-255.
21. Erlmann, 'Hope Does Not Kill', pp. 82-83.
22. V. Erlmann,African Stars. Studies in Black South African Performance (Chicago, 1991), p. 8; P. La Hausse, 'The Struggle for the City. Alcohol, the Ematsheni and Popular Culture in Durban, 1902-1936', in Maylam and Edwards, The People's City, p. 58.
23. V. Erlmann,African Stars. Studies in Black South African Performance (Chicago, 1991), p. 8; P. La Hausse, 'The Struggle for the City. Alcohol, the Ematsheni and Popular Culture in Durban, 1902-1936', in Maylam and Edwards, The People's City, p. 58.
24. K. Barber, 'Introduction', in Readings in African Popular Culture (Oxford, 1997), p. 8.
25. Erlmann, African Stars, p. 168.
26. See W. Beinart, Twentieth Century South Africa (Oxford, 1994), p. 115; also I. Hofmeyr, 'Building a Nation from Words: Afrikaans Language, Literature and Ethnic Identity, 1902-1924', in S. Marks and S. Trapido (eds), The Politics of Race, Class and Nationalism in Twentieth-Century South Africa (London, 1987).
27. See W. Beinart, Twentieth Century South Africa (Oxford, 1994), p. 115; also I. Hofmeyr, 'Building a Nation from Words: Afrikaans Language, Literature and Ethnic Identity, 1902-1924', in S. Marks and S. Trapido (eds), The Politics of Race, Class and Nationalism in Twentieth-Century South Africa (London, 1987).
28. Coplan, 'The African Musician', p. 152.
29. M. Knipe, Obituary, 'From Tradesman's Daughter to Stage Queen', Mail and Guardian, 21-27 August 1998.
30. See M. Makeba and J. Hall, Makeba: My Story (London, 1988).
31. For an addition to the extensive writing on the Drum period, see S. Stein, Who Killed Mr 'Drum'? (Cape Town, 1999). For an angry comment on the book, see H. Mchunu, 'Drink "not cause of Nakasa's end"'. Independent on Saturday (Durban), 23 October. 1999.
32. For an addition to the extensive writing on the Drum period, see S. Stein, Who Killed Mr 'Drum'? (Cape Town, 1999). For an angry comment on the book, see H. Mchunu, 'Drink "not cause of Nakasa's end"'. Independent on Saturday (Durban), 23 October. 1999.
33. Barber, 'Introduction', p. 8.
34. Erlmann, African Stars, p. 168.
35. D. Morley and Kuan-Hsing Chen (eds), Stuart Hall. Critical Dialogues in Cultural Studies (London, 1996), p. 40.
36. Voloshinov, Marxism and the Philosophy of Culture (1973), p. 23, quoted in Morley and Chen (eds), Stuart Hall, p. 40.
37. Voloshinov, Marxism and the Philosophy of Culture (1973), p. 23, quoted in Morley and Chen (eds), Stuart Hall, p. 40.
38. S. Hall, 'Notes on Deconstructing "the Popular"', in R. Samuel (ed), People's History and Socialist Theory (London, 1981), p. 232.
39. Beinart, Twentieth Century South Africa, p. 213.
40. Interview, Khaba Mkhize, Regional Manager SABC KZN, with Liz Gunner, 4 June 1999.
41. Barber, 'Introduction', p. 8.
42. See C. Muller, 'Chakide - the Teller of Secrets. Space, Song and Story in Zulu maskanda Performance', in D. Brown (ed), Oral Literature and Performance in Southern Africa (Cape Town, 1999).
43. Barber, 'Introduction', p. 8.
44. See B. Carton, Blood from Your Children: African Generational Conflict in South Africa (Charlottesville, 1999); '"The New Generation ... Jeer at Me, Saying We are all Equal Now": Impotent African Patriarchs, Unruly African Sons in Colonial South Africa', in M. Aguilar (ed), Politics of Age and Gerontocracy (Lawrenceville, NJ, 1998).
45. See B. Carton, Blood from Your Children: African Generational Conflict in South Africa (Charlottesville, 1999); '"The New Generation ... Jeer at Me, Saying We are all Equal Now": Impotent African Patriarchs, Unruly African Sons in Colonial South Africa', in M. Aguilar (ed), Politics of Age and Gerontocracy (Lawrenceville, NJ, 1998).
46. See Robert Kavanagh's rich and detailed account of Kente's career in R.M. Kavanagh, Theatre and Cultural Struggle in South Africa (London, 1986), pp. 113-144; and the script of Too Late in R.M. Kavanagh, South African People's Plays (London, 1981).
47. See Robert Kavanagh's rich and detailed account of Kente's career in R.M. Kavanagh, Theatre and Cultural Struggle in South Africa (London, 1986), pp. 113-144; and the script of Too Late in R.M. Kavanagh, South African People's Plays (London, 1981).
48. B. Peterson, 'Apartheid and the Political Imagination in Black South African Theatre', in L. Gunner (ed), Politics and Performance: Theatre, Poetry and Song in Southern Africa (Johannesburg, 1994), pp. 36-54.
49. L. Gunner and M. Gwala, Musho! Zulu Popular Praises (East Lansing, MI, 1991), pp. 36, 158-223.
50. Interview, Bheki Msane and Dumisani Nkosi with Liz Gunner, SABC, Durban, 9 September 1998.
51. K. Tomaselli, R. Tomaselli and J. Muller, Currents of Power: State Broadcasting in South Africa (Bellville, 1989), p. 96.
52. Ibid.
53. I have commented on this play in some detail in Gunner, 'Chakijane'.
54. Interview, Nonkululeko J. with Wiseman Masango, University of Natal, Pietermaritzburg, 19 April 1999.
55. Interview, Grace M. with Wiseman Masango, Hammarsdale, 30 April 1999.
56. Mrs N. with Wiseman Masango, Hammarsdale, 30 April, 1999.
57. Interview, Sandile G. with Wiseman Masango, University of Natal, Pietermaritzburg, 19 April, 1999.
58. Interview, Bheki Msane and Dumisani Nkosi with Liz Gunner, SABC, Durban, 12 September 1998.
59. The paper was given at the first Workshop on Popular Culture and Democracy in November 1998, held at Tongaat Beach, funded by the IDS, Roskilde University, and organized by Preben Kaarsholm.
60. The 'Soul City' group, with funding from foreign donors including the European Community, have scripted plays on urgent social themes, in particular AIDS, rape and sexual abuse, for radio and television in South Africa. A current radio drama, called simply, Soul City Four, is currently running on UKhozi FM and appears to be getting better ratings than the earlier play.
61. See R. Fardon and G. Furniss, 'African Broadcast Cultures', in Fardon and Furniss (eds), African Broadcast Cultures: Radio in Transition (Oxford, 2000).
62. See K.N. Bame, Come to Laugh: African Traditional Theatre in Ghana (New York, 1985); K. Barber and B. Ogundijo (eds), Yoruba Popular Theatre: Three Plays by the Oyin Adejobi Company (Los Angeles, 1994); K. Barber, A. Ricard and J. Collins, West African Popular Theatre (Bloomington, IN, 1997); C. Cole, 'This is Actually a Good Interpretation of Modern Civilisation': Popular Theatre and the Social Imaginary in Ghana, 1946-66', Africa, 67, 3 (1997), pp. 363-387.
63. See K.N. Bame, Come to Laugh: African Traditional Theatre in Ghana (New York, 1985); K. Barber and B. Ogundijo (eds), Yoruba Popular Theatre: Three Plays by the Oyin Adejobi Company (Los Angeles, 1994); K. Barber, A. Ricard and J. Collins, West African Popular Theatre (Bloomington, IN, 1997); C. Cole, 'This is Actually a Good Interpretation of Modern Civilisation': Popular Theatre and the Social Imaginary in Ghana, 1946-66', Africa, 67, 3 (1997), pp. 363-387.
64. See K.N. Bame, Come to Laugh: African Traditional Theatre in Ghana (New York, 1985); K. Barber and B. Ogundijo (eds), Yoruba Popular Theatre: Three Plays by the Oyin Adejobi Company (Los Angeles, 1994); K. Barber, A. Ricard and J. Collins, West African Popular Theatre (Bloomington, IN, 1997); C. Cole, 'This is Actually a Good Interpretation of Modern Civilisation': Popular Theatre and the Social Imaginary in Ghana, 1946-66', Africa, 67, 3 (1997), pp. 363-387.
65. See K.N. Bame, Come to Laugh: African Traditional Theatre in Ghana (New York, 1985); K. Barber and B. Ogundijo (eds), Yoruba Popular Theatre: Three Plays by the Oyin Adejobi Company (Los Angeles, 1994); K. Barber, A. Ricard and J. Collins, West African Popular Theatre (Bloomington, IN, 1997); C. Cole, 'This is Actually a Good Interpretation of Modern Civilisation': Popular Theatre and the Social Imaginary in Ghana, 1946-66', Africa, 67, 3 (1997), pp. 363-387.
66. N. Ndebele, 'Turkish Tales and Some Thoughts on South African Fiction', in N.S. Ndebele, South African Literature and Culture. Rediscovery of the Ordinary (Manchester, 1994), p. 35. For other work on the debates in South African Literary and cultural studies, see M. Chapman, Southern African Literatures (London, 1996);
67. N. Ndebele, 'Turkish Tales and Some Thoughts on South African Fiction', in N.S. Ndebele, South African Literature and Culture. Rediscovery of the Ordinary (Manchester, 1994), p. 35. For other work on the debates in South African Literary and cultural studies, see M. Chapman, Southern African Literatures (London, 1996);