The screening will take place on the 27 April at 10 am at Museum Africa as part of the festival hip hop summit. It will be followed by a panel discussion. The Fedefokol documentary is part of the project 13 x 48 minute part television documentary series on SA heritage called SA undocumented. Extracts of the documentary are available on the NDR portal throughout the month of April as part of their celebration of South African hip hop

Throughout the month of April NDR will be celebrating SA hip hop ,showcasing interviews tha made it into the final documentary and thoughs that did'nt.We start with the early pioneers and end with prolies and issues in hip hop relatng to the new current crop of rappers

Although it’s commonly accepted by the global environment for sonnets to be in fourteen (14) lines as we’ve been trained by the ancient literary makers to stick to the rules and regulations as guideline servers, Sonnet’s sonnets have, however, exceeded. Sonnets in English are usually of 14 lines that rhyme divided between an octave (eight lines) and a sestet (six lines) with a break in the sense and the lines are in iambic pentameter.

abba-abba=8,

cde-cde=6.

The octave will then introduce the idea (theme) to tell about the content of the whole poem. Sestets therefore solidify or conclude the theme. This is according to the rules in Italian literature which is solely different from when a sonnet is divided into three quatrains ending with a couplet to juice the whole poem being the most emphatic, with of course three rhyming schemes as regulated for sonnets having alternative rhyme.

i.e. aabb-ccdd-eeffgg,

abab-cdcd-efef-gg

and abba-cddc-effe-gg.

These are the types of commonly accepted sonnets: Italian (Pertrachan) and Elizabethan (Shakespearean) Sonnet with their dissimilarity in rhyme. Although additional materials are at times necessary to add weight to amuse, which could be labeled as “tailed sonnet”, Sonnet’s sonnets are in this case, indifferent in a way that he manipulates the perceptions of everyday writing principles. Nonetheless, standing his ground and exceeding the realms of possibilities, like Milton and George attempted, Sonnet Mondal revamped/innovated his style.

Looking back where he comes from, Sonnet was a popular figure among other poets. Butlike veterans have said, “those who are called will stay longer”.  It’s in this regard that I may say, however, that Sonnet has paved way for his life by standing the test of time. Although changes of ideas always occur influencing tendencies to reshape some metrical symmetries which are oft’ times difficult to follow the strict regulations of rhyme, such practices have been discarded by the poets in the modern day society, calling for poetical licensing freedom though others still remain faithful to the art. Sonnet’s sonnets are indifferent, however, with uncommon but regular rhyming prototype with some variations, though breaking in sense as the regular but uncommon in its use as being lastly introduced in the end. This phenomenal exercise is uncommon, but Sonnet does it so fluently the flow goes metaphorically easy once you repeatedly indulge in it, with its seventeen wording in a single line.

His intellectual prowess permeates every sonnet through his never-heard-of-before poetic phraseology and coinage, and they exhume sheer literary brilliance. Interesting to note still, that his sonnets though different as they are from the traditional sonnets by the ancient poets such as William Shakespeare amongst others, Sonnet added a fusion to his sonnets qualifying them as fusionist contemporary literary classics, first time of its own in history. What a fascinating experience!

Reading Sonnet’s sonnets, however, one may presume mostly that the focus is being put the part that life is not fair: That human nature and human deeds can never meet at a common and peaceful ground in shaping a better environment for all that dwell in it. Little emphasis is mentioned on love, peace, solidarity, philanthropy but more of love’s rejection to the human kind, lacking a sense of belonging and feeling worthless. Such negative but atrocious aspects of life are felt throughout the read. Though nature may avenge like a parent putting a child for fasting, this practice continues to get healing from time besides its ridicule often times neglected. Hence, mostly in such situations, poets manage to draw a rather charitable inspiring vision in verse to smile upon by using the Spanish Speech Figures in sequence to add an element of fusion by the use of metaphors, apostrophes, puns, synecdoche, alliterations with connotations, onomatopoeia, syllogism, similes, oxymoron and a relative others.

Dr Sonnet Mondal, a BTech Engineering Student at West Bengal University, India, has for some time now, been on the shoulders of giants, thus his present caliber, poet par excellence, thus Doctor of Literature.

21 Lines Fusion Sonnets of 21st Century by Sonnet Mondal is a serious work of art that speaks both for the poet and his people. In this collection, you’ll encounter a voice of a young man who’s been entrusted with a huge title of honor as a license to travel the globe at large. He caringly writes with passion, with abstract attention to detail to shower the mind with natural beauties, fear for the greatest and gratitude for the present. He writes for a purpose, not just for poetry’s sake, like William Shakespeare in Macbeth: “full of sound and fury signifying nothingness”. It’s thus in this regard that I put my name with lesser weight to ascertain that the kind of quality, strength and power theses poems carry, trusting these poems will be recommended for scholarly studies hence treasured for generations by all who understand the Queen’s language.

-Though human nature will always seek to perverse the world, nature knows no ill.-

“The white clouds in the blame theme;

Perhaps the fault of the painter…

Colors spreading toward the subject tower;

A new shade to be brushed

To save it from being crushed;”

Sonnet No.1

-Happiness starts from within.-

“Are you not bored standing here, then why are you smiling?

I know you have whims; still why aren’t you appealing?

The day isn’t far when the circulating air in your galleries-

Will break open the blockage of the ministerial ears,

And will force them to dress up with new color perhaps white-

Then the parties and dances will kiss off your boredom.”

Sonnet No.2

-Mother nature knows best.-

“You were the cause of production, then what led you break the charming rhymes?

Must be to reduce an extra burden of-

Or to cure someone off the circle of existence;

Perhaps the soul will go to merge into the supreme soul-

Of the hunger would never return again.”

Sonnet No.4

-Revolution is history in the making.-

“The smoke rising and curling up to create a new creation of destruction.

Are they heading towards perfection in passion or ultimate doom?

Have the labeled bottles perforated their body or they find happiness in gloom?

Addiction will vanish in another six months-

Vital forces of the drunk, will end in water-

The dying whim of employment would turn them loyal;

The compulsion to perform will certainly speak in favor of betterment.

Sonnet No.8

-Dirt has no place but on earth.-

“The deformed woman, in her eightieth revolution round the sun,

Like thin black rotten pasted upon a skeleton frame;

She came out of the crowd and called out to blame,

For the dirt were uncared by the juvenile bloods-a terrible shame!

Sonnet No.13

-Awaiting death in no option of mine-

I was wrong to make someone cry for my own pleasure-

To leave address and set up a new.

But destiny desired failure for me amongst my crew.

I hope Mother Nature indubitably will exonerate me or I be-

Waiting beside to see the waves pull down the structure setting laws of timeout.

Sonnet No.14

-The goods of life-

“He girls came to me, each with the opinion of being diverse in their own tales-

Experimenting was just a filthy cause, lust lasted in heap,

Unsatisfied with one that led to two and three and seep-

The beauty beneath the blood; the feeling of ship in a storm,

Perhaps I chose those girls changing their norms;

I fell in love through yearn, but they seemed to scorn…

Confusion prevailed over my musing wits with those terse lines from the females.”

Sonnet No. 15

-I am becoming famous again-

“My first night of gig; I was presented as an elocutionist for poetry recitation;

Days of hard work must turn fruits of success in fame,

Of understanding verse to make others do the same.

I was primed, yet it was the first instant; I didn’t realize it to be a game.

I never knew if, for my voice, my image to be set into aberration.”

Sonnet No. 24

During memorial services, he's described by many as "an old guard who wielded his pen and paper with remarkable ease and used his fine intellect to oppose exploitation and oppression. A voice that spoke out against the injustices of apartheid during the days of student unrests. An intellect, a voice that inspired many of his acquaintances to continue with the work unfinished". 


Ms. Maite Nkoana Mashabane, the South African Minister of International Relations and Co-operations, also sent her condolences to the Brutus family saying "on behalf of the South African President, Mr. Jacob Zuma, once more death has robbed us of one of Africa's greatest sons of the soil whose contribution to the struggle against apartheid and passionate for social justice and human rights for all mankind has left an indelible mark in South Africa and the international community. 


Memorial services have been taking place in various places with a recent book reading scheduled for the 24th January 2010 at Baseline, Johannesburg, Gauteng Province, South Africa. Various artists (poets, writers, sculptors etc.) are booked for performances. Prof. Dennis Brutus is survived by a wife, eight children and many other relatives. One of Limpopo's greatest poets, Vonani Bila will be reading in his honour later this month in Johannesburg. 


Dennis on the March (for Dennis Brutus) 
By Vonani Bila 

goatee-bearded pilgrim in thick-rimmed glasses unbent driftwoodleaf bard you say with impassioned breath work while the light lasts the sun is shining the moon so sprightly bright in neat jacket t-shirt & suitcase you soar from cities of gems to villages of cow-dung unscathed by genocides & tornadoes warrior spirit you traverse burning mountains 

& the tumultuous atlantic braving typhoons & tsunamis wordsmith with a simple lust for freedom you fly far 

& wide braving earthquakes 

& volcanoes ready to twirl & turn in storms of tyranny here you come old young man with fire to blow the cowed contractors of global greed here you come old young man with such undimmed light & untamed fervor let grabbers of wealth open their ears & hear the truth let them learn to listen sufficiently to people in tin shacks maker of revolution with a stubborn hope for a better tomorrow fire glows in your eyes in the streets of jo’burg in broad daylight the green flies stuck a bullet in your back they wanted you dead yet you carried the bullet 

& galloped into exile even today at the age of eighty you still march in the streets of jo’burg feet firm on the ground though in the smothering sun of squeezed dreams you march with the hungry patriots whose harvest of freedom is but dust red flags fly up high in the sky not against the draconian pass laws or botha’s total strategy but you drum stern words into your former comrades’ blocked ears those comrades you broke quarry with on robben island those gucci socialists with treacherous sickness those who now disown their people ravaged by throbbing pain those potbellied men & women abandoned by people’s vision to chart the path of the freedom charter you march with the angry masses calling on people of the world to smash the world bank of beasts you march in streets
 
& squares raising a clenched fist demanding the paris club & london club cancel the debt unbent revolutionary you know the underclass in factories can’t eat gear promises the underclass in gutted townships won’t breathe nepad hollow air radical with a young heart you march between murky alex shacks hand over people’s cries to sandton of villains, pirates & bloodsuckers blended voices of the working class sing in unison radical with a young heart though mandela is free rivers of typhoid 

& cholera flow freely 

& consume the poor of the world blade-sharp revolutionary you march in step alongside the landless peasants the evicted 

& the unemployed you march alongside the students
 
& the hiv-positive you march alongside the harangued retrenched workers 

& climb over hills of working class tribulations ask why in the periphery of cities of the new south africa filthy shack tin-roofed camps grow along modern throughways & drifting highways teacher of the people brewer of raw music fire glows in your eyes in leuwkop dungeon apartheiders kept you behind bars interrogating 

& torturing you in the small hours of the clock they wanted you numb
 
& still & they failed you survived steel hands 

& fists march on without tremor comrade brutus in durban porto alegre seattle in genoa prague quebec in cochabamba bamako nairobi far 

& wide in distant skies dutifully handing out press cuttings 

& leaflets for not even the police armed with dogs can stop you from addressing the media comrade dennis forever in the battlefield against the obscenities of bush 

& blair dennis on the march shouting free Mumia abu jamal who waits without tremor nor fear on death row dennis on the march shouting viva hector peterson commemorating the fighting spirit of june 1976 children spirited young lions who fought the enemy with fire, stones, dance
 
& poetry causing all shit in apartheid junta’s spine dennis on the march reminding us that without robust debate democracy belongs to the dogs even mandela the freedom fighter must be questioned dennis on the march digesting spender, donne langston, pound in pleasure dennis on the march languid leaves fall the wind howls the sun 

& light brush your face swiftly dennis on the march forever reminding aspirant poets how to write poems with brevity how to jam
 
& not just slam knowing to be human is to be creative 

& to be creative is to be human dennis on the march telling us the world is filled with soundless weeping man with stubborn hope at eighty courageous 

& strong i salute you the struggle against tyranny is worth living for your unequivocal love for life is deep beneath your skin 
& every molecule of your body. 

Vonani Bila is founder and editor of the poetry journal, Timbila, and directs the Timbila Poetry Project in Limpopo Province. His poetry books include In the Name of Amandla, Magicstan Fires and Handsome Jita.

South Africa is blessed to have visionary leaders, whose wisdom impacts the children in us and this globe we dwell in. The animals in 'we' when we’re off sight. The gods in 'we' when spiritually connected to oneness but the monsters in 'us' when economically enlightened. 


This is the reality, our African ancestors' angels’ travelers and dreamers tried so much to do away with, but because of the gods in 'we', in me, in you, in us and within ourselves, we have made peace with the harsh reality of the passing of Mama Afrika, our heavenly gift. 


Those who know better say, 'everybody is a passers-by, nobody is permanent on earth', 'poets die, but poetry lives on', and with a clinched fist, you've the upper hand. Thus, never think you're the only one in this whole world gifted with such energy and potential. 


You just haven't researched thoroughly and enough. History can repeat itself, but never will is end! It's not about who you're, but what you did for others whilst you had your chance to make that 6difference. Good or bad, your impact will be felt. And day end, that's what matters most. 


Mirriam Zenzile Makeba, "Mama Afrika", daughter of the South African soil, daughter of the African soils, the greatest songstress of her times, one of the best actresses during her times, a passionate traveler, a cultural activist, a beautiful free-spirited individual, a mother to the African people, a leader, a mentor, a teacher, a great cook and last but not least, everything a child could ever wish for in a parent, they called her, "Mama Africa" and she damn lived up to the title. What a heavy title that's? 


South Africa is going through a phase, one which most struggle heroes are being rewarded for their experiences. Let me be certain and say, "those who went to exile and returned in good form" are highly praised, hence the rewards that accompanies them wherever and whenever. 'Damn, you're getting insane now', you're probably saying. That's self talk for you. But look, it has all sides to it. Negative and positive, and from whichever side you prefer to tackle it, it's still well-off. I prefer not to indulge in politics so I'll stop here. 


Mama Afrika was a legend, not only in this country (RSA) by virtue, nor Africa at par, but also globally. She's known by all. The people you highly respect, those you bow down to, presidents, ambassadors, captains, kings and queens, just about everybody to cut a long story short. And whether you like it or not, her spirit still lives. Ok fine, my pastor thinks so, and I somehow abet such 'notions'. You're welcome to verdict otherwise. 


Recently, the South African Arts and Culture Department (DAC) blessed Morris Roda, a music promoter in the country, to organise a tribute concert in honour of Mama Afrika, and apparently, according to the press that is, proper channels were not followed in order for the event to take place. 


The line-up was great already, including artists such Manu Dibango from Cameroon, Angelique Kidjo from Benin but now residing in USA, Salif Keita from Mali, Busi Mhlongo, Sipho "Hotstix" Mabuse, the first black lady to appear on TV Ms. Yvonne Chaka Chaka, Abigail Kubeka, Dorothy Masuka, Malaika, Soul Brothers, The Drakensburg choir, Ntando, Tshepo Tshola, Siphokazi, Rebecca Malope, Don Laka, Camagwini, Spiritual Singers, Mzakhe Mbuli and many others according to reports. 


The concert was meant to take 2 days in succession, starting on last Saturday, 7 to 9 Novermber 2009, in Church Square followed by that at the Union Buildings, Tshwane (Pretoria) at 11am till late. 


The concert has now been rescheduled for the 16th December 2009, and we can only hope that proper channels are followed by parties concerned this time around to give "Mama Afrika" the honour she deserves. 


A luta continua.

The Hon. Judge President and Chancellor of the University of Southern Africa, Bernard M Ngoepe,
The Vice Chancellor and Principal of the University of Southern Africa, Prof. Barney N Pityana, The Premier of Limpopo Province and Chairperson of the ANC in Limpopo, Hon. Mr. Cassel C Mathale,
The Regional Director at the University of Southern Africa for the North Eastern Region, Mrs. DRM Bopape, 
The Executive Director for Research at the University of Southern Africa, Prof. TS Maluleke, 
The Deputy Vice Chancellor for Mangosuthu University of Tchnology, Prof. MM Ramogale, 
The Deputy Vice Chancellor and Vice Principal, Student Affairs and Learner Support at the University of Southern Africa, Prof. DL Mosoma, 
Prof. Pitika Ntuli, 
Music Researcher and critic, Dr. Sello Galane, 
Members of the business community, 
Members of the Prof. Es'kia Mphahlele household, 
All honourable delegates from their respective fields, 
Distinguished ladies and gentlemen. 

Greetings. 

I bet I can do the same, but protocol should be observed where necessary. The atmosphere was welcoming, almost perfect. Delegates came in pairs hence their dressing codes awesome. 


Cocktails upon arrival followed by Prof. TS Maluleke from Unisa directing the program for the night. Like wise, I attended the event uninvited, only because I like, love and live literature hence the wieght the event had carried itself thus I found myself making means to get there and gaining recognition amongst most delegates. It sounds unfair, I know, but I had to. 

Frankly speaking, I loved some few presentations made by delegates during that night and with all due respect, and please pardon me for saying this again, with all due respect, for the first time during my presence, our premier, Hon. Mr. Cassel Mathale made a sound, balanced, fair and anti-politics speech. 

If I may quote him: "As South Africans, we should be proud that our soil managed to produce leaders of many talents drawn from the academic and political spheres. Education is a powerful instrument that can be used to influence the direction of society. Mphahlele used literature to belittle the Bantu Education Act and all its intended purposes It is my request that memorial lectures be organised in rural or township communities in order to afford our people the opportunity not only to learn about their heroes but also to interact with members of the academia at the highest level. By so doing the young generation can be inspired to love education." 

For the first time during his tenure as premier, I totally supported his speech. Somehow he got me in stiches and goose-bums to the point of even thinking perhaps he studied philosophy. Professor Pitika Ntuli took the stage after him and showered us with a memorable mouth-watering poetry performance praising the wealth of African heritage and left us all begging for more. 

Those who know more than three African languages followed him every stanza in and out. You would swear our African giant, Prof. Mphahlele was smiling in heaven. 'Who taught you that,' he'd ask? But some people are experts in their fields thus the same applies to Prof. Ntuli. The man is really gifted. 

Crew members of the Limpopo The Musical, that time called Kopano entertained the audience during intervals as entree was served and they did well as well as a local group called Mashabela 'a Mapongola. Judge President Ngoepe almost wanted to dance with them. 

Judge President and Unisa Chancellor, Hon. Bernard M Ngoepe took to the stage and his presence was felt during the citing of speech: "His (Late Prof. Es'kia Mphahlele's) contribution to literature was very significant. We all know that, but even more than that, it was what Es'kia Mphahlele wrote about and what he spoke about, that made such a profound and lasting impact. 
He was not only a gifted writer, but also a deeply insightful, intelligent and influential commentator on a variety of themes that included education, literature, politics, art, culture, and other social issues." 

Although it's more of a tradition these days to clap hands after a respectable one has spoken, it's however, due to his words of affirmation regarding Prof. Mphahlele that shifted the views of many. Prof. Mphahlele was, according to me, with my little if any knowledge within me, bigger than South Africa, Africa. 

He was a global literary icon, a warrior, a life-giver, a thrill that swept the world, a wisdom bearer, an architect of a nation, a bold and supreme discoverer, the greatest teller of tales, a pioneer of freedom, a bringer of hope, a heavenly genius, a jungle philosopher, a mighty traveller, an independemt thinking teacher, a great liberator, one of the fewest moderns during his time, a magician of liberty, an explorer of the universe, a conqueror of seas for continuing the age of reason, an astonishing literary world leader with his books that brewed war in the minds of the oppressed vs oppressors, a midnight rider and last but not least, an African Genius who knew the world is round. 

He was like William Shakespeare, Emily Dickinson, Pablo Neruda, John Milton and the living Maya Angelou, and the reason why he's not given such calibre is that, 'he's African'. Excuse me but that's how I feel. 

Deputy Vice Chancellor for Mangosuthu University of Technology, Prof. MM Ramogale explained how the theme for the night came about relating to an ancient newspaper headline by the then influential medium opposing oppression within the country. A vote of thanks was rendered by the deputy Vice Chancellor and Vice Principal, Student Affairs and Learner Support at Unisa, Prof. DL Mosoma followed by Dr. Sello Galane entertaining the crowd. 

Delegates couldn't hadle the heat thus joined in the rhythm and danced to the tunes Dr. Galane produced. It was really a humbling experience and may Unise continue well with the annual lectures peacefully. 

However, my request is the same as the premiers', that these annual lectures be taken to rural and township communities to afford less priviledged pupils the opportunity to learn more about their heroes and heroines hence interact with those academics at highest levels. This would really advantage most pupils as most of them have no idea who Mphahlele was not to mention his many books that aren't read at schools of higher learning institutions but William Shakespeare is known by all. 

May the spirit of Professor Es'kia Ezekiel Mphahlele live on.

Mokgadi Semenya, commonly known by her colonial brand as "Caster" indeed made history last month. On that Wednesday evening, when she took the lead at the half way mark and passed on to win by 2.45 seconds in 1:55:45 seconds, the quickest time ever this year. 

You can bet the African ancestors' angels dreamers and travelers were laughing and smiling that night, all saying, 'that's my girl', with a glimpse of satisfaction. From dust to gold, her journey was long in miles but short in time. With a record of 31 medals in her closet, you'd swear she's one of the chosen few. 'O begilwe ka pelego' (She's announced at birth). 

Carrying the Aganang Local Municipality Sportsperson of the Year 2008/09; the South African Cross-country Championship in Mpumalanga Province in 2008;Confederation of African Athletics in 2008; the Limpopo Provincial Athletics Championship in 2008 and last but not least amongst the fewest of moments of glory, the Cossasa School Sport Athletics Gauteng in 2009. 

The princess continues to shine brighter by the day. Semenya, an 18 year young lady, beautiful enough to encharm the caliginous of anyone's thoughts when the brain in active, strong enough to make ladies and gentlemen go crazy over the muscles (six pack), fast enough to pose a serious threat on 'Lightning Bolt', smart enough to know where to draw the line in life, clever enough to not consider the critics serious. 

The beauty, the body and the brains, all in one package. What an excellent work of a genius! Enough has been said, both locally, provincially, nationally and internationally, some supporting and others against the vendetta the glorified International Association of Athletics Federation fool (IAAF) are uncertain about, whereas the issue at hand is naturally and commonly unacceptable within the African diaspora. 

I must say, am also feeling the pain, the hurt and the pressure, that you, Ms. Mokgadi Semenya, have suffered whilst you continue to keep your head up and move forward towards your vision. 

Research tells us that, many a women who came before you, also undergone the path you're traversing, the differences are: the conduct applied in your case, the insensitive authorities accountable in your field, and once more, the age and exposure you receive doubting you hence wanting to put an irrelevant social construct in your mind. 

My words are thus as follow: 
Success is a none-stop soul-satisfying struggle to reach the oasis of a none reachable vision. Let your vision be the perennial spring that keeps feeding the source of your motivation. 
Look for means all the time to improve yourself to be closer to your vision. 
Identify with nobody and continue with that own great personality that you've created for yourself. (Dr. Stephen Gill.) 

The world is big enough to accommodate us all. Do not attempt to please everyone at once as it's impossible. It's not about where you come from, but about where you are going as you continue to live in the future. Your destiny is yours and yours alone so don't let anyone choose that for you. 

You’ve become the spirit of a continent (Africa) at a tender age so do ensure you maintain yourself well, as you've become a role model to both the young and adults. 

Remember, as long as we have memories, your legacy remains; as long as we have hope, tomorrow waits and as long as we have associations, each day is never a waster. Ms. Mokgadi Semenya, I, before the communities, province, country and continent, remain assured that you'll break the world record next time should you be afforded the chance to do so. 

Test results or no test results, we are with you to support you. 

'Til next time, may what you have grow. Farewell.

The play, written by Makwela Jones, directed by Rammabu Thabang and choreographed by Max and Baswabile was, according to sources, a mere preview of what is to come in the near future supported by the Limpopo Youth Commission as it had attempted to portray the ancient times of ancient civilization with South Africa if not Africa as a whole.

From the onset, before everything else could commence, politicians had to pollute the mood. You know how they do it. Ladies and gentlemen, in our presence today, we have the premier of Limpopo, Hon. Cassel Mathale, Hon.???, Member of Legislature Hon. Mr…? I mean, even Thembi got her words wrong. It was late in the evening so to what exactly was she referring to by “today”? Still, as if the audiences were illiterate people, she went through a very long list of delegates called dignitaries, both present and absent announcing their names so everyone may know them. Was that really necessary? I wonder!

What happened to the style of saying ‘all protocol observed’ and just mention the name of the premier? This helps a lot instead of going through that long list of politicians who know nothing about the arts.

Now, from a third party’s perspective, you may ask yourself these questions: Was it necessary to name all people. Sorry, let me reiterate that. Was it really necessary to name all those politicians or was it again a way of making their egos grows bigger? Is this the kind of protocol to always be followed whenever and wherever politicians are around? 

Bear in mind that not everybody went there to see the premier, rather to watch is supposedly a very delighting play. As much as some went inside the auditorium to listen to what the premier has to say, others wanted to wit and entice their taste buds with a wonderful play.

In the end of the play, the premier was then afforded a chance to remark on what he saw thus giving it a thumbs up. If you have seen the play, you may ‘why’? Because it talked about apartheid? Something the premier knows well about? These are of course some other factors that surely influenced his attendance.

Fine, am still young and learning but the premier’s response was fairly poor, pathetic and groundless. According to good judgment, anyone could’ve seen that the premier was rather tipped before hand about it than publicly brainstorming in a none-existent theatre. What do you call the auditorium these days? 

First and foremost, let me explain why I say such comments were baseless. 
The play started with some nice contemporary jazz sounds so it somehow made the audience feel welcome, comfortable and expect something very good. Instead of playing contemporary jazz sounds, why not play the Sarafina music. That way people may know what to expect. ‘Apartheid’ as he’s obsessed with! And the mood would be created thereof.

Concerning the premier’s attendance: Would he have come had he not been told what the play was about? I mustn’t fail to mention that he seemed and sounded too obsessed about the past, he almost sounds like he longs for his jail term again.

Again, the play itself was fairly poor. Some areas in it did not follow in the right sequence. The music as already mentioned, was definitely out of tune, but did the premier see such things when he gave it a thumbs up? I wonder!

Tell you what. Politicians in this province are rather too obsessed with status that service delivery. They worry a lot about the mosquitoes in their closet which are always happy to see them, the house flies that are always there to wit them all seasons, the bees that are always there seeking honey for entertainment, the cockroaches that are always there for amusement and the ants on mission.

To cut things short, I had a problem with the premier during the interview with some local media houses. “The people of Limpopo will have to stick with the multipurpose centre that is available for them”, said the premier of Limpopo Province, Hon. Mr. Cassel Mathale.

To be quite frank on this, I won’t attempt to belittle nor ridicule the premier. His status is far more respected than what this column can do.

There’s a poem by William Blake whereby he puts most thing s short: 
To see a world in a Grain of Sand
And Heaven in a Wild flower,
Hold infinity in the palm of your hand,
And eternity in an hour.

If the premier is really a visionary, then he’ll definitely understand that short poem. But in the interim, the premier killed the spirit of hope in people hoping for a better future as some people make a living from theatre and the auditorium within the library gardens is definitely insufficient, but let’s hope hopelessly that the premier will understand his job description and purpose thereof and perhaps he might understand the arts industry next time instead of belittling himself in front of his fellows.

On Sunday the 21st of October, I got the tragic news that iconic South African photographer, Alf Kumalo died of renal failure. It was traumatic to hear, but at 82, his had been a life well-lived…in spite of you, South Africa.

I met Alf Kumalo back in 2004 after I had just returned to South Africa. Unable to find a job in the field I had studied for despite numerous applications and what I thought was a pretty impressive portfolio (to be fair none of the newspapers I applied to ever got to see my portfolio because they never responded to any of my application letters), I had been volunteering at some community organisation.

It was here that I met Alf through another late great, Aggrey Klaaste. Alf had his trademark Nikon around his neck (I cannot recall ever seeing him without it, not even at black-tie functions), and I half-joked that he should teach me photography. He informed me that in fact, he had a photography school in Diepkloof and I should come through the next day.

With my self-esteem on the lower end of the scale, I went to meet Alf Kumalo holding my portfolio. I was anxious to show that I was accomplished and was not just some loser child who was trying to find something to do with her time.

When I arrived at the Museum, I left my portfolio at reception while I went into a class taught by Nick Makgamathe. When I got out of class after an hour of being told what a shuttle, lense etc was, I found Alf waiting for me with an Italian coordinator of some NGO that was funding the school and the museum. And thus the narrative went. Unable to find funding in South Africa for this wonderful and innovative project where post-matric students were being taught photography for free, it was an Italian organisation that realized Alf’s brilliance and funded his dream – at least for two years.

The coordinator had seen my portfolio, he asked me whether I would be interested in being employed by the museum doing some write-ups, archiving, and captioning some of the material in the museum. Finally a paying job? Are you kidding me? I said yes. I never did get to learn photography. Did not do much archiving either – the brilliant Jacqui Masiza then at Bailey’s and now at Apartheid Museum did some of that.

But I got to learn Alf’s photographs. I captioned. I wrote the text for the website. In the gaping moments while we hoped for guests to visit the museum, I wrote the first draft of The Madams. I discussed literature via email with Lewis Nkosi. I gossiped about which photographer was caught under the bed of which leading politician with Doc Bikitsha. I also wrote numerous proposals.

The Italians were about to leave. Time was running out. We needed funding to keep the museum and school running. Nick, Ruth Motau, Jacqui – anyone and everyone who was working at the museum at that time was earning peanuts, but they believed in Alf’s dream. Here was Alf, fighting and knocking on the doors of all these cadres he had photographed.

There he was going to meet the Minister or the DG of a Ministry which-shall-go-unnamed. Here he was being invited to the Foundation where the mining mogul who called him Bra Alf would be present. And there he was honoured with the Order of Ikhamanga Silver for his contribution to the arts and to history with all the big guns present. We took to keeping at least four printed proposals in Alf’s car on a daily basis.

He would hand them out to all people of influence he met. Surely, just surely one of these people would start sharing Alf’s dream?None of them did. Or maybe they just did not care.

What would have been the return to them on teaching township children visual art anyway? And who goes to museums? It’s not as though we are tourists. We experienced ’76, we do not need to see the pictures.

At some point in time, I gave up on the dream. I left the museum. Alf, or Mr. K as I called him, did not. He used the funding that he received from a photograph he sold to Total to pay the skeletal staff left. He would use money that he received from exhibitions he did abroad to fund his dream. He never gave up on it. He always called me a pessimist, ‘Hhawu, you are too young to be such a cynic,’ he would say. Before telling me he was off to meet another bigwig and he was sure he could convince them to make this their social corporate responsibility gig.

Alf and I would remain friends even after I abandoned his dream and started chasing my own. In 2010, we collaborated on 8115: A Prisoner’s Home, a story on the Mandela home that is now a museum. IDC funded this project. In all the time that I knew Mr. K, IDC was one of the few organisations who put their money where their mouths were.

A few years ago, Lewis Nkosi died. Prior to his death, people were collecting funds because his medical bills had escalated. When he finally died, the Ministry which-shall-go-unnamed, were kind enough to help with the funeral. Jazz legend Zim Ngqawana died. And we heard talk of some music scholarship in his name (it has not happened). Miriam, Brenda, Busi…you celebrated all of them after they died but cared little when they lived.

On Sunday, Alf Kumalo took his last breath. His dream was never realized while he was alive. Mr. K’s death with a dream unrealized should be yet another indictment on you, South Africa. He gave so much of himself and you gave nothing back. And many people who believe in South Africa realize too late that, alas, the love and belief is one-sided.

Today, I have some questions for you, My Fatherland.

Are you giving Dada Masilo and Greg Maqoma their just credits? Do you know the name of Neo Ntsoma or Paballo Thekiso while they are alive? How many international awards will Xoli Sithole receive before you can fund her internationally celebrated documentaries? Are Rian Malan or Napo Masheane coping? Will Shafinaaz Hassim and Kgebetli Moele matter only when they are dead?

And today too, I have a request, South Africa.

When I die, leave my loved ones to grieve in peace. Do not celebrate me, or hypocritically mourn me. If I were worth acknowledging, you would do so while I am alive. Because you and I know, South Africa, even criminals are spoken highly of when they die.

Against my better judgement South Africa, I love you. You,a country that cannot afford three million a year for a visual arts school to educate some of your poor but fails to blink while spending hundreds of million to build one man his own town. Right now though, regardless of my misplaced love, right here….all I would like to say to you is: FUCK YOU VERY MUCH. Alf Kumalo deserved better.

Zukiswa Wanner: Writer Feminist. African. Mother. Lover

In February we will start showcasing some of the stories that we have been shooting,extracts from the documentaries and our viral campaigns.

So watch this space.For more info on this and more

We will be having auditions on the 16 January at 10:00. NEMISA 21 Girton Road...

If you know you have a lovely voice and can speak afrikaans fluently please make your way here.

Ta!

September is heritage month in South Africa and the NDR will proudly be running a special series called “the South Africana Encyclopedia” from the 1^st September 2012 to celebrate heritage month. This is a series of 2 minute fillers which concentrate on exploring, sharing and contemporizing South African icons. Icons not just in the sense of its famous people but popular cultural items in language, slang, music, art, sport, food that are associated with South Africa or embody the idea of South Africa-ness.

 Each filler, features an interrogation of these items and sees why some of them have passed through generation to generation, what’s their origins and mostly why do South Africans love these icons. Through interviewing experts, use of graphics and general public we get a sense why South Africans love these icons

 These inserts are done through video interviews, graphics and photos and range in tone. From comedic to very serious heavy tones, the inserts are different from each other. The subject matter range from favourite South African food and drinks like :Biltong, Mogodu and Dombolo to favourite Slang and catch phrases like : “heitha”, “Ek se” and “Cold drink’”  to items such as “All stars”  “ou kappe” and many more.These inserts don’t just celebrate these items but give one a historical and cultural context to them

 These fillers were produced by a team fresh out of NEMISA.They produced the entire 22 inserts in a space of two months and NDR is proud to be showcasing these from the 1^st of September. Looking forward to hearing from you guys,your comments and views on the series. Once the series ends we will be showcasing web-episodes from the documentary series.

These days you can't play in the digital world and ignore the social networks.Hence we proud to show off the new social network avatars.The 3rd Year NEMISA graphic design students out did themeselves here.The avatars use South African youth iconography, slang and works well with  our colours .Let us know what you think

A little bit on the title sequence itself; it was by created by the guys at Animoss. Moses Tshinawala, Nkululeko Cekiso and co who are proudly NEMISA graduates .The idea was to create a visual link of the past with the present, where historical iconography resonates with the youth. The style is unashamedly African, represents an Africa that was and an Africa that is. Yet an Africa that we have experienced and resonates with our collective memory firstly as South Afticans and secondly as young South Africans

The title sequence also alludes to the different documentaries that the series will be dealing with from stories of colonial conflict to anti-apartheid struggle to stories emerging post 94 in the new South Africa. Stories that celebrate our cultural and modern day heroes but above all stories that different young South African feel need to be told either about their history, culture or tradition

Being a documentary series Ms Tebogo Serobatse came up with the clever conceit of using a sheet to frame the sequence. So it appears the sequence is being projected on the sheet like back in the day whereby movies were projected on sheets in most black areas. Another element of trying to ground the sequence in our own  experience of the African Context. There’s references to different eras and cultures within SA and the continent in general

Which ties in nicely with the purpose of this series of the NDR now named SA UnDocumented ; the idea of unearthing new stories or giving stories a new perspective that has not been given prominence through young community members. It will be interesting to see how you guys react to the final product especially within the context of the different documentaries. Then there’s also the idea that one cannot divorce their past from their present,.

For now, let us know what you think of the title sequence...ta

NDR documentary: Production Co-ordinator Job Specification

 Reporting to Producer

 Pre-production:

• Attend all Production Meetings
• Manage Freelance personnel details (i.e make sure contracts are signed and filed)
• Verify that interviewees have been locked and that the interviewees have been briefed accordingly
• Generate final Call Sheet with Production Assistant and Director. Call Sheet should include weather details for each day, movement order and contact details of crew and interviewees. To be approved by Producer
• Generate motivations for Car, Accommodation, S&T and expenses for crew. To be approved by Producer.
• Maintain and update crew and contact database
• Over see the interns
• Communicate effectively with everyone
• Clearing of rights and permits when it comes to shooting in certain places

Production:

• Co-ordinate the logistics of filming so that everything goes without a hitch as best as possible
• Get daily telephony logistic reports from Production Assistant and make sure production assistant is thinking ahead as far as the logistics are concerned and all eventualities have been considered
• Receive all reconciled receipts from production Assistant and  file them appropriately then hands them to finance
• Receive all invoices from freelancers and submit to Producer
• Receive all drives or content produced from field and log it appropriately
• Track shooting activities

 
     Post –Production

• Ensure all recorded material and associated paperwork is passed from the PA onto the Editor
• Book Voice Over Artists and Final Mix Engineer
• Make sure the office and equipment is kept tidy and clean
• Issue editors for web with schedule
• Make sure the editors keep to deadline
• Receive all invoices from editors and submit to Producer
• Receive all Write-ups from editors for the web portal and submit to Producer
• Receive all shoot reports from Directors

Requirements

• A qualification in Television Production
• Must have knowledge of Word, Excel, MS Internet Explorer, and Outlook. Solid knowledge of programmes like Microsoft PowerPoint and Editing Software
• Attention to detail

CV to be send to NokuzolisaG@nemisa.co.za by Thursday 26 July 12 o clock

The National Digital Repository serves to collect, preserve, promote and disseminate South Africa's cultural heritage through young South Africans. Give the youth a chance to tell their own stories from their own communities. Thus far the primary point of dissemination has been the site www.ndr.org.za

In 2012 the project takes the sharing of our cultural heritage one step further through the medium of broadcast television. This marks an ambitious plan to improve the quality, creative value of the information and videos produced by the NDR through producing a 13 part documentary series fully shot in HD. This series will be ambitious in scope and aesthetic. Pushing  the envelope creatively and aesthetically whilst engaging the youth in both form and content about our heritage as South Africans.  Ultimately the series will be for international and local release .

The series will concentrate on the following themes below:

• Traditional and archaeological heritage
• Spiritual healing
• Performing arts and dance
• Arts and craft
• Traditional healing methods and medicine
• Ancestral belief
• Traditional food
• Military heritage
• Freedom heritage

What is the objective of Brief?

The Project is looking for the following graphics ;

-          The series opening sequence (15 seconds)

-          End Credits Sequence/ Background (30 seconds)

-          Name strap

-          Bumper (5 seconds)

-          Sting (5 frames)

-          Count down Clock

-          Plain board

The design needs to be unashamedly African but an Africa that merges old and new. Which the “smarties generation” can identify with but can also learn from. The graphics especially, the title sequence, needs to capture the imagination of the young people. It should hook them to want to see more.

It also needs to set the tone of what creatively to expect from the series.

Creative Requirements

-       Design need to incorporate anti-apartheid iconography and traditional heritage

-       Design should resonate with urban youth: who are used to slick and pop aesthetic

-       Title sequence needs to feature  “ NEMISA presents”, “in association with Department of Communications of South Africa” should end with the series tititle “National Digital Repository series”

-     Title sequence can be CG or a merger of text, pictures, CG and historical dates. It’s important that the title sequence should be able to link our past to where we are now as a country especially focusing on the role of the youth through this change in time. Motion and movement is also key metaphor or motif in the design.

Schedule

1. 2 May submission of Treatment
2. 3 – 4 Short listing of Treatments
3. 8 May awarding of contract
4. 25 May Review of Story board
5. 14 June review of First Designs
6. 28 June Final Presentation

Visual References

-       http://www.artofthetitle.com/2007/12/25/the-kingdom/

-       http://www.artofthetitle.com/2011/02/28/machete/

-       http://www.artofthetitle.com/2011/08/22/catch-me-if-you-can/

-       http://www.artofthetitle.com/2011/08/03/cowboy-bebop/

-       http://www.artofthetitle.com/2008/04/03/kiss-kiss-bang-bang/

-        

Submission Requirements

-          A Treatment ( which includes Biography, Concept, Reference Images and style guide, Technical breakdown and Summary)

-          Budget and estimated costs

National Digital Repository Documentary Series Imaging Brief 2012

Contact Thabang Phetla on: 011 484 0583, thabangp@nemisa.co.za for all enquiries.

Genre:
Factual / Documentary

Series:
13 x 48’

Format:
Quicktime files (16:9 aspect ratio)

Closing date for submission: 2 May 2012 at thabangp@nemisa.co.za 011 484 0583 / 0795178377

I am still learning how to use the software from a trial version I downloaded you will be amazed. There is a version for apple users as well just google the application and should come up. 

1. In search of black heroes (NW)
2. Death in my Family (NW)
3. Tsa Rona (FS)
4. Phantsi Family (EC)
5. The Prophet (EC)
6.  Abelungu/Ama – Molo clan (EC)
7. King Makhado (LP)
8. Buysdorp (LP)
9. They call me a witch (LP)
10.  Kwa Ndebele Uprising (MP)
11.  From Birth to death (KZN)
12. Sabela uyabizwa (GP)

Those whose proposals did not make it, there is still a chance of working in the stories above, as part of the production or creative team. The originators of the above stories will be contacted soon. Thank you for your participation.

 The publishing of the above stories should not be construed as final acceptance of concept.

So for the next two weeks ,here in the NDR will be looking at Easter holiday both from a christian and a South African perspective . Many South Africans will tell you,that we have an uncanny ability of adapting things and infussing them with so much SA flavour you'd think we came up with the item.

So how do South Africans celebrate Easter and why do we celebrate Easter, will be at the crust of our discussions for the next two weeks.Feel free to contribute your opinions,videos and blogs on this subject matter

Hey NDR is looking for talented person to produce mood music and the title track for the up coming series which reflectthe rich heritage of our young democratic nation but also point to the future

National Digital Repository Documentary Music brief 2012

Contact Thabang Phetla on: 011 484 0583, thabangp@nemisa.co.za. For all information or enquiries.

Genre:
Factual / Documentary

Series:
13 x 48’

Format:
Wave files

Background / Overview:

The National Digital Repository serves to collect, preserve, promote and disseminate South Africa's cultural heritage through young South Africans telling their own stories from their own communities. Thus far the primary point of dissemination has been the site www.ndr.org.za

In 2012 the project takes the dissemination of our cultural heritage one step further through the medium of broadcast television. This marks an ambitious plan to improve the quality, creativity, value of the information and videos produced by the NDR. Ultimately the series will be for international and local release.

Concentrating on the themes below:

• Traditional and archaeological heritage
• Spiritual healing
• Performing arts and dance
• Arts and craft
• Traditional healing methods and medicine
• Ancestral belief
• Traditional food
• Military heritage
• Freedom heritage

What is the objective?

To create the show’s signature tune for the title sequence, sting, and at least 7 variations of the title tune with different thematic elements (i.e. one for tension, drama, suspense, joy)

Creative Requirements

-       Music should be in tune with the 16 – 35 market

-       Music should show an interpretation of ethnic and cultural sound with a strong modern feel to it

-       With a strong emphasis on indigenous local

Musical References

-       The FridgeSA

-       Thandiswa Mazwai

-       Simphiwe Dana

-       Kwani Experience

-       Jozi

-        

Submission Requirements

    -    At least 12 tracks, including a 30 second title track song

Target audience

-       16 – 35 years old

Closing date for submission: 20 April 2012 at NEMISA 21 Girton Road Parktown 

They are arguably one of my favorite designers in Southern Africa and I was fortunate enough to work for them for 4 years. They are Stefan Antoni Olmesdahl Truen Architects (aka SAOTA).

In keeping with my Afri(o)can series, below is a selection of my favorite South African projects by SAOTA, but for a full biography on the company and its projects visit www.saota.com.

Plett 6511, Plettenberg Bay, South Africa

St. Leon 10, Bantry Bay, South Africa

Sandhurst Towers, Sandton, South Africa

First Cresent, Bantry Bay, South Africa

(All images sourced from www.saota.com )

(Other published projects can be found on www.archdaily.com )

Architect David Adjaye in his pavilion created for the London Design Festival on the South Bank. Photograph: Linda Nylind

David Adjaye has won a RIBA (Royal Institute of British Architects) Bronze medal amoungst other prestigious awards and in 2011 he was selected for the Designer of the Year Award by Design Miami. Over the course of ten years he travelled and documented every African Capital city, a goal I now aspire to, and compiled it into a catalogue named " Urban Africa: David Adjaye's Photographic Survey,"

I have a particular fondness for the round structure he built for the London Design Festival in 2008. The Sclera Pavilion illustrates an elegant use of timber slats, but its ‘hut-like’ shape makes me wonder, if the 'hut' was a design language, or an aesthetic?

Adjaye once said;

“Architecture is losing its relevance to life. It's more about spectacle than buildings.”

I agree with him, for I believe buildings should be habitable spaces as opposed to just sculptures in space. A few weeks back I did a profile on Santiago Calatrava, and he best illustrates how sculpture-like buildings can also be habitable.

The Sclera Pavilion

The 'ceiling' of the Sclera Pavilion

An entry way into the Sclera Pavilion

He has a grounded intrest in Africa and what she has to offer interms of a built environment, and I do hope other African Designers and Architects living in the diaspora will help build Her cities.

(You can visit the Adjaye Associates website here www.adjaye.com for a list of projects he has done and a brief biography) 

blog originally published by : Jules http://studio83.co.za/news/2012/02/29/3375

- Should have “working title”

- Contact details of Author including residential address, email address and telephone numbers

Background

    - Give context to the story; necessary background that the audience will need to be able to understand the story and its complexities

    - Evidence of in depth research into the subject matter

    - Minimum one page

Synopsis

      - Basic summary of story

     -  Clearly define subject 

       - Maximum 2 paragraphs

Working hypothesis and interpretation

 - We want to know what your persuasions are about the world you are going to show in your documentary, the main “statement” that you want to emerge out of the story. Write a hypothesis statement incorporating this wording:

In life I believe that:

The documentary will show this in action by exploring (situation):

The main conflict is between:

Ultimately, I want the audience to feel:

And to understand that:

      TREATMENT

      FORM AND STYLE

• Any special considerations in shooting, editing style or use of multimedia formats in your documentary.
• Clearly comment on how narrative, lighting, camera handling, type and amount of intercutting, juxtaposition of scenes, parallel storytelling and the like is going to be used and how.

     ROUGH BREAKDOWN

      Breakdown the story showing how will it develop and the duration of each segment;

• How will you handle the progression of time in the film?
• How and at what point will important information appear in the story development and how will the story develop from segment to segment
• What is your intended climactic segment and where does it fall in place within the story
• How this (climatic segment) relate to other sequences in terms of the action rising toward the documentary’s projected “crisis” or emotional apex and the falling action after it
• Sequences or interviews you intend to use as parallel storytelling (mention them by name or function)

CONFLICT

What sort of conflict does your documentary have or raise in the viewer? Explain:

-      Who wants what of whom?

-      What conflicting principles do the characters or ideas stand for?

-      Does your documentary put different principles in opposition (of opinion, of view, of vision and so forth)?

-      How will we see one force finally meet with the other? (the “confrontation”--very important)

-      What range of possible developments do you see emerging from this confrontation?

AUDIENCE BIASES

 To make a documentary means not only using conflicting “evidence” to put forward your subject’s dialectics, it also means knowing what stereotypes or expectations carried by your audience your film must deliberately set out to alter. Define:

-      Biases (may be positive or negative) - what are your audience’s biases

-      What alternative views, facts or ideas does the audience need to understand?

-      What evidence will you show to get the audience to see those different truths?

-     Who is your audience?

MAIN CHARACTERS

Write a brief paragraph about each of your main characters. For each include:

-      Who (name, relationship to others in the documentary and so on)

-      Where (where does this person fit in the scheme of things?)

-      What (what is this character’s role, what makes the character(s) interesting, worthy of special attention and significant? What is this character trying to do or to get at?)

ON-CAMERA INTERVIEWS

For each interview, list:

-      Name, role in life, metaphoric role in film’s dramatic structure

-      Main elements your interview will seek to establish

-     Examples of possible questions

            RESOLUTION

Write a brief paragraph about how you imagine your documentary will end and what you would like the ending to accomplish for the audience. Comparing any intended ending with the film’s beginning also express what must the story accomplish to get there? The ending is your last word to the audience and has a disproportionate influence on what the film will mean. What is yours?

BUDGET

-       Guide price R 4 000 cpm

-       Bear in mind the documentaries are 48 minutes long

-       Give detailed budget and summary

LOGISTICS

Briefly address any obvious problems of feasibility, practicality and so on.

Profile

Write a one-page profile of yourself

#NB

Proposal to be written in Microsoft word, Arial size 12. Project to be emailed to thabangp@nemisa.co.za by 12 o’ clock 16 March 2012.

DOCUMENTARY PROJECT PROPOSAL HELPER

Adapted from Directing the Documentary by Michael Rabiger

Series:
13 x 48’

Format:
HD

Background / Overview:

The National Digital Repository serves to collect, preserve, promote and disseminate South Africa's cultural heritage through young South Africans telling their own stories from their own communities. Thus far the primary point of dissemination has been the site www.ndr.org.za

In 2012 the project takes the dissemination of our cultural heritage one step further through the medium of broadcast television. This marks an ambitious plan to improve the quality, creativity, value of the information and videos produced by the NDR. Ultimately the series will be for international and local release

What is the objective?

We are looking for proposals, at least one documentary proposal per province that will be developed into an hour long documentary as part of 13 part series of documentaries dealing with SA heritage. To be aired in September 2012. The documentaries are to be of very high standard, very creative and innovative, well researched and well executed. They are to also embrace a multimedia feel.

The proposals should explore ideas or tell stories to do with one or the combination of the following themes:

• Traditional and archaeological heritage
• Spiritual healing
• Performing arts and dance
• Arts and craft
• Traditional healing methods and medicine
• Ancestral belief
• Traditional food
• Military heritage
• Freedom heritage

Preferably the proposals will tell stories reflecting the author’s community or province. The series would like to reflect the rich cultural heritage of South Africa in a ground breaking way.

The author of the selected proposal will automatically be given the role of researcher with option of directing the documentary based on profile, experience and the discretion of the selection committee made up of NEMISA and the PNC on ISAD

Creative Requirements

-       Proposal to demonstrate thorough research

-       Proposal to think of innovative way of shooting, editing and use of motion graphics, simple animation and photography in the final product

-       An adherence to the proposal guidelines

-       Vernacular to be promoted in the documentaries

-       Identify possible interviewees

-       Entertainingly serious

Visual References

-       Freakonomics

-       Bowling for Columbine

-       Come Guerilla

-       Cosmic Africa

Submission Requirements

    -    Proposal to adhere to format as per proposal guideline

    -    A budget breakdown

    -   The proposal should have background, synopsis, treatment, production schedule, detailed budget

    -   A profile of author

    -   An indication of what capacity outside of researcher would the author be prepared to work at on this project

Target audience

-       16 – 35 years old

-       Academics, young people who may not be aware of this heritage

Guide cost: R4000 cost per minute

Closing date for submission: 16 March 2012 by 12 o’ clock. Submission to be emailed to thabangp@nemisa.co.za

My thinking now you can share yours.

Now I did promise to shed a light on African architecture and architects, but I now see a need for a bit of history. I believe the histories of a place and people help in understanding the culture and philosophy of a time when a building or society was built.

Timbuktu was a town that flourished from the trans Saharan trade between North and West Africa. The trade of choice was salt, gold, ivory and slaves, but its genuine claim to fame was it being the center of the Islamic scholarly community.

Which brings me to the topic of hand, 'The University of Timbuktu', also known as The Sankore Madrasah/Mosque. A man named Mansa Kankou Musa reigned over Mali in 1324 and designed and saw the construction of this great Mosque/School, but what’s quite fascinating was that his benefactor was a wealthy Mandika lady, and it became a world class learning institution. 

The Sankore Mosque/Madrasah

The construction methods were simple mud on timber supports. Stone was used on the walls surrounding doorways. The roofs were made of split palm beams and palm matting that was later covered in earth.

The curious wood protrusions that are half embedded and rhythmically arranged on the side of the building were initially a functional scaffolding used to climb up the building when re-plastering was needed once a year, but was later added for aesthetic effect.

The wooden protrusions

The Sankore Madrasah is also remarkable for its large pyramidal mihrab, as seen below.

Unfortunately the Mali Empire declined after the Moroccan invasion of 1590, and with it, its buildings, but the mosques were rebuilt and in December,1988 UNESCO declared Timbuktu a World Heritage Site. The buildings are always being resotored due to destruction via desertification, but I'm glad the uniqueness of the designs are always maintained.

Another one of my favorite mosques in Mali is the ever popular “Great Mosque of Djenne’ ‘ as seen above.

Of note, is that, although I centered this post on the Sankore Mosque, most of Timbuktu's ancient and local architectural language is similar to this mosque. In short, not a hut in sight.

So here’s to Africa's architecture, scholarly contributions and innovative designs.

Origininal published by : Jules on http://studio83.co.za/news/2012/02/22/3365 11H21 WEDNESDAY, 22 FEBRUARY 2011

How much of our heritage as Africans do typical South Africans know? How much of it is taught in our schools and institutions of higher education? Have we created alternatives to apartheid structure and histories? Judging by the discourse around the land issue and Pieter Mulders utterances around land ownership and the lack of an alternative history being taught in our schools.It seems our journey to re-discover our heritage as Africans is still in gear one since 1994.Africans are still the face of disenfranchisement and the status quo in a lot of areas still exists as per the bad days of apartheid ,although there’s been changes in some.

Hence the importance of such projects as the NDR , SAhistory website and the likes in keeping our history and tradition relevant to a digital age. Yet there is still a need for us to go deeper and to popularize our history. For the history of the Africans on the Southern tip of Africa does not begin with Jan van Reeback and his 3 ships. Our history goes beyond the Nama, the Khoi and the San people. If we are to dig deeper I believe our history will spur us to be a greater people for in the words of Nas we shall see we were more than "porch monkeys". Our history will push us to write tthe wrongs of the past but most importantly teach us what not to do. It will become a catalyst for us to want to do better and greater things

So as we start a new year, and a new cycle for NDR let us contribute positively  to our history and legacy, let the lions learn to write and may the write beautifully and knowledgeably so. As in the Vusi Mahlasela song let’s start ringing the bells "when Africa comes back" but it

Our look into freedom does not just end with politics and culture but we also look at freedom and religion.Can the two co-exist? What were the challenges then and the challenges now around Africans and their religions? How free are religious organisations in this age and what were their conditions during the apartheid years?

We will still have our regular stories but do look out for those stories that pertain to these two issues.

This thus leads me to open the arguement which we are subject to, Can we attribute the 21st March/ Human rights day to the dom pass?

With the current wave of 'peoples revolution" taking place in the Arab world, the idea of human rights is once again taking centre stage. For most of the revolts are around issues that pertain to  human rights such as as the right to vote, self determination, issues around torture, the rights of citizen all these issues are not new to most South Africans.So in this month we are not only celebrating our achievement around human rights but we are looking at the legacy of the bad old days of apartheid, we look at the cultural aspect of how the culture of human rights has impacted on traditional practices and we look at the impact of the Sharpeville massacre

We will still have our regular stories around tradition and culture but look out on for our featured stories around Human rights and debates that we will be carrying through around Human Rights and their legacy in south Africa and the continent