WORKING GROUP ESTABLISHED IN SOUTH AFRICA
Report by Ole Reitov, journalist, member of the Freemuse Board When Apartheid was abolished in South Africa years of attention on the role of South African music as a political weapon gradually vanished in international media. Exiled musicians came back, some with glamour , others half forgotten . In the new South African landscape there were many issues pressuring for attention and the long term effects of music censorship was definitely not one being highlighted. The 1st World Conference on Music and Censorship held in Copenhagen in November 1998 put new attention to the mechanisms and effects of censorship during apartheid through the opening session with three prominent victims of apartheid - former censor Cecile Pracher and musicians Sipho Mabuse and Ray Phiri. In the new South Africa the former “enemies” are now joining hands in the efforts of understanding, describing and documenting music censorship and the effects on artists, media, industry and South African culture in general. Their efforts are joined by researchers, archivists, music producers and activists. When Freemuse was formed one of our first priorities was to try to organise and facilitate a working seminar for some of these South African resource persons. Due to a joint grant from the Roskilde Festival , Pet Shop Boys and Oasis we were able to get some twenty South African colleagues together in Jo’burg for a weekend workshop in March 2001. During an intense weekend the participants discussed and exchanged experiences on various issues concerning music censorship - realising that there were hundreds of stories that they had never shared with each other and several issues of common concern. To work out concrete idea catalogues and focus on specific problems the seminar participants partly worked in smaller groups with specific issues to be share with all in common sessions The following are examples of the work and excerpts from some of the conclusions of the seminar. At the end of the seminar the participants decided to form a Freemuse South African Working groups. Ole Reitov Facilitator of seminar Member of Freemuse Executive Committee MAIN CONCLUSIONS OF SEMINAR Several discussions during the seminar dealt with the importance of a “collective memory” as a contrast to the “cultural cocoon” that many South Africans lived in - and still live in. As more and more people act and react locally and simultaneously relay to the international / global scene, it is important that there also is a sense of “national diverse culture” and it is obvious that unless there is a sense of and knowledge of a common national cultural history the risk is that people will continue to live “apart” . Music is strongly rooted in South African culture but apartheid kept the diverse music cultures apart and thus prevented the South African citizens knowledge of their own culture. A new generation now grows up and if at all they prefer South African music to music from the international market, the younger generation grows up with no knowledge of the “hidden music” of the days of apartheid. Only through efforts by the media, music industry, museums, educational institutions and researchers will the “almost forgotten” story be told to the future generation of South Africa. There may be a general awareness that censorship was performed during apartheid but in fact most average South Africans don’t know how seriously music was affected. Several musicians were persecuted; some left the country others gave up. But the seminar also reflected over some of the paradoxes. “Censorship brought out the warrior in me” as Jennifer Ferguson reflected, and in its own perverted way apartheid in its aim to keep cultures separate documented and supported regional music cultures in the so called homelands in the country. The working group consisting of musicians, composers, researchers, recording and music industry representatives, independent music producers and operators and archives noted that the general knowledge about the history seen through the music is very limited and as one participant expressed it: “there is no pride in our culture and we live in a non questioning society”. Being a rainbow nation South Africa may risk that the colours of the rainbow keep living their parallel lives in their cultural cocoons rather than developing new cultural mixes and only the global cultural and financial operators benefit from that. The participants therefore felt that the understanding of the past is essential and that music can become a very strong vehicle in that process. The working group at the end of the seminar developed a working paper that noted: ”aside from the central themes on censorship, there are circumstances and legacy specific to the South African context which need addressing.” The working group pointed out that it in the initial process was necessary to focus on the following issues: To locate, safeguard and collate music materials, which have been rendered inaccessible through apartheid and censorship.
To continue the documentation of music censorship in South Africa, whether under Apartheid or beyond, and to do so in liaison with Freemuse.
To tabulate a list of the existing archives and resources pertaining to the above subject matter, including ‘work in progress’ and ‘under construction’.
All the above are necessary to consolidate the issues which we have discussed, and to render tangible resources and materials available to feed into and or support curriculum development, legacy and heritage work, and research.
UNDERSTANDING THE EFFECTS OF CENSORSHIP The interdisciplinary groups worked out a catalogue of statements and ideas to be further developed during the afternoon expert sessions. Amongst the many inputs it was noted particularly that There is a general lack of knowledge in S.A. of the mechanisms and effects of censorship There are many people who don’t want to know / be reminded
As one of the tasks was to analyse the long term effects of music censorship , the groups came up with several examples of the effects of censorship. It was noted that censorship: affected the collective memory in a negative way affected the quota systems in radio
affected music creativity and industry negatively
affected the public media system and its understanding of its role
affected the education system negatively
The groups equally discussed which sectors in society that benefited from censorship. Being a very complex question it was found that censorship had its “winners” being: censors
people willing to support the system religious groups ( burning records created paranoia) government Popmusicians (being harmless thus getting more airplay)
As the question of freedom of cultural expression in the work of Freemuse is linked to the UN declaration of Human Rights the limits of freedom of expression were discussed and it was found by the participants that Government censorship must be transparent when it is implemented Government has a responsibility in controlling child pornography, racial/hate speeches
Finally it was noted that censorship had a few ”positive” side effects such as Improved creativity by some artists Larger contact between artists and politicalactivists Innovative small labels Larger focus from the outside world on apartheid
As each of the questions need further research to be fully developed the statements should be seen as a first input to the catalogue of ideas that given time and money could very well show new directions in censorship research. Having discussed the same questions in all groups. The afternoon sessions dealt with different questions applicable to three selected sectors:. Media and Industry, Curriculum Research and archives.
Each group was requested to present a written report after the session. REPORT AND RECOMMENDATIONS FROM WORKING GROUP: RESEARCH AND ARCHIVES
Participants: Mike Drewett ( Rapporteur ) David Marks, 3rd Ear/Hidden music, Ilse Assmann, SABC Archives, Ole Reitov, Freemuse, Kathy Primos, Travelling Institute, Michelle Lowry, Production manager 1.
In terms of researches it was felt that there is a need for a research network in which all (or as many as possible researchers (academic, journalist or other) currently working in the area of South African music (especially any research touching on censorship of music) document their research interests so that it is possible for researchers to be aware of previous and ongoing research. A suitable location and organisation for such a network (research data base) need to be organised.
On an archival level, there is an urgent need to safeguard and collate (or at least record the whereabouts of) both living and inanimate archival material. Archives are being lost (destroyed or thrown away) and people with valuable stories to tell are dying.
There is an urgent need to interview as many relevant people as possible and to track down archival evidence and material and a place or places need to be earmarked for people to donate or sell archival material so that it is not lost (How this is done is dealt with in the following points, but especially point 6).
Also, Michael mentioned a plan to attempt to collate and publish many academic papers on music censorship in SA (or which touch on it in some way), which presently exist in numerous scattered sources. Some of the existing archives include: a) National Archives (especially for Directorate of Publication Files)
b) SABC
c) Independent radio stations (Capital, student radio)
d) Record companies eg. Shifty, Third Ear, Majors
e) Musicians (life stories and personal archives, scrap books) f) Other individuals g) Police archives h) International sources eg. British library, BBC, Freemuse i) Newspapers, magazines, academic and popular journals
j) Libraries, archives
2.
If a central archive is created (point 6) which is non-profit making but self funding and which has as its central aim the preservation of South Africa’s musical heritage, and is managed carefully, the trust of people with knowledge and archives should be secured. Hopefully this would ensure co-operation and knowledge sharing. 3.
A central, well managed archive could be used as a sort of archival agency where researches and programmers etc. can locate relevant material (from documents to interviews, to music to photographs and so on) this can be made available at a reasonable cost, some of which goes to the archive and some of which goes to the original source of the material (eg. Musicians or photographers). SAMRO could facilitate payments to musicians. The archive could also house an interactive exhibition or dare we say museum area (!?) which would act as an educational and tourist area. 4.
The ideal would be for the archive to be a national responsibility. But in the short term it might need to begin at regional levels with the support of existing museums, universities, archives or cultural venues )eg. The Playhouse in Durban. The short-term idea of a censorship of music tourist or research ramble was suggested as a tangible goal that could be pursued. The research network database would be a national responsibility perhaps organised by Freemuse (local). 5.
The rich variety of stories to be told and of archival material that is available. This material is diverse and widely dispersed. Also, the awareness of various research projects which need to be connected even if just on an awareness basis. 6.
Our dream is to see a national archive founded with its own building. It would act as an archival agency which eventually would be self financing through fees charged. Where other archives are presently housed (eg National Archives and SABC) copies of material related to censorship could be made housed in the archive. Use of these materials could involve a small fee, part of which would go to the original source. A connected exhibition/display/museum would act as a valuable education/tourist resource. The first step ought to the election or appointment of a steering committee to begin the process. Initial funding to fund the committee’s activities is necessary. Ultimately a Board of Trustees ought to be appointed – a group of people who command a lot of trust from potential donors and contributors. REPORT AND RECOMMENDATIONS FROM WORKING GROUP: CURRICULUM
Participants: Jennifer Ferguson ( Rapporteur ), Kwezi Mpumlawana, Robben Island Museum, Dion Daniels, Prophets of Da city, Rosie Katz, Midi Trust, M. Dube, film maker It was felt that the inclusion of the History of Banned Music in S.A. as part of the school curriculum, would enrich the child's understanding of not only her cultural legacy, but be a powerful inspiration in especially the adolescent's journey toward self-expression and identity. Music has always played a vital role in raising political and social awareness amongst the youth. Indeed, it is felt by many that the freedom songs sung in the 70's and 80's fuelled the struggle, and were an essential conduit for political expression. The fact that almost all politically critical music was banned in those days, means we have to search amongst almost hidden sources for that very music. The process of collation of that material, and the oral testimonies that are still available for collection, means that close collaboration with active archive researchers would be essential. Therefore, there needs to be a formal link up with any relevant archives and researchers. While the above mentioned suggestions would form part of the Formal inclusion into the curriculum, it was felt that an equally effective informal component would be the initiation of a series of workshops, using active as well as retired musicians who had experience of banning.
This should be targeted in a specific region and should preferably form part of an existing pilot study. (Mention was made by Kathy Primos of such a study operating in Kwathema and surrounding townships.) The workshops should also encourage the original creation of music today, and using musical genres such as rap, could assist the youth in finding outlets for the very daunting realities of their lives. Rap music is indeed one of the instant forms of music today and its simplicity of production belies its power. It can also be seen as an originally African form of music that has returned to its roots.) There already exists a govt. institution that is restructuring the curriculum, so input should be relatively easy. Rosie Katz of MIDI TRUST is already active in one such Standard Generating Body. As mentioned earlier, the issue of censorship falls into a few areas of study besides music, arts and Culture, Lifeskills, Literature being some of the others. These bodies need to be informed and encouraged to consult further .i.e.submissions must be made. D.A.C.S.T. needs to be approached and informed of our intentions and concern that the SGB's and National bodies are taking note.
They could also be approached for part funding for the following projects: -The design of a WEBSITE that all interested parties could make use of, especially schools and educational institutions. -The aligning with S.A.MUSIC WEEK : the theme of Banned Music In South Africa. This project would also attract funding from other stakeholders, corporations in S,A.. and outside. -The REMIX of some of the banned songs of the past in a contemporary idiom, using local popular musicians. -The release of an existing body of FREEDOM SONGS, notated and historically contextualised, and already available in the U.S.A. Europe and Great Britain, for choral and instrumental use. (intros by Bishop Tutu and Madiba) All of the above mentioned projects merit international funding. In my opinion, the WEBSITE and the release of the FREEDOM SONG COLLECTION would have a lasting merit and be a good reference source for teachers and students alike. S.A. MUSIC WEEK is a great opportunity for promoting awareness and the inclusion of one or two REMIXES would give it heightened impact. REPORT AND RECOMMENDATIONS FROM WORKING GROUP: MEDIA & INDUSTRY
Participants: Steve Gordon (Rapporteur), Lance Stehr, Ray Phiri, artist, Jacob Valdemar, Freemuse Intro
The group discussed the various questions, and noted that it is going to be very difficult to get either the media or the music industry to initiate critical self-analysis when it comes to their respective roles in music and censorship. Accordingly, the challenge we face is to devise an approach, which brings the debate to these sectors. Before going further, we will state that we do not think the idea of ’compensation’ should be pursued. We must redress the past, but not open up a process of ’claims’! Noting that other discussion groups are dealing with topics such as ’archiving’ and ’ curriculum’, we are thinking of a strategy, which can ensure that the work done in those realms does not remain isolated in the world of academia and research. Proposal
We believe that the only realistic way to take the message and themes discussed at the Freemuse Seminar to a broader audience is by encapsulating these in the form of a product, which has a real and immediate use value for the media. We believe that the resultant product (most significantly, a CD and or programming containing content) be released with a campaign, concurrent with a key date in the SA calendar, for example SA Music Week, or Human Rights Day. The resultant campaign might include the following elements: Compact disc
A compilation of previously banned material.
Audio elements including interview clips on relevant topics. Radio programme
for syndication or serialisation in schools, museums, etc Booklet
for insert into print media.
The marketing of the CD would be multi platform, as it should for any other CD released, but the CD (as a product) would be the focal point for a rich media campaign, which aims to stimulate editorial and debate on the themes. Obviously all platforms would be exploited – from internet to physical exhibitions. (A second aspect discussed included a concert). Partners
We believe that such a process has the potential for a range of partners, but strategically, Freemuse should play an ’incubator’ role to develop the project. If this proposal is adopted as a working project, an array of partners should be engaged from institutional (NGO’S, National Arts Council, Government) through to private sector. |
