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"South Africa Social life and customs."
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South Africa
Discover what it's like to grow up in South Africa with this fascinating, nonfiction Level 2 Ready-to-Read, part of a series all about kids just like you in countries around the world!
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Song Walking
Song Walking explores the politics of land, its position in memories, and its foundation in changing land-use practices in western Maputaland, a borderland region situated at the juncture of South Africa, Mozambique, and Swaziland. Angela Impey investigates contrasting accounts of this little-known geopolitical triangle, offsetting textual histories with the memories of a group of elderly women whose songs and everyday practices narrativize a century of borderland dynamics. Drawing evidence from women's walking songs (amaculo manihamba)—once performed while traversing vast distances to the accompaniment of the European mouth-harp (isitweletwele)—she uncovers the manifold impacts of internationally-driven transboundary environmental conservation on land, livelihoods, and local senses of place.
This book links ethnomusicological research to larger themes of international development, environmental conservation, gender, and local economic access to resources. By demonstrating that development processes are essentially cultural processes and revealing how music fits within this frame, Song Walking testifies to the affective, spatial, and economic dimensions of place, while contributing to a more inclusive and culturally apposite alignment between land and environmental policies and local needs and practices.
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Cultural traditions in South Africa
Describes the different holidays and traditions that celebrate the history of South Africa and its people.
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Status and Respectability in the Cape Colony, 1750–1870
In a compelling example of the cultural history of South Africa, Robert Ross offers a subtle and wide-ranging study of status and respectability in the colonial Cape between 1750 and 1850. His 1999 book describes the symbolism of dress, emblems, architecture, food, language, and polite conventions, paying particular attention to domestic relationships, gender, education and religion, and analyses the values and the modes of thinking current in different strata of the society. He argues that these cultural factors were related to high political developments in the Cape, and offers a rich account of the changes in social identity that accompanied the transition from Dutch to British overrule, and of the development of white racism and of ideologies of resistance to white domination. The result is a uniquely nuanced account of a colonial society.
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Sonic Spaces of the Karoo
Sonic Spaces of the Karoois a pioneering study of the sacred music of three coloured (the apartheid designation for people \"not white or native\") people's church congregations in the rural town of Graaff-Reinet, South Africa. Jorritsma's fieldwork involves an investigation of the choruses, choir music, and hymns of the Karoo region to present a history of the people's traditional, religious, and cultural identity in song. This music is examined as part of a living archive preserved by the community in the face of a legacy of slavery and colonial as well as apartheid oppression.
Jorritsma's findings counteract a lingering stereotype that coloured music is inferior to European or African music and that coloured people should not or do not have a cultural identity.Sonic Spaces of the Karooseeks to eradicate that bias and articulate a more legitimate place for these people in the contemporary landscape of South Africa.
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Connecting with South Africa
Available electronically in an open-access, full-text edition from the Texas A&M University Libraries' Digital Repository at http : / /hdl .handle .net /1969 .1 /146845. Child psychiatrist and psychoanalyst Astrid Berg states in her introduction that \"South Africa is a microcosm.\" It is a modern nation, yet many of its inhabitants follow ancient traditions. It is a nation with a colonial past marked by periods of violence, yet it has managed to make a largely peaceful transition to majority rule. It is a nation with eleven official languages embracing a great diversity of cultures and customs, and yet it is also a land where public debate is vigorous, free, and ongoing. In short, South Africa is a place where connections are being built and maintained-both those among people with long kinship and common culture, and those that reach across historical, racial, and class divides. \"The western world is undeniably more advanced in certain areas of science and economic development,\" Berg states, \"but in other areas it seems to lag behind and could learn from\" places like South Africa.In her work with children and infants, Berg has become instrumental in building connections with and among her fellow South Africans of all ethnicities. Based upon Berg's 2010 Fay Lectures in Analytical Psychology at Texas A&M University, Connecting with South Africa: Cultural Communication and Understanding is both a self-reflective, subjective account and a scientific discourse on human development and intercultural communication. This volume will be warmly welcomed not only by psychoanalysts and those interested in Jungian thought and practice but also by anyone seeking more effective ways to learn from other cultures. Connecting with South Africa provides sensitive direction for those wishing to find healing and connection in a fractured society.
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The Tongue Is Fire
In the years between the Sharpeville Massacre of 1960 and the Soweto Uprising of 1976—a period that was both the height of the apartheid system in South Africa and, in retrospect, the beginning of its end—Harold Scheub went to Africa to collect stories.
With tape-recorder and camera in hand, Scheub registered the testaments of Swati, Xhosa, Ndebele, and Zulu storytellers, farming people who lived in the remote reaches of rural South Africa. While young people fought in the streets of Soweto and South African writers made the world aware of apartheid's evils, the rural storytellers resisted apartheid in their own way, using myth and metaphor to preserve their traditions and confront their oppressors. For more than 20 years, Scheub kept the promise he made to the storytellers to publish his translations of their stories only when freedom came to South Africa. The Tongue Is Fire presents these voices of South African oral tradition—the historians, the poets, the epic-performers, the myth-makers—documenting their enduring faith in the power of the word to sustain tradition in the face of determined efforts to distort or eliminate it. These texts are a tribute to the storytellers who have always, in periods of crisis, exercised their art to inspire their own people.
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