Fashionably ethnic
- Authors: Krueger, Anton
- Date: 2010
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229567 , vital:49688 , xlink:href="https://doi.org/10.1080/1013929X.2010.9678333"
- Description: This essay highlights a shift in South African literature towards ideals of individualism and explores some of the paradoxes inherent in the competing claims of individuality and heritage. The characters created by Greig Coetzee in Happy Natives are examined as examples of identities constructed in terms of tradition, function and indoctrination. The comic potential of these incongruent identity constructions is then elaborated by means of Henri Bergson’s description of the humour arising from an inability to adapt to changing fashions. Ultimately, appeals towards tradition and individuality begin to look like similar proposals.
- Full Text:
- Date Issued: 2010
- Authors: Krueger, Anton
- Date: 2010
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229567 , vital:49688 , xlink:href="https://doi.org/10.1080/1013929X.2010.9678333"
- Description: This essay highlights a shift in South African literature towards ideals of individualism and explores some of the paradoxes inherent in the competing claims of individuality and heritage. The characters created by Greig Coetzee in Happy Natives are examined as examples of identities constructed in terms of tradition, function and indoctrination. The comic potential of these incongruent identity constructions is then elaborated by means of Henri Bergson’s description of the humour arising from an inability to adapt to changing fashions. Ultimately, appeals towards tradition and individuality begin to look like similar proposals.
- Full Text:
- Date Issued: 2010
Outside city limits: introducing Anton van der Merwe of Starways Arts, in Hogsback, Eastern Cape, South Africa
- Authors: Steele, John
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/1012 , vital:30191
- Description: Certain contemporary artists in South Africa choose to live in rural areas rather than in cities. This paper explores some reasons for this preference, and also looks at countercultural back-to-the-earth trends and other factors that may have encouraged some of these artists to prefer to live and work in rural settings. It is against this background that artist Anton van der Merwe is introduced and his early choices of spaces in which to work, both as a potter and painter, are examined. This background serves to contextualise his decision, made in 1992, to move home and studio from Midrand in Gauteng to Hogsback village, in rural Eastern Cape. Hardships were faced, artistic growth has been experienced, and a flourishing visual arts practice has been established by him at Starways Arts. In conclusion, it is noted that involvement in aspects of local community affairs have resulted in widespread mutual benefit.
- Full Text:
- Date Issued: 2014
- Authors: Steele, John
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/1012 , vital:30191
- Description: Certain contemporary artists in South Africa choose to live in rural areas rather than in cities. This paper explores some reasons for this preference, and also looks at countercultural back-to-the-earth trends and other factors that may have encouraged some of these artists to prefer to live and work in rural settings. It is against this background that artist Anton van der Merwe is introduced and his early choices of spaces in which to work, both as a potter and painter, are examined. This background serves to contextualise his decision, made in 1992, to move home and studio from Midrand in Gauteng to Hogsback village, in rural Eastern Cape. Hardships were faced, artistic growth has been experienced, and a flourishing visual arts practice has been established by him at Starways Arts. In conclusion, it is noted that involvement in aspects of local community affairs have resulted in widespread mutual benefit.
- Full Text:
- Date Issued: 2014
Anton and Vale van der Merwe: reinterpreting Afro-Oriental studio ceramics traditions in South Africa
- Authors: Steele, John
- Date: 2015
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/968 , vital:30077
- Description: Growing awareness of ancient Chinese Song and Yuan ceramics, amongst other Oriental traditions, by people with western connections such as Bernard Leach and Michael Cardew, in conjunction with influences from Japanese associates such as Soyetsu Yanagi, Kenkichi Tomimoto, and Shoji Hamada, (De Waal 1997, Harrod 2012, Kikuchi 1977, Leach 1976) has had many consequences. It spread a consciousness idealizing self-sufficient pottery studios where potters were in touch with all aspects of creating utilityware, largely from local materials for local use. Out of this emerged an Anglo-Oriental studio ceramic philosophy of form and practice, associated mainly with hand-made high temperature reduction fired ceramics. These ideas spread to South Africa in the late 1950s, and by the early 1960s local studios were being established along these lines. This studio ceramics movement grew exponentially in South Africa, initiating a phase of Afro-Oriental ceramics that remains a powerful way of life and visual arts influence. This paper seeks to explore aspects of Afro- Oriental studio ceramics in South Africa, with particular reference to the Leach/Hamada/Cardew to Rabinowitz, and Van der Merwe lineage.
- Full Text:
- Date Issued: 2015
- Authors: Steele, John
- Date: 2015
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/968 , vital:30077
- Description: Growing awareness of ancient Chinese Song and Yuan ceramics, amongst other Oriental traditions, by people with western connections such as Bernard Leach and Michael Cardew, in conjunction with influences from Japanese associates such as Soyetsu Yanagi, Kenkichi Tomimoto, and Shoji Hamada, (De Waal 1997, Harrod 2012, Kikuchi 1977, Leach 1976) has had many consequences. It spread a consciousness idealizing self-sufficient pottery studios where potters were in touch with all aspects of creating utilityware, largely from local materials for local use. Out of this emerged an Anglo-Oriental studio ceramic philosophy of form and practice, associated mainly with hand-made high temperature reduction fired ceramics. These ideas spread to South Africa in the late 1950s, and by the early 1960s local studios were being established along these lines. This studio ceramics movement grew exponentially in South Africa, initiating a phase of Afro-Oriental ceramics that remains a powerful way of life and visual arts influence. This paper seeks to explore aspects of Afro- Oriental studio ceramics in South Africa, with particular reference to the Leach/Hamada/Cardew to Rabinowitz, and Van der Merwe lineage.
- Full Text:
- Date Issued: 2015
A far from passive record Anton van Wouw: The smaller works, AE Duffey: book review
- Authors: de Jager, Maureen
- Date: 2009
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147402 , vital:38633 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC38334
- Description: Anton van Wouw : the smaller works is, as its title implies, concerned with the generally lesser-known smaller works of Dutch-born sculptor, Anton van Wouw. Using the measure of "half life-size and smaller" as a guideline, author Alexander Duffey provides a comprehensive and well-illustrated overview of the many full-length small sculptures, busts, relief panels and maquettes produced by Van Wouw between 1881 (nine years prior to his arrival in South Africa at the age of 28) and 1940. Naturalistically sculpted and generally cast in bronze, these smaller works are wide-ranging in their subject matter, depicting innocuous, commonplace scenes alongside aspects of Afrikaner history, representations of Boer and British leaders, and so-called "native studies" (p 11).
- Full Text:
- Date Issued: 2009
- Authors: de Jager, Maureen
- Date: 2009
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147402 , vital:38633 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC38334
- Description: Anton van Wouw : the smaller works is, as its title implies, concerned with the generally lesser-known smaller works of Dutch-born sculptor, Anton van Wouw. Using the measure of "half life-size and smaller" as a guideline, author Alexander Duffey provides a comprehensive and well-illustrated overview of the many full-length small sculptures, busts, relief panels and maquettes produced by Van Wouw between 1881 (nine years prior to his arrival in South Africa at the age of 28) and 1940. Naturalistically sculpted and generally cast in bronze, these smaller works are wide-ranging in their subject matter, depicting innocuous, commonplace scenes alongside aspects of Afrikaner history, representations of Boer and British leaders, and so-called "native studies" (p 11).
- Full Text:
- Date Issued: 2009
Maximum firepower: Vale van der Merwe, an emergent ceramic artist at Starways Arts, Hogsback, Eastern Cape, South Africa
- Authors: Steele, John
- Date: 2015
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/979 , vital:30078
- Description: Vale van der Merwe has been working as a ceramic artist for the past five years, and in that time has developed a remarkably diverse repertoire of both thrown and handbuilt works. These include rapidly thrown utilityware as well as carefully conceived sculptural works that engage with ideas rather than primarily with function. She also makes full use of opportunities offered by high-temperature woodburn firings, and despite works collapsing while being made, breaking while being carried to the kiln and slumping during firing, she has used such occasions as opportunities for learning rather than despondency. Van der Merwe is also an actively hands-on ceramic artist who engages with all levels of tasks associated with studio ceramics in a village setting, so has found herself, for example, both creating a new chimney for the kiln, and simultaneously leading discussion around concepts for new collaborative exhibitions. There is a seriousness of intent combined with infectious confidence evident in both her daily presence and ceramics, and it is hoped that she will develop her repertoire and thinkings even further in forthcoming years.
- Full Text:
- Date Issued: 2015
- Authors: Steele, John
- Date: 2015
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/979 , vital:30078
- Description: Vale van der Merwe has been working as a ceramic artist for the past five years, and in that time has developed a remarkably diverse repertoire of both thrown and handbuilt works. These include rapidly thrown utilityware as well as carefully conceived sculptural works that engage with ideas rather than primarily with function. She also makes full use of opportunities offered by high-temperature woodburn firings, and despite works collapsing while being made, breaking while being carried to the kiln and slumping during firing, she has used such occasions as opportunities for learning rather than despondency. Van der Merwe is also an actively hands-on ceramic artist who engages with all levels of tasks associated with studio ceramics in a village setting, so has found herself, for example, both creating a new chimney for the kiln, and simultaneously leading discussion around concepts for new collaborative exhibitions. There is a seriousness of intent combined with infectious confidence evident in both her daily presence and ceramics, and it is hoped that she will develop her repertoire and thinkings even further in forthcoming years.
- Full Text:
- Date Issued: 2015
Starways Arts: a built environment expressing holistic lifestyles dedicated to visual and performing arts in Hogsback, Eastern Cape, South Africa
- Authors: Steele, John
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/990 , vital:30179
- Description: In 1992, Anton van der Merwe and his life partner Gwyneth Lloyd moved from Randjesfontein Pottery in Midrand, between Johannesburg and Pretoria, to an undeveloped smallholding in the densely forested rural village of Hogsback. The past 22 years have seen an ongoing process of settling down and construction of necessary buildings. This paper seeks to explore aspects of philosophical and architectural influences that served as some of the foundation stones for creation of an eclectic series of buildings, including their home, visual arts studios, a gallery, a community theatre and guest accommodation. A review of these buildings will show that Van der Merwe and Lloyd have developed an idiosyncratic construction style that incorporates alternative technology with empathetic use of natural resources, which results in organically flowing living and working spaces that are fit for purpose, have substantial presence and have minimal environmental impact.
- Full Text:
- Date Issued: 2014
- Authors: Steele, John
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/990 , vital:30179
- Description: In 1992, Anton van der Merwe and his life partner Gwyneth Lloyd moved from Randjesfontein Pottery in Midrand, between Johannesburg and Pretoria, to an undeveloped smallholding in the densely forested rural village of Hogsback. The past 22 years have seen an ongoing process of settling down and construction of necessary buildings. This paper seeks to explore aspects of philosophical and architectural influences that served as some of the foundation stones for creation of an eclectic series of buildings, including their home, visual arts studios, a gallery, a community theatre and guest accommodation. A review of these buildings will show that Van der Merwe and Lloyd have developed an idiosyncratic construction style that incorporates alternative technology with empathetic use of natural resources, which results in organically flowing living and working spaces that are fit for purpose, have substantial presence and have minimal environmental impact.
- Full Text:
- Date Issued: 2014
Anton Muziwakhe Lembede
- Ka Msumza, Luyanda, Edgar, Robert
- Authors: Ka Msumza, Luyanda , Edgar, Robert
- Date: 1994
- Subjects: Lembede, Anton Muziwakhe, 1914-1947 African National Congress -- Youth League Africans -- Government relations South Africa -- Politics and government -- 1909-1948
- Language: English
- Type: Manuscript , text
- Identifier: http://hdl.handle.net/10962/2702 , vital:20318
- Description: This essay is an introduction to Freedom in Our Lifetime: The Collected Writings of Anton M. Lembede to be published by Skotaville Press in 1995. On Easter Sunday 1944 a group of young political activists gathered at the Bantu Men's Social Centre in Orlando township to launch the African National Congress Youth League. Motivated by their desire to shake up the "Old Guard" in the African National Congress (ANC) and set the ANC on a militant course, this "Class of '44“ became the nucleus of a remarkable generation of African leaders - Nelson Mandela, Oliver Tambo, Walter Sisulu, Jordan Ngubane, Ellen Kuzwayo, Albertina Sisulu, A.P. Mda, Dan Tloome, and David Bopape - many of whom remained at the forefront of the struggle for freedom and equality in South Africa for the next half century. However, in 1944, the figure the Youth Leaguers turned to for their first president is not even listed in this group. He was a Natal-born lawyer, Anton Muziwakhe Lembede. Known to his friends as "Lembs," Lembede was a political neophyte when he moved from the Orange Free State to Johannesburg in 1943 to practice law. However his sharp intellect, fiery personality, and unwavering commitment to the struggle made an immediate impression on his peers, and he was quickly catapulted into prominence in both the Youth League and the parent ANC. , Digitised by Rhodes University Library on behalf of the Institute of Social and Economic Research (ISER)
- Full Text:
- Date Issued: 1994
- Authors: Ka Msumza, Luyanda , Edgar, Robert
- Date: 1994
- Subjects: Lembede, Anton Muziwakhe, 1914-1947 African National Congress -- Youth League Africans -- Government relations South Africa -- Politics and government -- 1909-1948
- Language: English
- Type: Manuscript , text
- Identifier: http://hdl.handle.net/10962/2702 , vital:20318
- Description: This essay is an introduction to Freedom in Our Lifetime: The Collected Writings of Anton M. Lembede to be published by Skotaville Press in 1995. On Easter Sunday 1944 a group of young political activists gathered at the Bantu Men's Social Centre in Orlando township to launch the African National Congress Youth League. Motivated by their desire to shake up the "Old Guard" in the African National Congress (ANC) and set the ANC on a militant course, this "Class of '44“ became the nucleus of a remarkable generation of African leaders - Nelson Mandela, Oliver Tambo, Walter Sisulu, Jordan Ngubane, Ellen Kuzwayo, Albertina Sisulu, A.P. Mda, Dan Tloome, and David Bopape - many of whom remained at the forefront of the struggle for freedom and equality in South Africa for the next half century. However, in 1944, the figure the Youth Leaguers turned to for their first president is not even listed in this group. He was a Natal-born lawyer, Anton Muziwakhe Lembede. Known to his friends as "Lembs," Lembede was a political neophyte when he moved from the Orange Free State to Johannesburg in 1943 to practice law. However his sharp intellect, fiery personality, and unwavering commitment to the struggle made an immediate impression on his peers, and he was quickly catapulted into prominence in both the Youth League and the parent ANC. , Digitised by Rhodes University Library on behalf of the Institute of Social and Economic Research (ISER)
- Full Text:
- Date Issued: 1994
A Century of South African Theatre
- Authors: Krueger, Anton
- Date: 2019
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229623 , vital:49694 , xlink:href="https://doi.org/10.1080/10137548.2020.1716515"
- Description: In many ways, this is an updated repackaging of Loren Kruger's seminal work of 20 years ago, Plays, Pageants and the Drama of South Africa (1999). The material has been extensively revised and reworked using similar categories as the first book, including: pageantry and representations of nationhood, neo-colonial theatre, urbanization and its consequences; the rise of Afrikaans theatre; theatres of resistance; black consciousness; and contemporary theatre. Some of these sections have been extended (such as a longer discussion of HIE Dhlomo) and there is also a completely new section which has not been published elsewhere on current theatre trends (cleverly titled “The Constitution of South African Theatre at the Present Time”).
- Full Text:
- Date Issued: 2019
- Authors: Krueger, Anton
- Date: 2019
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229623 , vital:49694 , xlink:href="https://doi.org/10.1080/10137548.2020.1716515"
- Description: In many ways, this is an updated repackaging of Loren Kruger's seminal work of 20 years ago, Plays, Pageants and the Drama of South Africa (1999). The material has been extensively revised and reworked using similar categories as the first book, including: pageantry and representations of nationhood, neo-colonial theatre, urbanization and its consequences; the rise of Afrikaans theatre; theatres of resistance; black consciousness; and contemporary theatre. Some of these sections have been extended (such as a longer discussion of HIE Dhlomo) and there is also a completely new section which has not been published elsewhere on current theatre trends (cleverly titled “The Constitution of South African Theatre at the Present Time”).
- Full Text:
- Date Issued: 2019
Nothing forever
- Authors: Krueger, Anton
- Date: 2021
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225533 , vital:49233 , xlink:href="https://doi.org/10.5920/pam.1013"
- Description: Thank you to everybody who made contributions to this bumper 2021 Special Issue on Improvisation. Many thanks to our peer reviewers and especially to co-editors Deborah and Daniel for their help with the selection and editing process which has now culminated in a baker’s dozen texts. With contributions from Australia, South Africa, and New Zealand, as well as from France, the USA and the UK, the issue includes five interviews, four articles, two book reviews, a reflection and a score.
- Full Text:
- Date Issued: 2021
- Authors: Krueger, Anton
- Date: 2021
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225533 , vital:49233 , xlink:href="https://doi.org/10.5920/pam.1013"
- Description: Thank you to everybody who made contributions to this bumper 2021 Special Issue on Improvisation. Many thanks to our peer reviewers and especially to co-editors Deborah and Daniel for their help with the selection and editing process which has now culminated in a baker’s dozen texts. With contributions from Australia, South Africa, and New Zealand, as well as from France, the USA and the UK, the issue includes five interviews, four articles, two book reviews, a reflection and a score.
- Full Text:
- Date Issued: 2021
Gazing at Exhibit A
- Authors: Krueger, Anton
- Date: 2013
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229643 , vital:49696 , xlink:href="http://liminalities.net/9-1/exhibit.pdf"
- Description: Brett Bailey recently toured a new work in Europe and South Africa, called The Exhibit Series (2010-2013). In different countries the work has appeared under different titles—Exhibit A and Exhibit B, while Exhibit C will be produced in 2014. These productions replicate and parody ethnographic spectacles of the nineteenth century, interrogating European colonial atrocities in Africa, as well as contemporary xenophobia. They consist of a series of installations housed in individual rooms that audience members enter one by one. Inside these rooms one is confronted by beautifully arranged spectacles referencing historical atrocities committed in Namibia by German speaking peoples, as well as atrocities under the Belgian and French colonial regimes in the two Congos. The “exhibits” also include references to more recent incidents of European racism against migrants from Africa. The work has been both applauded and derided. In Berlin, for example, activists called it “a human zoo” and protested that this was “the wrong way to discuss a violent colonial history,”1 while others have called the work “haunting”, praising the production for its “dignity” and “beauty.”2
- Full Text:
- Date Issued: 2013
- Authors: Krueger, Anton
- Date: 2013
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229643 , vital:49696 , xlink:href="http://liminalities.net/9-1/exhibit.pdf"
- Description: Brett Bailey recently toured a new work in Europe and South Africa, called The Exhibit Series (2010-2013). In different countries the work has appeared under different titles—Exhibit A and Exhibit B, while Exhibit C will be produced in 2014. These productions replicate and parody ethnographic spectacles of the nineteenth century, interrogating European colonial atrocities in Africa, as well as contemporary xenophobia. They consist of a series of installations housed in individual rooms that audience members enter one by one. Inside these rooms one is confronted by beautifully arranged spectacles referencing historical atrocities committed in Namibia by German speaking peoples, as well as atrocities under the Belgian and French colonial regimes in the two Congos. The “exhibits” also include references to more recent incidents of European racism against migrants from Africa. The work has been both applauded and derided. In Berlin, for example, activists called it “a human zoo” and protested that this was “the wrong way to discuss a violent colonial history,”1 while others have called the work “haunting”, praising the production for its “dignity” and “beauty.”2
- Full Text:
- Date Issued: 2013
Glumlazi
- Authors: Krueger, Anton
- Date: 2009
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229829 , vital:49715 , xlink:href="https://hdl.handle.net/10520/EJC47808"
- Full Text:
- Date Issued: 2009
- Authors: Krueger, Anton
- Date: 2009
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229829 , vital:49715 , xlink:href="https://hdl.handle.net/10520/EJC47808"
- Full Text:
- Date Issued: 2009
Okongo Olunga
- Mito, Anton, Luo men, Tracey, Hugh
- Authors: Mito, Anton , Luo men , Tracey, Hugh
- Date: 1950
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Kenya City not specified f-ke
- Language: Dho Luo
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/313629 , vital:59509 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP2611-XYZ6139
- Description: Indigenous music
- Full Text: false
- Date Issued: 1950
- Authors: Mito, Anton , Luo men , Tracey, Hugh
- Date: 1950
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Kenya City not specified f-ke
- Language: Dho Luo
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/313629 , vital:59509 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP2611-XYZ6139
- Description: Indigenous music
- Full Text: false
- Date Issued: 1950
White Guys Can't Beg
- Authors: Krueger, Anton
- Date: 2009
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229796 , vital:49711 , xlink:href="https://hdl.handle.net/10520/EJC47812"
- Full Text:
- Date Issued: 2009
- Authors: Krueger, Anton
- Date: 2009
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229796 , vital:49711 , xlink:href="https://hdl.handle.net/10520/EJC47812"
- Full Text:
- Date Issued: 2009
Ongombe onjanja ya maheke
- Anton Giyama and four Herero women, Tracey, Hugh
- Authors: Anton Giyama and four Herero women , Tracey, Hugh
- Date: 1965
- Subjects: Folk music--Africa , Ovambo (African people) , Field recordings , Africa, Sub-Saharan , Africa Namibia Otjimbingwe f-sx
- Language: Kwambi
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/195767 , vital:45602 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR217-11
- Description: Herding song
- Full Text: false
- Date Issued: 1965
- Authors: Anton Giyama and four Herero women , Tracey, Hugh
- Date: 1965
- Subjects: Folk music--Africa , Ovambo (African people) , Field recordings , Africa, Sub-Saharan , Africa Namibia Otjimbingwe f-sx
- Language: Kwambi
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/195767 , vital:45602 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR217-11
- Description: Herding song
- Full Text: false
- Date Issued: 1965
Obanya oulo
- Mito, Anton, Luo men, Tracey, Hugh
- Authors: Mito, Anton , Luo men , Tracey, Hugh
- Date: 1950
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Kenya City not specified f-ke
- Language: Dho Luo
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/313669 , vital:59513 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP2613-XYZ6141
- Description: Indigenous music
- Full Text: false
- Date Issued: 1950
- Authors: Mito, Anton , Luo men , Tracey, Hugh
- Date: 1950
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Kenya City not specified f-ke
- Language: Dho Luo
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/313669 , vital:59513 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP2613-XYZ6141
- Description: Indigenous music
- Full Text: false
- Date Issued: 1950
John Cosmos Owada
- Mito, Anton, Luo men, Tracey, Hugh
- Authors: Mito, Anton , Luo men , Tracey, Hugh
- Date: 1950
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Kenya City not specified f-ke
- Language: Dho Luo
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/313647 , vital:59511 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP2612-XYZ6140
- Description: Indigenous music
- Full Text: false
- Date Issued: 1950
- Authors: Mito, Anton , Luo men , Tracey, Hugh
- Date: 1950
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Kenya City not specified f-ke
- Language: Dho Luo
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/313647 , vital:59511 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP2612-XYZ6140
- Description: Indigenous music
- Full Text: false
- Date Issued: 1950
in the council chambers
- Authors: Krueger, Anton
- Date: 2008
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229862 , vital:49718 , xlink:href="https://hdl.handle.net/10520/EJC47802"
- Full Text:
- Date Issued: 2008
- Authors: Krueger, Anton
- Date: 2008
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229862 , vital:49718 , xlink:href="https://hdl.handle.net/10520/EJC47802"
- Full Text:
- Date Issued: 2008
Title not specified
- Mito, Anton, Luo men, Tracey, Hugh
- Authors: Mito, Anton , Luo men , Tracey, Hugh
- Date: 1950
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Country not specified City not specified f-
- Language: Language not specified
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/313582 , vital:59504 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP2609-XYZ6137
- Description: Indigenous music
- Full Text: false
- Date Issued: 1950
- Authors: Mito, Anton , Luo men , Tracey, Hugh
- Date: 1950
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Country not specified City not specified f-
- Language: Language not specified
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/313582 , vital:59504 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP2609-XYZ6137
- Description: Indigenous music
- Full Text: false
- Date Issued: 1950
The Monkey Cage
- Authors: Krueger, Anton
- Date: 2013
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229763 , vital:49708 , xlink:href="https://hdl.handle.net/10520/EJC149510"
- Full Text:
- Date Issued: 2013
- Authors: Krueger, Anton
- Date: 2013
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229763 , vital:49708 , xlink:href="https://hdl.handle.net/10520/EJC149510"
- Full Text:
- Date Issued: 2013
Title not known
- Anton Giyama and four Herero women, Tracey, Hugh
- Authors: Anton Giyama and four Herero women , Tracey, Hugh
- Date: 1965
- Subjects: Folk music--Africa , Ovambo (African people) , Field recordings , Africa, Sub-Saharan , Africa Namibia Otjimbingwe f-sx
- Language: Kwambi
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/195780 , vital:45603 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR217-12
- Description: Historical song
- Full Text: false
- Date Issued: 1965
- Authors: Anton Giyama and four Herero women , Tracey, Hugh
- Date: 1965
- Subjects: Folk music--Africa , Ovambo (African people) , Field recordings , Africa, Sub-Saharan , Africa Namibia Otjimbingwe f-sx
- Language: Kwambi
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/195780 , vital:45603 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR217-12
- Description: Historical song
- Full Text: false
- Date Issued: 1965