Date: 12/08/2003
Source: Department of Education
Title: Asmal: Launch of South African Music Week
ADDRESS BY THE MINISTER OF EDUCATION, PROFESSOR KADER ASMAL, MP, ON THE OCCASION OF THE LAUNCH OF THE SOUTH AFRICAN MUSIC WEEK, Newtown, Johannesburg, 12 August 2003
Director of Ceremonies
Deputy Minister of Arts, Culture, Science and Technology, Ms Buyelwa Sonjica
The Director of Music Industry Development Trust, Ms Rosie Katz
Artists
Distinguished guests
Ladies and gentlemen
Molweni, Dumelang, Good afternoon.
It gives me great pleasure to address you on this special occasion, the launch of the South African Music Week.
I am reminded of one of South Africa's great sons who has made us proud with his indigenous sound at home and abroad, Mr Joseph Shabalala, the leader of Ladysmith Black Mambazo. In an excerpt from a book about 'isicathamiya' music, he describes how he feels about music,
I love this music, I love it dearly. I realise that this music which we have helped to develop is part of our heritage, however it is not bound to KwaZulu-Natal, it is not bound to South Africa, music is universal, it knows no boundaries....this music must be protected, it must be nourished and it must be taught. It belongs to us, and to future generations. ....I have come to the conclusion that in this country we are blessed with such a wealth of diverse music, and we must celebrate, and celebrate the diversity in our music, we must not let it all go to waste.
Ladies and gentlemen, what more can I say. Shabalala has said it all. In this country, music has inspired us in both good and bad times. No celebration takes place without music. No mourning takes place without music. It is part of us, and it is our culture.
South Africa has nurtured the development of an array of distinctive styles of music and it has contributed to music heard at all times throughout the continent. Music is a potent force in Africa. The distinctive feature of Africa, and of the people of Africa is the ability to live, to express joy, sadness, pain and love. Music has been a primary tool with which we express these diverse emotions. So many of the now distinctive styles of music such as jazz, reggae, the blues, have a direct link to African music styles, which brings us to the importance of having a celebration such as the South African Music Week, so that we may come to recognise the significance of this music.
The wealth and diversity in our culture as South Africans, has contributed much to the richness and diversity of our music. One cannot speak of understanding culture without noting its roots and development through musical experiences. These life experiences gave South Africans the cultural and political foundation that allowed them to mobilise for the struggle for national liberation successfully. Any theory of national emancipation must be materially based on the country's own particular reality. The fundamental reality is not only learning through books, but also from oral tradition such as story telling and music.
Each generation uses music to express its own identity. The South African Music Week is not only about performance of different music genres, but also about celebrating who we are, and where we come from as South Africans. Our diversity in language, culture and religion, of which music is part, should not be allowed to die. We need to build our own South African identity that acknowledges our unity in diversity, as reflected in our coat of arms:
" ! KE E: XARRA \KE"
Ladies and gentlemen, you will agree with me that this day marks a milestone in the history of South African music. Our struggle in South Africa against apartheid was a long one, and music was used as a very strong weapon to register our collective striving for freedom. South African musicians and ordinary people communicated all their joys, sorrows and frustrations through music. It was through music that they told their tales, established their relationships and maintained their bonds.
In April 2004 we will be celebrating our first decade of democracy. Today South Africa is considered as a model of peaceful negotiation and transition. Our music has played a significant role in bringing about peace, and a common understanding of where we come from. We have learnt about the importance of reconciliation, tolerance and celebration of diversity through music. South Africa has also used music for nation- building. Our National Anthem is a true reflection of how South Africans can accommodate each other through music. After the collapse of apartheid, the National Anthem of South Africa encompassed five languages and combined two songs, 'Nkosi Sikelel'i Afrka' and "Die Stem van Suid Afrika"
What is most encouraging about South African music is that it does not only reflect the past, but has a clear vision and prediction of where we are going. Listening to the various styles of South African music throughout different periods, one gets a sense of our history as told by great musicians.
We have South African Jazz, which describes a range of music from early marabi-inspired sounds in the 1930s and the 1940s, by bands like the Marry Blackbirds Orchestra, to the current performers as trumpeter Hugh Masekela, pianist Abdullah Ibrahim with his "Mannenburg", singers like Mirriam Makeba and the Manhattan Brothers The pennywhistle players of the 1950s like Spokes Mashiyane of Khwela music tell a story of police raids in townships, and the whistles would be used to warn the citizens.
The South African freedom songs of the 1950s that expressed passive resistance, and of the 1960s which portrayed the message to take up arms, were a real expression of the aspirations of our people to live in a free country.
Listening to Isicathamiya singers with their neat uniforms and well co-ordinated synchronised steps of dancing, adopting music to an urban setting of the mine hostels, the mbhaqanga of the 1970s by Mahlathini and the Mahotella Queens, the Soul Brothers, and others, one finds an unfolding process of South African history. The so-called bubblegum music of the 1980s and the 1990s of prominent vocalists like Yvonne Chaka-Chaka, Brenda Fassie and Chicco Thwala who mixed mbhaqanga, pop sound and other styles is not only associated with party music, but some lyrics were politically inspired. Chicco's song 'We miss you Manelo', where 'Manelo' was clearly referring to Mr Mandela, who was still imprisoned, is a good example.
The current kwaito music is fascinating to most people, as it has the strength to combine the elements of rap, reggae, hip-hop and other music styles into a distinctly South African style. Its popular artists like Arthur Mofakate, Bongo Maffin, TKZee, Mandoza, Mdu, the youth craze Mzekezeke and the young Msawawa, have opportunities to perform in a less restrictive world of radio and television of a post-apartheid world. Throughout each of these stages in South African history, music has played a great part in the lives of our people.
As a Government, we are determined that all forms of music must thrive. Therefore there is a need to preserve, protect and promote indigenous music, song and dance. We need to celebrate music and dance that is uniquely South African, as this is an important element of development of our South African identity. Just as my Department established focus schools which concentrate on maths, science and technology, we are now considering ways of establishing and funding schools that will specialise in music and the performing arts. All the aspects of careers in music and the music industry will be dealt with in depth in such focus schools. In the Manifesto on Values, Education and Democracy, which was produced by my Department in 2001 to highlight the constitutional values and the sixteen implementation strategies, one of the implementation strategy is to have a new programme that prioritises the role of the creative arts. This programme is an empowering initiative to give students the means to express themselves through music and other art forms.
This year, it will be for the first time in our history that an initiative like the Music Week programme goes to schools. The initiative should not be seen as a once off event, but as part of our awareness campaign to promote our culture and heritage. I therefore wish to invite our musicians who are present today, to support our schools by appearing in all the outside broadcasting events planned for schools. Ms Katz can share the programme with you.
Although the events of the Music Week have started in three provinces for this year, by next year, these events should be celebrated by all schools during the National Festival of Indigenous Music. I also wish to invite the business sector this time to support this initiative of reviving our music and culture in schools.
I would like to see participation of all learners in this wonderful project. Creating hope and meaningful opportunities for young artists is a crucial concern for government. It was therefore a highly significant step for my Department, the Department of Arts and Culture and the Music Industry Development Initiative (MIDI) Trust, to form partnerships, with the aim of developing the music talents of our young people.
I hope and believe that the partnership we have formed with the Department of Arts and Culture and the MIDI Trust will be of great benefit to all musicians in South Africa. Partnerships of this sort are vital in implementing the scale and scope of transforming our country's needs. It is clear that the Government cannot do everything by itself and neither can communities do everything by themselves. When we join forces, the chances of success are much enhanced. In the spirit of TIRISANO (Working Together), my Department is prepared to do whatever it takes to make this partnership a success. However, we should bear in mind that for partnerships to be successful we need focus, trust, mutual recognition, commitment and the nurturing of skills. Although the value and meaningful contribution of everybody involved cannot be measured, it is really acknowledged and appreciated.
In a multicultural and multilingual society such as South Africa, emerging at least from a long period of distortions forced on it by apartheid, there is clearly a need to try to re-establish a wider, more generously inclusive sense of history and identity. Through music and song we remember and celebrate our identity as South Africans, and we are proud to be Africans.
In this ever-changing city, Newtown is now a site of urban regeneration, renewal and celebration of moral regeneration. The Cultural Precinct, in which the Music Centre is situated, symbolises much of what we fought for in our struggle. Today, this site begins to shape our society. Not only was the area the site of a multicultural community at the beginning of the twentieth century, but it was also the site of the destruction of sections of that community through forced removals, based on racial grounds. Some in our audience may remember Park Station, a conduit for thousand of workers everyday into Johannesburg in a transport system that was racially segregated. The slow regeneration of the area symbolises the transformation of the inner city. The Market Theatre was opened in 1976 in the old produce market. The complex became famous for its protest against apartheid, and is once again a rich mix of music and theatre. Perhaps we are now offered an opportunity to realise the objectives of these historical champions of the cause for a society free of oppression, racism and intolerance.
This is a time which demands of us, the defenders of our democracy, a rigorous rooting out of all forms of racism and intolerance. It is a time, which also calls for an awareness of and pride in our South Africanness. The artistic expressions of our country's children, to be displayed during the South African Music Week, in several venues across the country, will clearly cement the emerging pride in self, community and nation.
In conclusion, I invite all learners to participate in the South African Music Week every year from today.
I wish to say to all South Africans, LET US CELEBRATE!!!
I thank you
Source: Department of Education (http://education.pwv.gov.za)
Source: Department of Education
Title: Asmal: Launch of South African Music Week
ADDRESS BY THE MINISTER OF EDUCATION, PROFESSOR KADER ASMAL, MP, ON THE OCCASION OF THE LAUNCH OF THE SOUTH AFRICAN MUSIC WEEK, Newtown, Johannesburg, 12 August 2003
Director of Ceremonies
Deputy Minister of Arts, Culture, Science and Technology, Ms Buyelwa Sonjica
The Director of Music Industry Development Trust, Ms Rosie Katz
Artists
Distinguished guests
Ladies and gentlemen
Molweni, Dumelang, Good afternoon.
It gives me great pleasure to address you on this special occasion, the launch of the South African Music Week.
I am reminded of one of South Africa's great sons who has made us proud with his indigenous sound at home and abroad, Mr Joseph Shabalala, the leader of Ladysmith Black Mambazo. In an excerpt from a book about 'isicathamiya' music, he describes how he feels about music,
I love this music, I love it dearly. I realise that this music which we have helped to develop is part of our heritage, however it is not bound to KwaZulu-Natal, it is not bound to South Africa, music is universal, it knows no boundaries....this music must be protected, it must be nourished and it must be taught. It belongs to us, and to future generations. ....I have come to the conclusion that in this country we are blessed with such a wealth of diverse music, and we must celebrate, and celebrate the diversity in our music, we must not let it all go to waste.
Ladies and gentlemen, what more can I say. Shabalala has said it all. In this country, music has inspired us in both good and bad times. No celebration takes place without music. No mourning takes place without music. It is part of us, and it is our culture.
South Africa has nurtured the development of an array of distinctive styles of music and it has contributed to music heard at all times throughout the continent. Music is a potent force in Africa. The distinctive feature of Africa, and of the people of Africa is the ability to live, to express joy, sadness, pain and love. Music has been a primary tool with which we express these diverse emotions. So many of the now distinctive styles of music such as jazz, reggae, the blues, have a direct link to African music styles, which brings us to the importance of having a celebration such as the South African Music Week, so that we may come to recognise the significance of this music.
The wealth and diversity in our culture as South Africans, has contributed much to the richness and diversity of our music. One cannot speak of understanding culture without noting its roots and development through musical experiences. These life experiences gave South Africans the cultural and political foundation that allowed them to mobilise for the struggle for national liberation successfully. Any theory of national emancipation must be materially based on the country's own particular reality. The fundamental reality is not only learning through books, but also from oral tradition such as story telling and music.
Each generation uses music to express its own identity. The South African Music Week is not only about performance of different music genres, but also about celebrating who we are, and where we come from as South Africans. Our diversity in language, culture and religion, of which music is part, should not be allowed to die. We need to build our own South African identity that acknowledges our unity in diversity, as reflected in our coat of arms:
" ! KE E: XARRA \KE"
Ladies and gentlemen, you will agree with me that this day marks a milestone in the history of South African music. Our struggle in South Africa against apartheid was a long one, and music was used as a very strong weapon to register our collective striving for freedom. South African musicians and ordinary people communicated all their joys, sorrows and frustrations through music. It was through music that they told their tales, established their relationships and maintained their bonds.
In April 2004 we will be celebrating our first decade of democracy. Today South Africa is considered as a model of peaceful negotiation and transition. Our music has played a significant role in bringing about peace, and a common understanding of where we come from. We have learnt about the importance of reconciliation, tolerance and celebration of diversity through music. South Africa has also used music for nation- building. Our National Anthem is a true reflection of how South Africans can accommodate each other through music. After the collapse of apartheid, the National Anthem of South Africa encompassed five languages and combined two songs, 'Nkosi Sikelel'i Afrka' and "Die Stem van Suid Afrika"
What is most encouraging about South African music is that it does not only reflect the past, but has a clear vision and prediction of where we are going. Listening to the various styles of South African music throughout different periods, one gets a sense of our history as told by great musicians.
We have South African Jazz, which describes a range of music from early marabi-inspired sounds in the 1930s and the 1940s, by bands like the Marry Blackbirds Orchestra, to the current performers as trumpeter Hugh Masekela, pianist Abdullah Ibrahim with his "Mannenburg", singers like Mirriam Makeba and the Manhattan Brothers The pennywhistle players of the 1950s like Spokes Mashiyane of Khwela music tell a story of police raids in townships, and the whistles would be used to warn the citizens.
The South African freedom songs of the 1950s that expressed passive resistance, and of the 1960s which portrayed the message to take up arms, were a real expression of the aspirations of our people to live in a free country.
Listening to Isicathamiya singers with their neat uniforms and well co-ordinated synchronised steps of dancing, adopting music to an urban setting of the mine hostels, the mbhaqanga of the 1970s by Mahlathini and the Mahotella Queens, the Soul Brothers, and others, one finds an unfolding process of South African history. The so-called bubblegum music of the 1980s and the 1990s of prominent vocalists like Yvonne Chaka-Chaka, Brenda Fassie and Chicco Thwala who mixed mbhaqanga, pop sound and other styles is not only associated with party music, but some lyrics were politically inspired. Chicco's song 'We miss you Manelo', where 'Manelo' was clearly referring to Mr Mandela, who was still imprisoned, is a good example.
The current kwaito music is fascinating to most people, as it has the strength to combine the elements of rap, reggae, hip-hop and other music styles into a distinctly South African style. Its popular artists like Arthur Mofakate, Bongo Maffin, TKZee, Mandoza, Mdu, the youth craze Mzekezeke and the young Msawawa, have opportunities to perform in a less restrictive world of radio and television of a post-apartheid world. Throughout each of these stages in South African history, music has played a great part in the lives of our people.
As a Government, we are determined that all forms of music must thrive. Therefore there is a need to preserve, protect and promote indigenous music, song and dance. We need to celebrate music and dance that is uniquely South African, as this is an important element of development of our South African identity. Just as my Department established focus schools which concentrate on maths, science and technology, we are now considering ways of establishing and funding schools that will specialise in music and the performing arts. All the aspects of careers in music and the music industry will be dealt with in depth in such focus schools. In the Manifesto on Values, Education and Democracy, which was produced by my Department in 2001 to highlight the constitutional values and the sixteen implementation strategies, one of the implementation strategy is to have a new programme that prioritises the role of the creative arts. This programme is an empowering initiative to give students the means to express themselves through music and other art forms.
This year, it will be for the first time in our history that an initiative like the Music Week programme goes to schools. The initiative should not be seen as a once off event, but as part of our awareness campaign to promote our culture and heritage. I therefore wish to invite our musicians who are present today, to support our schools by appearing in all the outside broadcasting events planned for schools. Ms Katz can share the programme with you.
Although the events of the Music Week have started in three provinces for this year, by next year, these events should be celebrated by all schools during the National Festival of Indigenous Music. I also wish to invite the business sector this time to support this initiative of reviving our music and culture in schools.
I would like to see participation of all learners in this wonderful project. Creating hope and meaningful opportunities for young artists is a crucial concern for government. It was therefore a highly significant step for my Department, the Department of Arts and Culture and the Music Industry Development Initiative (MIDI) Trust, to form partnerships, with the aim of developing the music talents of our young people.
I hope and believe that the partnership we have formed with the Department of Arts and Culture and the MIDI Trust will be of great benefit to all musicians in South Africa. Partnerships of this sort are vital in implementing the scale and scope of transforming our country's needs. It is clear that the Government cannot do everything by itself and neither can communities do everything by themselves. When we join forces, the chances of success are much enhanced. In the spirit of TIRISANO (Working Together), my Department is prepared to do whatever it takes to make this partnership a success. However, we should bear in mind that for partnerships to be successful we need focus, trust, mutual recognition, commitment and the nurturing of skills. Although the value and meaningful contribution of everybody involved cannot be measured, it is really acknowledged and appreciated.
In a multicultural and multilingual society such as South Africa, emerging at least from a long period of distortions forced on it by apartheid, there is clearly a need to try to re-establish a wider, more generously inclusive sense of history and identity. Through music and song we remember and celebrate our identity as South Africans, and we are proud to be Africans.
In this ever-changing city, Newtown is now a site of urban regeneration, renewal and celebration of moral regeneration. The Cultural Precinct, in which the Music Centre is situated, symbolises much of what we fought for in our struggle. Today, this site begins to shape our society. Not only was the area the site of a multicultural community at the beginning of the twentieth century, but it was also the site of the destruction of sections of that community through forced removals, based on racial grounds. Some in our audience may remember Park Station, a conduit for thousand of workers everyday into Johannesburg in a transport system that was racially segregated. The slow regeneration of the area symbolises the transformation of the inner city. The Market Theatre was opened in 1976 in the old produce market. The complex became famous for its protest against apartheid, and is once again a rich mix of music and theatre. Perhaps we are now offered an opportunity to realise the objectives of these historical champions of the cause for a society free of oppression, racism and intolerance.
This is a time which demands of us, the defenders of our democracy, a rigorous rooting out of all forms of racism and intolerance. It is a time, which also calls for an awareness of and pride in our South Africanness. The artistic expressions of our country's children, to be displayed during the South African Music Week, in several venues across the country, will clearly cement the emerging pride in self, community and nation.
In conclusion, I invite all learners to participate in the South African Music Week every year from today.
I wish to say to all South Africans, LET US CELEBRATE!!!
I thank you
Source: Department of Education (http://education.pwv.gov.za)
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