Composing Apartheid

Grant Olwage is a professor at the Wits School of Arts, University of the Witwatersrand, Johannesburg.Gary Baines is Associate Professor in the History Department at Rhodes University, Grahamstown.Ingrid Byerly is Visiting Assistant Professor in the Department of Cultural Anthropology at Duke University. Previous recipient of the American Council of Learned Societies Fellowship, a Fulbright Award, and the Charles Seeger Prize from the Society for Ethnomusicology.Christopher Cockburn lectures in music theory at the University of KwaZulu-Natal, and is well known in South Africa and the United Kingdom as a concert organist and choral conductor.David Coplan is Professor Emeritus and Chair in Social Anthropology at the University of the Witwatersrand, Johannesburg.

• Introduction: Grant OlwageChapter 1: Back to the Future? Idioms of ‘displaced time’ in South African compositionChristine LuciaChapter 2: Apartheid’s Musical Signs: Reflections on black choralism, modernity and race-ethnicity in the segregation eraGrant OlwageChapter 3: Discomposing Apartheid’s Story: Who owns Handel?Christopher CockburnChapter 4: Kwela’s White Audiences: The politics of pleasure and identification in the early apartheid periodLara AllenChapter 5: Popular Music and Negotiating Whiteness in Apartheid South AfricaGary BainesChapter 6: Packaging Desires: Album covers and the presentation of apartheidMichael DrewettChapter 7: Musical Echoes: Composing a past in/for South African jazzCarol A. MullerChapter 8: Singing Against Apartheid: ANC cultural groups and the international anti-apartheid struggleShirli GilbertChapter 9: ‘Nkosi Sikelel’ iAfrika’: Stories of an African anthem David Coplan and Bennetta Jules-RosetteChapter 10: Whose ‘White Man Sleeps’ Aesthetics? and politics in the early work of Kevin VolansMartin ScherzingerChapter 11: State of Contention: Recomposing apartheid at Pretoria’s State Theatre, 1990-1994. A personal recollectionBrett PyperChapter 12: Decomposing Apartheid: Things come togetherIngrid ByerlyChapter 13: Arnold van Wyk’s HandsStephanus Muller

This is one of the best books to have emerged from South African musicology in the last decade... It opens up a new level of discourse about music during the apartheid era: a level on which the theoretical, the ethical, the historical and the aesthetic play against each other in newly meaningful ways. Roger Parker, Cambridge University, UK