Relevant bibliographies by topics / Musicians, Black – South Africa

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Musicians, Black – South Africa'

Author: Grafiati
Published: 30 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Musicians, Black – South Africa"

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BALLANTINE, CHRISTOPHER. "Re-thinking ‘whiteness’? Identity, change and ‘white’ popular music in post-apartheid South Africa." Popular Music 23, no. 2 (May 2004): 105–31. http://dx.doi.org/10.1017/s0261143004000157.

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In South Africa, the prospects for social integration were auspicious after the first democratic elections in 1994. As the popular music of the time shows, it was not only blacks who exulted in the new ‘rainbow’ euphoria: many whites did so too. But for millions of black and white citizens, this moment was short lived. The government's adoption of neo-liberal policies had severe social consequences – which it and the new elite sought to conceal behind populist calls to ‘race’ solidarity, a new racial typecasting and slurs aimed at whites in general. ‘White’ popular music has responded to these reversals in a variety of ways – including direct criticism, sharp satire, humour and the expression of ‘fugitive’ identities. Perhaps more remarkably, white musicians have stressed the need for self-reinvention in music that is ironic, unpredictable, transgressive. These songs play with malleable identities; tokens of a disdain for fixed or essential identities, they are hopeful signposts towards a more integrated future.
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Ballantine, Christopher. "Looking to the USA: the politics of male close-harmony song style in South Africa during the 1940s and 1950s." Popular Music 18, no. 1 (January 1999): 1–17. http://dx.doi.org/10.1017/s0261143000008709.

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In South Africa of the 1950s, night-clubs frequented by blacks were dangerous places. Fights, shootings and stabbings were commonplace, and some shows even ended in riots. Gangsters were an important catalyst for such events: they terrorised musicians and patrons alike. Miriam Makeba, whose singing career began in the 1950s, remembers what it was like:[T]hese men come in, sit in front, and pull out their bottles. They put these before them on the table. Then they take out their guns and put these in front of them on the table, too. We are all supposed to look, and we can't help ourselves: We do. They are like actors, these gangsters, although they do not play. In South Africa, movies are taken very seriously, and there is a movie in the cinemas now in which Richard Widmark plays a hoodlum. They call him Styles, and he dresses up in a hat, a belted jacket, and those Florsheim shoes. The black gangsters go out and dress just like him. In the movie, Richard Widmark eats an apple after each of his crimes. So, all the African hoodlums have gone and gotten apples, too. I see them right there on the tables between the bottles and the guns. (Makeba 1988, p. 49)
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JOHNSON-WILLIAMS, ERIN. "The Examiner and the Evangelist: Authorities of Music and Empire, c.1894." Journal of the Royal Musical Association 145, no. 2 (November 2020): 317–50. http://dx.doi.org/10.1017/rma.2020.16.

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AbstractIn the 1890s, two musicians travelled between Britain and South Africa. One was the first examiner to travel abroad to examine for the Associated Board of the Royal Schools of Music, Franklin Taylor. At the same time as Taylor’s arrival in the Cape in 1894, a black South African composer, John Knox Bokwe, prepared to republish a tonic sol-fa hymnal containing many hymns that eventually became popular in Britain, to which Bokwe travelled multiple times. Although these narratives might appear to reflect highly divergent contexts for musical experience, the fluctuating constructions of imperial authority encountered in the careers of both these men link their stories together more deeply than their geographical and cultural disparities set them apart. The synchronous presentation of their stories in this article thus raises questions of how music emerged as a metaphor for constructions of imperial knowledge across shifting cultural boundaries.
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Sykes, Tom. "Music Outside? Innovation and ‘Britishness' in British Jazz 1960-1980." European Journal of Musicology 16, no. 1 (December 31, 2017): 178–90. http://dx.doi.org/10.5450/ejm.2017.16.5786.

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The 1960s and 1970s are regarded by some historians as being particularly creative decades for jazz in Britain, when British jazz developed its own sound that was distinct from that of American jazz. While not denying that this was a creatively fruitful period in British jazz, in this paper I argue that a ‘British sound' in jazz is difficult, perhaps impossible, to define, even though some authors have referred to a sense of ‘Britishness', particularly in the work of certain musicians discussed by Ian Carr in his book Music Outside: Contemporary Jazz in Britain. Some British jazz, performed largely by white (and mostly male) musicians at this time, was influenced during the 1960s by the contribution of immigrant black musicians from South Africa and the Caribbean; at the same time, musicians such as Michael Garrick and John Surman were drawing to some extent on British folk music for inspiration. Referring to examples from the period, I suggest that although much British jazz from 1960 to 1980 was innovative and became less ‘American', development of its styles was affected by many musical, cultural and political factors. To what extent this music sounds ‘British' is debatable, but its influence has led to the pluralism of jazz styles in Britain that continues today.
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Dunkel, Mario. "“It Should Always Be a Give-and-Take”." European Journal of Musicology 16, no. 1 (December 31, 2017): 191–207. http://dx.doi.org/10.5450/ejm.2017.16.5787.

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The 1960s and 1970s are regarded by some historians as being particularly creative decades for jazz in Britain, when British jazz developed its own sound that was distinct from that of American jazz. While not denying that this was a creatively fruitful period in British jazz, in this paper I argue that a ‘British sound' in jazz is difficult, perhaps impossible, to define, even though some authors have referred to a sense of ‘Britishness', particularly in the work of certain musicians discussed by Ian Carr in his book Music Outside: Contemporary Jazz in Britain. Some British jazz, performed largely by white (and mostly male) musicians at this time, was influenced during the 1960s by the contribution of immigrant black musicians from South Africa and the Caribbean; at the same time, musicians such as Michael Garrick and John Surman were drawing to some extent on British folk music for inspiration. Referring to examples from the period, I suggest that although much British jazz from 1960 to 1980 was innovative and became less ‘American', development of its styles was affected by many musical, cultural and political factors. To what extent this music sounds ‘British' is debatable, but its influence has led to the pluralism of jazz styles in Britain that continues today.
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Ballantine, Christopher. "EDMUND “NTEMI” PILISO JAZZING THROUGH DEFEAT AND TRIUMPH: AN INTERVIEW by." African Music: Journal of the International Library of African Music 10, no. 4 (November 22, 2018): 144–59. http://dx.doi.org/10.21504/amj.v10i4.2237.

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Associated with the local swing style usually described as African jazz, Edmund “Ntemi” Piliso was one of the most highly regarded, frequently recorded, extensively consulted and best known South African musicians of the twentieth century. Renowned for his deep knowledge of the urban black South African popular music of his time, as well as for his reflexively intelligent insights into its relationship with mainstream international jazz, he is perhaps more appropriately thought of as an “organic intellectual” of his time, place, and musical culture. The article introduces Piliso and then presents a wide-ranging interview dealing with his life and work. Piliso recounts this history, offering numerous insights into many of the key social, political, and musical developments of his time.
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Gibson, Dylan Lawrence. "The impact of the fostering of European industry and Victorian national feeling on African music knowledge systems: Considering possible positive implications." Journal of European Popular Culture 10, no. 2 (October 1, 2019): 97–108. http://dx.doi.org/10.1386/jepc_00003_1.

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The European (Victorian) missionary influence on traditional African music in South Africa is largely seen in a negative light and not much focus is placed on possible positive implications. This article therefore serves to explore how external European influences, harnessed by some African musicians, partially aided in preserving and generating conceivably ‘new’ Euro-African hybrid traditional music genres – while at the same time preserving some fragmented forms of indigenous music knowledge for future generations. In general, the ultimate aim for the European missionaries was to allow Africans to, in effect, colonize ‘themselves’ by using their influence of Victorian (British nationalist) religion, education, technology, music and language as a means to socially ‘improve’ and ‘tame’ the ‘wild’ Africans. However, specifically with reference to music, African composers and arrangers – despite this colonizing influence – occasionally retained a musical ‘uniqueness’. John Knox Bokwe, an important figure in what can be termed the ‘Black Intellect’ movement, displays this sense of African musical uniqueness. His arrangement of ‘Ntsikana’s Bell’, preserved for future generations in the Victorian style of notation (or a version thereof), best illustrates the remnants of a popular cultural African indigenous musical quality that has been combined with the European cultural tonic sol-fa influence. Furthermore, the establishment of the popular cultural ‘Cape coloured voices’ also serves to illustrate one dimension of the positive implications that the fostering of European industry (industrialized developments) and Victorian national feeling/nationalism left behind. This is largely because this choral genre can be termed as a distinctly ‘new’ African style that contains missionary influence but that still retains an exclusive African quality.
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Cimbala, Paul A. "Black Musicians from Slavery to Freedom: An Exploration of an African-American Folk Elite and Cultural Continuity in the Nineteenth-Century Rural South." Journal of Negro History 80, no. 1 (January 1995): 15–29. http://dx.doi.org/10.2307/2717704.

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Muller, Carol A. "Why Jazz? South Africa 2019." Daedalus 148, no. 2 (April 2019): 115–27. http://dx.doi.org/10.1162/daed_a_01747.

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I consider the current state of jazz in South Africa in response to the formation of the nation-state in the 1990s. I argue that while there is a recurring sense of the precarity of jazz in South Africa as measured by the short lives of jazz venues, there is nevertheless a vibrant jazz culture in which musicians are using their own studios to experiment with new ways of being South African through the freedom of association of people and styles forming a music that sounds both local and comfortable in its sense of place in the global community. This essay uses the words of several South African musicians and concludes by situating the artistic process of South African artist William Kentridge in parallel to jazz improvisation.
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McNeill, Fraser G. "MAKING MUSIC, MAKING MONEY: INFORMAL MUSICAL PRODUCTION AND PERFORMANCE IN VENDA, SOUTH AFRICA." Africa 82, no. 1 (January 19, 2012): 93–110. http://dx.doi.org/10.1017/s000197201100074x.

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ABSTRACTThis article presents an ethnographic analysis of the popular economy of informal musical production in the Venda region of South Africa. It focuses on the activities surrounding the Burnin' Shak Studio, a recording house that specializes in reggae music. Reliant on second-hand computers, pirated software, borrowed instruments, networks of trust and cycles of debt, musicians and producers in the Burnin' Shak occupy a distinctly peripheral position in South Africa's music industry. Unlike artists in the formal sphere of musical production, who sign deals with specific record labels, musicians in the informal sector seek out sponsors – usually young local businessmen – to fund their recordings with local producers. Marketing and distribution is the sole responsibility of the artist and the sponsor, who often develop a ‘patron–client’ relationship. And yet whilst the artists' entrepreneurial activity often earns them significant airplay on local radio stations, and associated cultural capital, the financial benefits are slim. In order to convert their cultural capital into cash, musicians in the informal sector must compete in the market for performances at government-sponsored shows. These shows are well funded by lucrative tenders, but they present musicians with a double-edged sword. To secure a contract with tender holders – or to entertain hopes of regular paid performances – musicians must ensure that these performances do not express critical political sentiment. As purveyors of a genre renowned for its critical social commentary, reggae musicians are particularly affected by this expectation of self-censorship. Informal musical production in the post-apartheid era thus affords musicians little artistic freedom. Rather, whilst the products of this culture industry may appear to be part of a ‘secondary’ economy, removed from the spheres of formalized production and control, they are in fact regulated and standardized through the process of tender allocation.
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Dissertations / Theses on the topic "Musicians, Black – South Africa"

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Burger, Inge Mari. "The life and work of Khabi Mngoma." Doctoral thesis, Faculty of Humanities, 1992. http://hdl.handle.net/11427/34039.

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The thesis intends to describe the life and work of Khabi Mngoma, protagonist of black music education in South Africa (latter half of the twentieth century), with reference to historical, socio-political, anthropological, educational and musicological aspects. His musical development from a mere participator in musical activities of his environment to a dominantly influential initiator of cultural and musical activities and education programmes on a national scale, is investigated. The study is presented in thirteen chapters: the first three chapters explore the musical influences of Khabi Mngoma's childhood (in the township-, school-and rural environment respectively), and the musical influences of his early adulthood. Particular, reference is made to his first academic musical studies in Western classical music, and the arousing of his interest in the academic study and performance of African music. The following nine chapters describe Khabi Mngoma's cultural and music educational activities (1948 - 1990) and explore the growing recognition of him as a cultural and music educational leader in South Africa. This period of Khabi Mngoma's life and work is divided into five periods: his work in Orlando, Soweto and Johannesburg during the years of his association with the Orlando High School (1948 - 1952; the first period); the second period refers to Khabi Mngoma's Social and Cultural work for the National War Memorial Health Foundation (1953 - 1957); the third, fourth and fifth periods relate to Khabi Mngoma's cultural and educational activities associated with the periods of employment by the Johannesburg City Council (1957 - 1964; third period), Dorkay House (Union Artists) and Reckitt & Colman (1965 - 1975: simultaneous employment; fourth - period), and finally the University of Zululand (1975 - 1987; the fifth period). The fifth period continues into the years following his retirement in 1987, with his influence on a national scale continuing to be established through various significant involvements, discussed in this study. The decision to arrange Khabi Mngoma' s adult life and career into five periods needs explaining. I am aware that human endeavor can never be neatly compartmentalized, because so many aspects of such endeavour overlap. This format is not intended to imply a rigid delineation; it is derived from the chronological arrangement of my material, and is intended to guide the reader through this study.
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Van, Heerden Estelle Marié. "Influences of music education on the forming process of musical identities in South Africa." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-08252008-144731/.

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Majavu, Phumlani. "Beyond black and white: black solidarity in post-apartheid South Africa." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1016359.

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Almost 20 years after the white Nationalist government was voted out, some black South Africans believe that black solidarity is still necessary in South Africa. These people argue that since post-apartheid South Africa is still marred with racial injustice, it makes sense for blacks to advocate for black solidarity. Although it is true that black solidarity played an important role in the struggle against apartheid, in this thesis I argue that the struggle against current forms of racial injustice does not necessarily require black solidarity. This is not to deny the prevailing racialized oppression in the post-apartheid era, nor to deny the importance of black solidarity in the past; rather the point I am making is that the current form of racial oppression is somewhat different from the one before 1994. Hence I argue in this thesis that the current form of racial oppression requires us to do certain things differently. Doing things differently means improving upon the strategies of the past. For this to happen, I argue that every human being who believes in and is committed to racial justice ought to be included in the struggle for justice. Change, after all, is brought about when committed human beings work together for liberation and justice.
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Pillay, Hendrick. "Black theology and black consciousness towards developing a black theological hermeneutic for South Africa /." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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Ritter, Sabine A. "Black theology in South Africa a case study /." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.

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Mosala, Itumeleng J. "Biblical hermeneutics and black theology in South Africa." Doctoral thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/8395.

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Bibliography: leaves 225-250
This study seeks to investigate the use of the Bible in black theology in South Africa. It begins by judging the extent to which black theology's use of the Bible represents a clear theoretical break with white western theology. The use of concepts like the “Word of God", “the universality of the Universality of the Gospel", “the particularity of the Gospel”, “oppression and oppressors" and "the God of the Oppressed" in black theology, reveals a captivity to the ideological assumptions of white theology. It is argued that this captivity accounts for the current political impotence of black theology as a cultural weapon of struggle, especially in relation to the black working class struggle for iberation. Thus while it has been effective in fashioning a vision on liberation and providing a trenchant critique of white theology, it lacks the theoretical wherewithal to appropriate the Bible in a genuinely liberative way. This weakness is illustrated in the thesis with a critical appraisal of the biblical hermeneutics of especialiy two of the most outstanding and outspoken black theological activists in South Africa, Archbishop Desmond Tutu and Dr Allan Boesak. The fundamental weakness of the biblical hermeneutics of black theology is attributed to the social class position and commitments of black theologians. Occupying and committed to a petit bourgeois position within the racist capitalist social formation of South Africa, they share the idealist, theoretical framework dominant in this class. Thus in order for black theology to become an effective weapon of struggle for the majority of the oppressed black people, it must be rooted in the working class history and culture of these people. Such a base in the experiences of the oppressed necessitates the use of a materialist method that analyses the concrete struggles of human beings in black history and culture to produce and reproduce their lives within definite historical and material conditions. The thesis then undertakes such an analysis of the black struggle and of the struggles of biblical social communities. For this purpose a materialist analysis of the texts of Micah and Luke 1 and 2 and is undertaken. This is followed by an outline of a black biblical hermeneutical appropriation of the texts. It is concluded that the category of "struggle" is a fundamental hermeneutical tool in a materialist biblical hermeneutics of liberation. Using this category one can read the Bible backwards, investigating the questions of which its texts are answers, the problems of which its discourses are solutions. The point of a biblical hermeneutics of liberation is to uncover the struggles of which the texts are a product, a record, a site and a weapon. For black theology, the questions and concepts needed to interrogate the biblical texts in this way must be sought in the experiences of the most oppressed and exploited in black history and culture. What form such an exercise may take is illustrated by a study of the book of Micah and Luke 1 and 2. Two significant findings follow.The class and ideological contradictions of black history and culture necessitate the emergence of a plurality of black theologies of liberation. Similar contradictions in the Bible necessitate a plurality of contradictory hermeneutical appropriations of the same texts.
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Potgieter, Cheryl-Ann. "Black, South African, lesbian: Discourses of invisible lives." Thesis, University of the Western Cape, 1997. http://etd.uwc.ac.za/index.php?module=etd&amp.

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Boniwe, Sihlangule. "Growth strategies for black township entrepreneurs." Thesis, Nelson Mandela Metropolitan University, 2017. http://hdl.handle.net/10948/14598.

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The situation in South Africa throws up a trickier and more unconventional challenge. The country has symptoms of a spatial realm that is not fully connected with the urban systems (spatially, socially, or structurally) and is certainly disconnected from the rural economy. This is the realm of the country’s townships and informal settlements. Conceptually, they are relics of the country’s special past, but the policies of post-apartheid South Africa have inadvertently kept their contemporary reality alive. In many ways, the townships and especially the informal settlements are similar to the slums in much of the developing world, although never was a slum formed with as much central planning and purpose as were some of the larger South African townships. This paper undertakes to understand the growth strategies of black township entrepreneurs in South Africa. This paper also undertakes to investigate the perceived influence of education, government policies, access to funding, market constraints, crime and social norms on the development or perceived growth strategies for black township entrepreneurs. Propositions are made and tested through conducting interviews with individuals involved with the dynamics presented by this subject on a day to day basis. Evidence collected is interpreted into knowledge and finally recommendations are made.
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Babu, Theodore Duncan. "Marketing to the emerging black middle class in South Africa : an in-depth exploration of the lives of young black professional women." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97301.

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Thesis (MBA)--Stellenbosch University, 2015.
ENGLISH ABSTRACT: The emerging black middle class in South Africa provides immense opportunity for marketers who wish to capture this segment of the market. However, in order to be relevant, a deep understanding of this ever-evolving segment is absolutely necessary. Characterised by complexity, the black middle class is heterogeneous and evolves at rapid speed. Studies by the Unilever Institute of Strategic Marketing highlighted the immense value of black middle class women, coined Black Diamond™ women. The primary objective of this research was to gain insights into the life of young black professional women and, secondly, to understand the driving forces behind their decision-making. This was achieved through an in-depth exploratory study. The first step in this study was to conduct a literature review on the black middle class in various African countries and the black middle class in South Africa. A review of literature on marketing communication provided the basis for reasoning on the appropriateness of different marketing communication tools. Literature also revealed the emergence of a possible new consumer type, the hybrid consumer. The literature review provided the framework for designing the interview schedules used in the expert interviews and interviews with the Black Diamond™ women. The findings of this research assignment were that the modern black middle class women face many complexities in their daily lives. Brands can, therefore, be significant to them by supporting them in their lives. Brands should customise their offerings, meet the black middle class women in innovative ways at different touch points, and bring meaning in their lives. Brands should also know that culture is prominent in all areas of their lives, which presents unique challenges.
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Podges, Joan Winnifred. "The current state of Black female empowerment in the construction industry measured against broad-based Black economic empowerment scorecard." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/1161.

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The Government of South Africa has placed a lot of emphasis on economic growth and the involvement of Black people in the mainstream of the economy. The implementation of Broad-Based Black Economic Empowerment (B-BBEE) created opportunities for direct empowerment of Black females in ownership and management. The Construction Industry is being challenged to increase the number of Black females in management and ownership levels. Due to the nature of the Industry, only a small population of females considers Construction as a career option. The Industry has also lost a significant number of skilled Engineers and is experiencing a shortage of skilled managers in Middle and Senior Management Levels. The research problem questioned the current state of empowerment for Black women in the Construction Industry as measured against the B-BBEE Scorecard. The literature review focused on the requirements of the B-BBEE scorecard and Construction Charter. The second phase focused on gender equality and the achievements of women in Construction. The research design was done by using questionnaires to the South African Federation of Civil Engineering Contractors (Safcec) members in the Eastern Cape. The research design and survey aimed to determine the status of empowerment in the Construction Industry. With reference to both the literature review and the empirical findings the state of female empowerment can be determined. Therefore iv recommendations and opportunities for further research in this regard can be identified.
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Books on the topic "Musicians, Black – South Africa"

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Coplan, David B. In township tonight!: South Africa's black city music and theatre. 2nd ed. Chicago, IL: The University of Chicago Press, 2008.

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In township tonight!: South Africa's Black city music and theatre. Johannesburg: Ravan Press, 1985.

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Coplan, David B. In township tonight!: South Africa's black city music and theatre. 2nd ed. Chicago, IL: University of Chicago Press, 2008.

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Coplan, David B. In township tonight!: South Africa's black city music and theatre. 2nd ed. Chicago, IL: University of Chicago Press, 2008.

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Coplan, David B. In township tonight!: South Africa's Black city music and theatre. 2nd ed. Chicago: University of Chicago Press, 2008.

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Coplan, David B. In township tonight!: South Africa's black city music and theatre. 2nd ed. Chicago, IL: University of Chicago Press, 2008.

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In township tonight!: South Africa's Black city music and theatre. London: Longman, 1985.

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In township tonight!: Three centuries of South African black city music and theatre. 2nd ed. Auckland Park, South Africa: Jacana Media, 2007.

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Coplan, David B. In township tonight!: Musique et thèâtre dans les villes noires d'Afrique du sud. Paris: Karthala, 1992.

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The music of black Americans: A history. 3rd ed. New York: Norton, 1997.

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Book chapters on the topic "Musicians, Black – South Africa"

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Arnold, Guy. "Black South Africa’s Time?" In South Africa, 86–109. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-12017-8_7.

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Davenport, T. R. H. "White Unity, Black Division, 1933–9." In South Africa, 280–97. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21422-8_12.

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Davenport, T. R. H., and Christopher Saunders. "White Unity, Black Division, 1933–9." In South Africa, 324–43. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230287549_12.

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Davenport, T. R. H. "White and Black: The Struggle for the Land." In South Africa, 111–66. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21422-8_7.

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Davenport, T. R. H., and Christopher Saunders. "White and Black: The Struggle for the Land." In South Africa, 129–93. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230287549_7.

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Brewer, John D. "Internal Black Protest." In Can South Africa Survive?, 184–205. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19661-6_9.

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Gough, David. "Black English in South Africa." In Varieties of English Around the World, 53. Amsterdam: John Benjamins Publishing Company, 1996. http://dx.doi.org/10.1075/veaw.g15.06gou.

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Tafira, Hashi Kenneth. "The Black Middle Class and Black Struggles." In Black Nationalist Thought in South Africa, 183–99. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58650-6_8.

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Mitchell, Mark, and Dave Russell. "Black Unions and Political Change in South Africa." In Can South Africa Survive?, 231–54. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19661-6_11.

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Watts, Jane. "Introduction." In Black Writers from South Africa, 1–5. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20244-7_1.

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Conference papers on the topic "Musicians, Black – South Africa"

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"The Challenges of Historically Black Universities in the Post-Apartheid Era: Towards Educational Transformation." In Nov. 27-28, 2017 South Africa. EARES, 2017. http://dx.doi.org/10.17758/eares.eph1117036.

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Mejaele, Lineo, and Elisha Oketch Ochola. "Effect of varying node mobility in the analysis of black hole attack on MANET reactive routing protocols." In 2016 Information Security for South Africa (ISSA). IEEE, 2016. http://dx.doi.org/10.1109/issa.2016.7802930.

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Chen, Wenlong Carl, Hannah Bye, Marco Matejcic, Robyn Kerr, Elvira Singh, Natalie J. Prescott, Cathryn M. Lewis, Chantal Babb de Villers, Iqbal Parker, and Christopher G. Mathew. "Abstract A34: The genetic etiology of esophageal cancer in South African Black populations." In Abstracts: AACR International Conference: New Frontiers in Cancer Research; January 18-22, 2017; Cape Town, South Africa. American Association for Cancer Research, 2017. http://dx.doi.org/10.1158/1538-7445.newfront17-a34.

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Mswela, Mphoeng Maureen. "ALBINISM IN THE BLACK POPULATION OF SOUTH AFRICA: UNCOVERING THE HEALTH CHALLENGES FROM A LEGAL PERSPECTIVE." In 31st International Academic Conference, London. International Institute of Social and Economic Sciences, 2017. http://dx.doi.org/10.20472/iac.2017.031.033.

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Adams-Campbell, Lucile L. "Abstract IA32: Metabolic syndrome and breast cancer risk among black women: An exercise intervention." In Abstracts: AACR International Conference: New Frontiers in Cancer Research; January 18-22, 2017; Cape Town, South Africa. American Association for Cancer Research, 2017. http://dx.doi.org/10.1158/1538-7445.newfront17-ia32.

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Pather, Magas. "LANGUAGE AS BARRIER TO COMMUNICATION AMONG BLACK AFRICAN STUDENTS AT THE UNIVERSITY OF JOHANNESBURG, SOWETO CAMPUS (GAUTENG, SOUTH AFRICA)." In International Technology, Education and Development Conference. IATED, 2017. http://dx.doi.org/10.21125/inted.2017.0118.

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Oppong, Bridget A., Chiranjeev Dash, Suzanne Oneill, Kepher Makambi, Tesha Coleman, and Lucile L. Adams-Campbell. "Abstract A02: Comparative analysis of breast density among Black, White, and Hispanic women presenting for screening mammography." In Abstracts: AACR International Conference: New Frontiers in Cancer Research; January 18-22, 2017; Cape Town, South Africa. American Association for Cancer Research, 2017. http://dx.doi.org/10.1158/1538-7445.newfront17-a02.

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Dash, Chiranjeev, Lynn Rosenberg, Jeffrey Yu, Sarah Nomura, Julie Palmer, and Lucile L. Adams-Campbell. "Abstract A18: Association of anthropometric factors with risk of colorectal neoplasia in the Black Women's Health Study." In Abstracts: AACR International Conference: New Frontiers in Cancer Research; January 18-22, 2017; Cape Town, South Africa. American Association for Cancer Research, 2017. http://dx.doi.org/10.1158/1538-7445.newfront17-a18.

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McDonald, Alicia C., Louise Kuhn, Lynette Denny, and Thomas C. Wright. "Abstract B77: High-risk human papillomavirus genotypes among HIV-negative black women with or without cervical disease in South Africa." In Abstracts: AACR International Conference on Frontiers in Cancer Prevention Research‐‐ Nov 7-10, 2010; Philadelphia, PA. American Association for Cancer Research, 2010. http://dx.doi.org/10.1158/1940-6207.prev-10-b77.

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Kola, Katlego, Thembelihle Ndlovu, Millicent Motloung, and Omokolade Akinsomi. "THE EFFECTS OF THE BLACK ECONOMIC EMPOWERMENT (BEE) POLICIES ON THE RISKS AND RETURNS OF LISTED PROPERTY COMPANIES IN SOUTH AFRICA." In 14th African Real Estate Society Conference. African Real Estate Society, 2014. http://dx.doi.org/10.15396/afres2014_107.

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