LMC301: IN-SITE Webpage

1. Starting Off: Choosing a Server and Basic Conceptualisation of the Site

When presented with the assignment of building a website for the M-EDIT programme, IN-SITE, my choice of server was immediately decided by the intended viewers of the programme. I chose to use the free service provided by Yahoo!/Geocities because many of the people who have sites on that service are in late high school, at tertiary institutions across the world or merely young people who develop sites on their favourite hobbies, interests and popular culture. Thus, I felt the site would be placed in an Internet community where it would be recognised as part of the world in which the intended viewers are based.
That decided, I had to choose a user name, which would double as part of the URL for the site. After finding that the names like “insite” and “insite2000” were taken, I chose “upe_insite” – a name that reflects both the programme and the institution from where it originates. The full URL for the site is: http://www.geocities.com/upe_insite.

Next, I looked at the websites for other magazine and entertainment programmes to gain some sort of idea of the expectations for a television programme’s website. I decided eventually that most of them were very carelessly put together, often more to look good than function well, and decided to maintain a simple and economical look, with some of the additional facilities that other websites provide to maintain interest in the site.

2. The Basic Design: Colour Scheme and Fonts

IN-SITE Logo

IN-SITE Logo

I decided to wait for the IN-SITE logo (Figure 1) before making any decisions regarding a colour scheme for the web page. When the logo arrived, I decided to use a shade of green for the general page backgrounds, in order to highlight the graphic. Large portions of red text do not read very well, so I decided to keep the text black, using a “Century Gothic” font for the body text and “Boca Raton ICG Solid” font for headings. In order to provide some variety, however, I decided to use text boxes with coloured backgrounds as highlighting features and chose to incorporate the red as well as a different shade of green here. Hyperlinks are in the standard blue colour, underlined. For quotations, I chose the handwriting font, “Annifont” to try and achieve a personal touch for people’s individual words.

3. The Navigation Bar

The navigation bar for the site appears on every page, ensuring that the visitation of the four main sections of the page is easy for surfers to find. There are links to the LINEUP/HOME PAGE; the proposed ARCHIVE pages; a contact address, which is at this time Lizelle Delport’s e-mail address at the University of Port Elizabeth; a page listing the PRESENTERS of the programme as well as the presenters of the inserts and a link to some basic information about the CREATIVE TEAM behind the programme. The logo is centred between the two columns of links.

4. Page by Page Through the Site

(a) THE LINEUP/HOME PAGE

  1. The Geoguide bar, a compulsory feature of Yahoo!/Geocities.
  2. The Navigation Bar.
  3. The heading “THIS WEEK’S LINEUP”, with the bookmark #LINEUP – a bookmark acts as the basis for a link within so that, for example, a surfer can return to that point by linking from the bottom of the page.
  4. The line-up, with the titles of the inserts, a little blurb about the content and a picture to attract surfers to the page.
  5. A Search Engine provided and powered by Yahoo! – a service that is always appreciated on websites for convenience of the users.
  6. A message board facility provided by Geocities, through which visitors can leave messages and have discussions on the site. It is possible to remove unwanted or inappropriate posts from the board.
  7. A counter to see how many people have visited the site.
  8. The link TOP OF PAGE, which links to the bookmark in item 3.

(b) THE ARCHIVES

  1. The Geoguide bar, a compulsory feature of Yahoo!/Geocities.
  2. The Navigation Bar.
  3. The heading “ARCHIVE”, with the bookmark #ARCHIVE.
  4. The text explaining the page: “This section of the website would archive stories that have made an impact on our target audience. Initially, it would archive all of the segments, but as space becomes a criteria, the most successful segments would have to be selected for display on the page. A list of the segments produced would also be available: should any viewer need to find a specific insert, they could contact us or leave a message on the message board.”
  5. The link TOP OF PAGE, which links to the bookmark in item 3.

(c) CONTACT US

  1. This is an e-mail contact address for viewers and surfers: it is Lizelle Delport’s address at UPE (afblld@upe.ac.za).

THE PRESENTERS

  1. The Geoguide bar, a compulsory feature of Yahoo!/Geocities.
  2. The Navigation Bar.
  3. The heading “THE PRESENTERS”, with the bookmark #PRESENTERS.
  4. A brief run down of the studio presenters, in highlighted boxes, with the insert journalists following. Although none as yet provided any biographical information as requested, should they have any wish to add such information, it is a task easily accomplished within minutes.
  5. The link TOP OF PAGE, which links to the bookmark in item 3.

(e) THE CREATIVE TEAM

  1. The Geoguide bar, a compulsory feature of Yahoo!/Geocities.
  2. The Navigation Bar.
  3. The heading “CREATIVE TEAM”, with the bookmark #CREATORS.
  4. A run down of the main directors, Cindy and Lizelle, in highlighted boxes, with the rest of the team following. Any further biographical information can be added within minutes.
  5. The link TOP OF PAGE, which links to the bookmark in item 3.

(f) THE INSERT PAGES

  1. The Geoguide bar, a compulsory feature of Yahoo!/Geocities.
  2. The Navigation Bar.
  3. A descriptive heading with a bookmark.
  4. Text related to the insert, with highlighted text boxes and pictures from the inserts chosen by Cindy and Lizelle.
  5. The link TOP OF PAGE, which links to the bookmark in item 3.

The website is thus both functional and decorative, being easily navigated and serving its purpose as an online representative of the television show fully.

LMC201: Diversity at University

1. Diversity: An Introduction

In the South African context, with the socio-political history and the process of reformation in the country, the issues regarding identity, community, difference and diversity are perhaps those which students are forced to face on campus at this point in time. Diversity exists on several levels of existence, affecting relationships between different racial groups, economic classes, genders, ethnic groups, religious organisations, language groups and age groups. There are obviously both advantages and disadvantages to such a fragmented society. A heterogeneous society can benefit people in terms of their range of experience and understanding, while teaching skills like tolerance and empathy. However, the dangers of such a fragmented society include the potential for a great deal of conflict and dissatisfaction if one group or individual does not feel part of the nation as a whole. This type of conflict is obviously felt at a tertiary level, when young adults are finding their identity and relating that identity to one or more of the diverse groups in their life experiences. There are methods of easing this transition, which will affect the manner in which a particular university, like the University of Port Elizabeth (UPE) will manage their planning to harmonise the diverse groups in its particular community.

2. Issues of Diversity Within the Context of Educational Institutions

Ann Harper (1997), in a seminar reflecting the challenges of diversity on university campuses in South Africa, identifies three areas that are issues within the context of tertiary education. These include issues surrounding institutional transformation, the political history that affects the current situation and the management of diversified conditions on South African campuses. Each is relevant in the context of this assignment.

Harper’s first issue looks at the need for institutional transformation. Universities are academic institutions that are required to develop mental power, emotional stability and other miscellaneous talents of their students, without discrimination on the grounds of race, gender or age. Because of South Africa’s socio-political history, tertiary education has been moulded in the ideology of apartheid on the model of a segregated patriarchal society. Harper quotes Nasima Badsha on the relationship between diversity and transformation:

Most institutions are therefore attempting to tackle diversity within the context of the transformation process since it impacts on almost every aspect of academic life from access and student support to curriculum reform and the social and learning environment.

Thus, it is necessary for universities to use the inherent potential of the institution itself, and to reflect an attitude of acceptance of the student body’s diversity within their mission statement, core values and language policies. These factors are in essence regionally dependent and their relation to UPE will be discussed in due course.

The second factor influencing the issue of diversity in universities is the political ‘baggage’ that has been carried over from the apartheid era. Also, diversity need to be accepted on several levels – cultural, linguistic, racial and social – in order for a policy of pluralism and multi-culturalism to come into effect. Harper states in her article that ‘diversity is not just about colour’. So institutions have to consider class, economic status, gender, ethnicity, religion, urban prejudice, language and age when constructing their diversity management policies. Only then will organizations be cable to resolve possible conflict between the diverse groups on any campus.

Harper’s third factor involves the actuality of campus diversity. The social diversity of the country is reflected in universities and, because of previous discrimination, minority groups may still feel threatened. Therefore, action taken by universities needs to be publicly and openly done, in a dynamic fashion that is visible for students in a heterogeneous body to witness. This level of action will allow for open channels of communication, decreasing the need for student protests and consequentially, tension on campus. Harper states that these changes need to occur in the systems of ‘institutional decision-making and governance’, ‘academic scholarship, teaching and research’, ‘student profile’, ‘student services and support’, ‘staff profile’ and in the ‘institutional commitment to the community’. In this manner the diversity of all parties involved in the university can be involved: the investors, senate, student body, staff and the surrounding population.

3. The University of Port Elizabeth’s Policy Towards Diversity

An examination of UPE’s mission statement and core values, as well as one of their educational policies, reveals UPE’s recognition of diversity on campus in terms of race, culture and language. The mission statement, available from the UPE web page in English, Afrikaans and Xhosa – reflecting the three main linguistic groups at UPE – reads as follows:

The University of Port Elizabeth is a learning community with a clear focus on development. Our programmes and services are informed by our societal context and reflect our commitment to be a major provider of cutting-edge knowledge and well-equipped leaders. (UPE Mission Statement)

This declaration reveals that UPE has accepted responsibility as an educational facility in the diverse community of South Africa. The fact that the programmes and services provided at the institution are influenced by the society in which UPE is based is indeed a positive one. This broad statement is embroidered upon in UPE’s set of core values, which promote ‘learning and working, without fear of any harm, in an open, empowering and creative organisational culture’, ‘equity through the maintenance of the principle of equality and through affirmative action aimed at equalising opportunities and outcomes’ and ‘representative and meaningful participation in decision making’ (UPE Core Values). Additionally, the language policy at UPE officially allows students the freedom of choosing English and Afrikaans as their medium of instruction, while Xhosa is gradually being phased into the courses. The intentions UPE are focused on using the variety of experience offered by a heterogeneous culture to create unity within the diverse student system on campus.

UPE has provided several facilities for students to bridge the cultural diversity at the institution. The most obvious body used to empower the student body is the Student Representative Council (SRC). This is the managerial organization of the Student Union, which counts every registered UPE students as a member. The representative council, including a president and a portfolio-based committee, is elected by the students themselves. The SRC envisages that their function on campus is ‘to address the diverse interests of the student community by representation in all aspects important to students’ (UPE Student Representative Council). This representational aspect involves the membership of the president on UPE’s Executive Management team, allowing a channel for student opinions to be conducted to the university Senate and Council. Their provision for the management of diversity by the SRC is reflected in the infrastructure of the organization: there are portfolios for Transformation, Gender, Student Interests, Community Development, Academic Interests and Student Development, Current Affairs and the Environment, Culture and Recreation, and Liaison and Marketing.

In terms of cultural responsibility, the University can also not be faulted in its provision of services for the student body. The most prestigious of these societies is UPE Cultura, a department that operates within UPE to extend the range of arts and culture within the community and further abroad. UPE Cultura views their responsibility as the conduit for cultural empowerment at the institution:

Specific opportunities are created for students to ensure their participation and development of their skills in the performing arts, and to exercise and develop their need for cultural and artistic expression, on and off the University campus. (UPE Cultura)

The facilities provided include an annual preliminary drama course presented by a qualified lecturer in the performing arts, a culture week during which students are invited to display their talents, a professionally directed production (the past three years have seen students performing Athol Fugard’s People Are Living There, Jean Anouilh’s Antigone and the modern opera The Medium), community service events (like the annual Youth Music competition) and the many events which the UPE Choir attend. These events are promoted through the local print media, which ensures that students are promoted in whichever field of participation they choose. More informally, there are several student societies, catering for religious groups, recreational groups, academic groups and cultural groups. Jolly Chandia, the Societies Council Chairman for 2000 sees the student societies as a reflection of the diverse variety of cultures at UPE, essential for ‘the development of the human being to their fullest potential. UPE societies help facilitate the process of this development, encouraging (one) to explore (one’s) potential and embrace opportunities’ (UPE Student Societies).

Thus, adequate provision is made for the cultural needs of students at UPE, as well as for their political and educational needs. All the tools to build a united student body in the context of their diversity are there. So where does the problem lie? If not with the institution, it must be with the students.

4. Problems and Solutions

A stroll through the campus at UPE would indicate that there is minimal communication between the diversely different cultural groups. One can see groups of African students, Asian Students, Coloured Students, Indian Students and White students (split again into groups of English and Afrikaans students), communing at the Kraal, in the Library foyer or on the grass quad at the centre of the campus. And yet, in the lecture hall – and particularly in classes that facilitate random discussion groups – there are few problems in communication when groups are composed of members from random cultural groups. Why has this attitude in the classroom not carried beyond the walls of the lecture room? Surely not because the students only want to work together? The problem lies in the fact that there is no functional group life on the campus. It is all very well for UPE to offer amenities for the students, but the fact that these facilities are not being used to their maximum potential undermines the provision of student services. Each region of these facilities needs to be addressed separately.

As far as the educational needs go, the mission statement and accompanying core values reflect an admirable attitude on the part of UPE. This attitude is something that, with the help of a sound governing board and a committed lecturing staff will manifest itself as time passes. The one aspect that needs attention is the language policy, which is extremely impressive in theory but horribly mediocre in reality. There have been complaints about the fact that some major non-linguistic courses with a substantial Afrikaans student body are presented only in English. One Afrikaans student has voiced that although she knows that the language policy allows her freedom of choice in her language of preference and although she knows that she is able to express herself more eloquently in her mother tongue, her fear of discrimination by the lecturers involved overrides her rights of choice. Of course, there are other factors influencing the facet of instructional media, including the availability of textbooks in languages other than English. How issues such as these will influence the inclusion of an even less textually accessible language like Xhosa is unimaginable. That is the one factor that needs to be addressed as far as the educational matters are concerned before the diversity on campus can be equalised in this area of the instructive community.

Political diversity on the campus is an issue that needs to be addressed rather urgently. The abuse of power in position on the SRC has been brought to the attention of students in the past four years, leaving students disillusioned about a society that is potentially of great use to them. There needs to be a double-sided revolution here: firstly, the students need to be made aware of the functions of the SRC within the university, both in the society’s involvement with the Executive Management team and in terms of what can be achieved using the diverse portfolios within the organization. Secondly, the elected officials in the SRC need to accept the responsibility that goes along with the power that has been invested in them. Additionally, the SRC needs to make their actions publicly known to the student body and the officials need to accept a stance of accountability for their actions. When both of these tasks have been addressed, there will be an open channel of communication between the various groups within the student body, allowing for the growth of unity between these groups. This basis of unity will allow for more efficient communication to the management team when larger problems need to be addressed on behalf of the student body.

Although the cultural societies on campus are doing much to promote cultural unity, there is more that can be done in terms of the promotion of these societies on campus. For instance, the performing arts is a region that, like sport, can be used to create unity between diverse groups of people. There are a fair number of people who rush to the stage for Culture Week in August each year, often with little idea of what it entails to present anything more than an inappropriately raucous skit. Perhaps UPE Cultura should consider combining the performance development programme with Culture Week, allowing for students from diverse backgrounds to work towards a common goal and produce work of some quality – one of the oldest methods created for the development of relationships between previously unassimilated individuals. As far as the student societies are concerned, the work done to acquire new members at the start of each year should be continued throughout the year. The groups should also consider arranging themselves more formally, and present themselves with pride to the body of students.

5. Conclusion

The problems that have been discussed above all reflect on the organisation of various societies at UPE. The organisation of these smaller groups will positively affect the success of the greater community in all its diverse regions. But these changes will not happen overnight and will require time to manifest themselves into university practice. However, there is also one last point that must be made: these changes can only come from the students themselves. Unless there is a desire for a united community at UPE by the people involved in that community, there is nothing that can be done to improve the situation. Hopefully this is not the case, as the benefits of living in a diverse society are vastly enriching – and signify the pinnacle of what living in South Africa’s “rainbow nation” can represent.

References

Harper, A. 1997. ‘How Diversity Debates and Issues Express Themselves at Institutional/Campus Level.’ at http://chet.hsrc.ac.za/management/970121.html.

UPE Website. Core Values

UPE Website. Cultura

UPE Website. Foreign Students

UPE Website. Language of Tuition

UPE Website. Mission Statement

UPE Website. Residences

UPE Website. Student Representative Council

UPE Website. Student Societies

LMC204: SOPHIA’S HOMECOMING

The Namibian film Sophia’s Homecoming is a short African film that allows for a simple analysis and introductory exploration of the differences between African films and Hollywood films. This can be seen in general areas regarding the technical aspects of the film, as well as thematically when compared to specific examples of Hollywood films with similar content.

Technically, Sophia’s Homecoming is an accomplished film with nothing “wrong” as far as camerawork and editing is concerned. Where it differs from Hollywood films is in the variety of angles that are used to film the story – the usage of elaborate set-ups is limited in African films. Whereas a mainstream studio film would utilise several cameras, often with equipment that allows for expansive scenic shots, a film like Sophia’s Homecoming is shot on a limited budget that allows for only a couple of cameras with minimal, if any, other equipment. The result is a film that gives the impression, in its economical use of shots and establishing footage, of prime time American television.

Another difference is in the scoring of the film. No budget for an African film can allow for an expansive orchestral score so other options need to be explored. The instrumental music used here, as in the trip from Windhoek back to Sophia’s village, sounds as if it has been composed on a Casio keyboard and has a rather detrimental effect on the film, even if one considers the harsh metallic sounds to symbolise the life of the city. What works more successfully is the usage of traditional song – the voice is far more capable of conveying emotion than en electronic device and does not seem out of place when one considers the content of the film.

The greatest reward of this film lies in the writing. The strength of the story overcomes what restraints have been placed on the film and holds the viewer’s interest. The story is a simple one, with themes that have been explored previously on film, but it is handled with sincerity and truth. The director allows the actors’ emotions to bleed onto the screen – there are no effects to detract from these elements – the real strong points of the film.

As stated above, the thematic content has been touched in mainstream Hollywood films. There are many stories in which one spouse leaves and returns several years later, such as The Return of Martin Guerre (1983) and its remake, Sommersby (1993). However, these and many other recent adaptations of the theme involve men who leave and return – often having been separated during a war. One has to go back half a century before finding films like My Favorite Wife (1940) and The Piccadilly Incident (1946) with the woman protagonist like Sophia. And even then one deals with romantic melodramas that avoid the sense of tragedy that is presented in Sophia’s Homecoming. To find parallels of Sophia’s displacement, one needs to look at scenes like the return to Covent Garden in My Fair Lady (1964), where Eliza Doolittle realises that she can no longer return to the life she led before. Possibly the closest match to Sophia’s disillusionment is found in the 1973 adaptation of Ibsen’s A Doll’s House, which also concludes with the female protagonist, Nora, leaving her home to find a life of her own. It can be seen then, that this film is a fusion of many different sources that blend to form a successful and coherent new piece of film.

It can be seen then that, although African films like Sophia’s Homecoming show influences of Hollywood films, the directors of African films are bound by a different set of cultural norms, as well as by budgetary constraints. However, these elements do not inhibit the scope for writing well-structured stories, which can be creatively realised despite the elements that oppose African filmmakers.

LMC204: THE GRASS IS SINGING and CHOCOLAT

The two African films The Grass is Singing (1981, also known as Killing Heat) and Chocolat (1988) place the element of setting in the foreground as a basis for the elements of plot, character and theme. Through the settings of both films in colonial Africa, both presented via flashbacks in the 1950s and 1960s, the filmmakers have been able to comment on social issues and perceptions regarding this form of economic, social and cultural control, particularly in the context of the female situation during that era.

Michael Raeburn’s adaptation of Doris Lessing’s 1950 novel, The Grass is Singing, is fairly faithful to its original source material. The plot deals with the a woman from a small African town, Mary (Karen Black), who overhears her friends say that she will never find anyone to marry her. She literally marries the next man she sees, a hard working farmer, Dick Turner (John Thaw). Life on the farm is a complex adaptation for her. The harsh living conditions, the heat and the workers on the farm are difficult for her to accept and, after a few years, drive her insane. She seeks solace in one of the farm workers, Moses (John Kani), who decides that the only freedom for Mary is in death. He kills her. The setting of this film contextualises two problematic issues of colonialism. Firstly, colonies were food sources for the European country that governed the African country of the time. The land was removed from the Africans’ possession and given to farmers to cultivate crops. There are two extensions of this concept in The Grass is Singing, represented by the two neighbouring farmers Charlie Meuller (Patrick Mynhardt) and Dick Turner. Meuller simply abuses his land, growing large crops and moving on once the land is unusable. He is financially successful but is not depicted with much sympathy in the film – he is merely a ruthless stereotype who eventually tries to manipulate Turner into handing over the ownership of his farm. Turner, on the other hand, displays understanding towards the land. He realises that British flowers (represented here by bougainvillea, which is in any case a South American plant) have no place on African land and even plants trees just to keep his soil fertile. This character, in spite of his financial failure and stubbornness in not planting one viable crop, is depicted with much sympathy and the viewer is thus manipulated into favouring the character that seems to work in opposition, albeit a minor one, to this cornerstone of colonialism. The second aspect of colonialism observed in The Grass is Singing is the position of women, as represented by Mary, by relating her character to the land itself. The ingenuity of this film is that one character is used to represent the feminine situation in both an urban and rural setting. In town, we see how Mary’s status as a woman is minimal: this is most effective in the scene where Mary overhears her friends talking to her. Mary has, as yet, not found a husband and, although self-sufficient and independent, can thus not be defined within her society. Upon arrival at the farm, the viewer is able to see the displacement of women in colonial society successfully because the setting is at odds with Mary. At least, that is the way it seems at first, but as the film progresses, the setting noticeably reflects Mary’s anguish rather than contrasting her personality. The suffering she inflicts upon her husband and his servants is inflicted on her by the land. The point where she finally loses control is represented by a similar loss of control in the environment, as the fire eats away at the drought-ridden crops. After this, the sounds of the land become important in symbolising her madness – an event that directly reflects on the title The Grass is Singing. Finally, the moment of her redemption, the night where Moses murders her, is represented by a downpour of rain. This culminates the cycle, as well as striking a chord with the alternate title of the film, Killing Heat. This level of symbolism in the film, using the land as a metaphor for the colonial situation, provides a rich experience for viewers of the film.

Chocolat differs primarily from The Grass is Singing in the fact that, where the latter uses the sounds of Africa to convey its message, the former uses the silence of the land. In fact, some viewers wonder if anything is actually happening for much of the film because of the constant silence employed by the director. However, a great deal of this film’s message is not conveyed by what is said, but by the undercurrents of what is happening between the characters in this film. The silence of the land is merely a vehicle that attempts to place this in the foreground. The story is basically the memory of a woman, France (Mireille Perrier/Ce’cile Ducasse), of her childhood in colonial Africa. She remembers the strange relationship between her mother, Aimee (Giulia Boschi), and their houseboy, Proteé (Isaach De Bankole). The contrast between the landscapes of the present and the past is noticeable. The present is green; there is water: the land is free of the constricting force of colonialism, and provides opportunity for the adult France to act on the impulses of her mother’s past, although this is never realised in the film itself. The landscapes of the past, however, are the more stereotypically sandy, hot and dry colonial Africa. The space seems endless and, by extension, so does the freedom of the inhabitants – this is a clever contrast to the actuality of the situation where the protagonist and antagonist of the story are bound by the social norms and values of colonialism. For this open landscape is actually something of a sexual battlefield, with Aimee and Proteé both hiding the pain of their unrequited attraction for each other. Aimee taunts Proteé by seeming to respond to the intentions of a visitor to the outpost, Luc Segalen (Jean-Claude Adelin). Proteé responds to this teasing with dignity and this tactful courtesy is the very thing that taunts Aimee in return. There are a series of images which document the development of this relationship: Proteé standing guard over the bed against the hyenas; their stares at each other in the mirror when Proteé laces up the back of Aimee’s dress and the climactic sequence where Proteé prevents the actualisation of all that has gone unsaid in the past by pulling Aimee up from the floor. The director understands the passion that can connect two souls without any physical connection. This is what the silence of the landscape represents in this film: one never-ending moment where nothing is said, but where volumes are spoken.

The Grass is Singing and Chocolat are both films that dispense with the highly educational function of some African films, focusing rather on the dramatic qualities of the content of the films to relay the commentary of the filmmaker. In this manner, the films are able to utilise symbolism freely: here the directors have made their characters, plot and themes resonate through the setting. The use of the landscape in these two films is thus justified and effective.

LMC304: Abalone Radio Story

abalone

FOCUS: Abalone poaching is increasing.

The dramatic increase in abalone poaching over the past year is being seen as a crisis by environmental groups in the Eastern Cape. The main concern is that the source of abalone is the province may be run down within months. David Fick reports.

In: “There is a…”

Out: “…SABC, Port Elizabeth.”

Dur:

There is a growing concern that abalone poaching is increasing in spite of the harsh fines and sentences which can be given to offenders. Police spokesman Johann Buys comments on the situation:

INSERT:

In: “You have to…”

Out: “…five years imprisonment.”

Dur: 00:29

Poachers need to become aware that the enforcement of these laws will be completed with full force. The law currently states that removing abalone under the regulation size, removing abalone out of season and removing more than five abalone at any time is illegal. A police task force has recently been created to monitor the situation.

This is David Fick, SABC, Port Elizabeth.

df/pe/29-08-2000

abalone

In: “There is a…”

Out: “…SABC, Port Elizabeth.”

Dur:

The dramatic increase in abalone poaching over the past year is being seen as a crisis by environmental groups in the Eastern Cape. The main concern is that the source of abalone is the province may be run down within months. David Fick reports.

df/pe/29-08-2000

LMC205: Cultural Industry

One major component of Adorno and Horkheimer’s arguments regarding the culture industry is the manner in which the ‘whole world is made to pass through the filter of the culture industry’ (During 1999: 36). Using the example of how film is used by producers to appear as an extension of what is apparent as reality, the theorists point out that the public is influenced by the medium to such an extent that the idiom of film is lost on viewers, who now merely accept that film equates with their perceptions of reality. Combining this opinion with their arguments on the monopoly of mass culture provides an interesting framework for the analysis of the development of South African television in the post-apartheid era, particularly in the production in the past three years of 37 Honey Street (1998-9) and Backstage (2000).

The attitude towards South African television has been primarily negative. Krouse (1999), although writing a column that primarily promotes the programming on MNET, the economic competition of the SABC, summarises this argument:

An easy target is SABC2’s mottled gray thing that comes up intermittently claiming, metaphorically, that the fabric of the channel is “made in Africa”. After seeing it umpteen times alongside such overstated, boring local programmes as… 37 Honey Street (Wednesdays at 7.30pm) one wonders whether it wouldn’t be more appropriate to pretend that some things aren’t made on the continent.

Krouse continues, stating that the South African public has certain requirements, if progress is to be made in this industry: ‘Programming need not be ideologically bound, but it may benefit people to look back, to broaden the view of where we come from, in order to proceed.’ And when looking at South African programmes like 37 Honey Street and Backstage (2000), one realises that they are merely pale imitations of American shows. The former, which documents the lives of a group of young adults living in a flat complex is merely a more dramatic representation of the nineties American situation comedy, Friends, while the latter is a reproduction of the eighties television series about life in the performing arts, Fame. In fact, the writer of 37 Honey Street, Thandi Brewer, goes as far as stating that the setting of the show in Berea ‘captures the Manhattan-style pace of the area’ (Mbonambi 1998). So while the viewer is presented with programmes that are marketed as “made in Africa”, they are merely seeing repeats of American products transposed into a South African setting with a cast of characters that pretends to represent the so-called “rainbow nation”. As with Adorno and Horkheimer’s film producers, South African television producers are trying to establish an artificial framework of reality with which South Africans will identify as an exhibition of their daily lives. This stretches into several areas of the production, which each merit separate discussion.

The first major common feature of the television shows is their overtly large and diverse casts. 37 Honey Street offers a principal cast of twelve characters. There are five male characters and seven female characters; and racially the cast is divided into six Caucasian characters (two males and four females), five African characters (two males and three females) and one Indian character (male). Backstage matches 37 Honey Street in their principal cast for size as well as displaying the same male: female ratio. However, the racial composition of the group is different. Here there are three Caucasian characters (one male and two female), six African characters (two male and four female) and three Coloured characters (both male). So in both cases, there is a tendency towards providing a diverse range of characters with regards to race and gender and, to a lesser extent, age and affluence. This is all very well, but the success of such a mix depends on the portrayals of the relationships between these characters. Although there is a large amount of melodramatic pulse to move the stories forward, the characters all seem to live in some sort of mediocre harmony. There are no racial conflicts; there are very few gender conflicts – the viewer is presented with an image of living in a heterogeneous society with minimal problems stemming from that heterogeneity. This recalls Adorno and Horkheimer’s argument that the producers will represent a reality that will be accepted by their audience as “reality”, thus influencing the mindsets of the television audiences of these shows.

Thematically, both shows have imitated the content of other soap operas around the world. This evokes elements of Adorno and Horkheimer’s argument that while ‘the style of a great work of art has always achieved self-negation, the inferior work has always relied on its similarity with others – on a surrogate identity’ (During 1999: 37). For example, if one glances at the content of worldwide programming, the prevalence of homosexual characters has vastly increased over the past five years. There are homosexual characters in Ellen, Dawson’s Creek, The Wasteland and Will and Grace as well as (marginally) in Friends and Fame, the two source shows for 37 Honey Street and Backstage. The two local shows have similar content, with major emphasis on one homosexual relationship each. In 37 Honey Street, lesbian overtones were subtly infuse into the script over a period of time. The characters of Nicky and Eva were depicted with a large amount of sexual tension, until one episode showed the two women kissing. This caused a large amount of controversy, with SABC2 censoring the kissing scene, by reducing the length from thirty seconds to five seconds. This concerned the writer of the series, Thandi Brewer, who was concerned that this incident might detrimentally affect the issue of intimacy between women. On 27 August 1998, the Freedom of Expression Institute stated that the justification behind the censorship was not appropriate and released the following statement:

It was unfair of the SABC to interfere with the creative process and the manner in which the writer and producer intended the scene to fit into the series. No member of a broadcasting audience is forced to watch a series which offends them. Those who were offended by same sex relationships should therefore either turn off their television or swap to another channel.

To some extent this does pave the way for more freedom in writing in future South African series, for example in Backstage. Although there has been, as yet, nothing to equal the controversy of the 37 Honey Street kiss, there has been a prominent homosexual relationship between two male characters on the show. Ashley, the main protagonist in the relationship, is the focal point of the issues surrounding this theme and things seem unbalanced in his direction. For besides the fact that he has to deal with a relationship that is as volatile as any, one of the major story arcs starting on 22 September 2000 is Ashley’s attempts to hide his homosexuality from his mother and his concern that he may be HIV positive. Thus, the penetration into this theme is made blatantly made in these programmes in alignment with the trend of television shows worldwide, confirming Adorno and Horkheimer’s view that the creators of art display an ‘obedience to the social hierarchy’ (During 1999: 38).

Adorno and Horkheimer state that ‘the culture industry perpetually cheats its consumers of what it perpetually promises’ (During 1999: 38). It has been established in this critique that the culture industry in South African is operative, but the question remains whether this is a satisfactory operation. Television productions like 37 Honey Street and Backstage promise the viewer a unique, South African perspective of reality – a fact represented in the diversity of the casts. This is undermined by the fact that the major thematic conflict is derived from the American trends in television and that any “real” South African issues are excluded. A clear example is the fact that the racial past of South Africa’s recent history is ignored in these programmes. All of a sudden, it seems as if the diversity is accepted without question – an idealistic and hopeful vision, but hardly reflective of the reality in South Africa today. 37 Honey Street and Backstage remain the manipulative output of its creative directors: they dictate the audience’s attitude towards these pictures of racial harmony and sexual liberation. The shows present a standardised view of the world – the only reason that the individual feels capable of identifying with these programmes is the fact that, as Adorno and Horkheimer argue, their generality remains unquestioned.

References

During, S. (ed.) 1999. The Cultural Studies Reader. Melbourne: Routledge, 29-43.

Krouse, M. 1999. Put on your winter blinkers (online). Available: http://www.mg.co.za/mg/art/tv/9907/990701-tube.html.

Mbonambi, P. 1998. Meet the Honey Street bunch at SABC2 (online). Available: http://www.suntimes.co.za/1998/08/02/arts/gauteng/aneg02.htm.

Unknown Author. 1998. Freedom of Expression news from South Africa – August 22 1998 (online). Available: http://www.fxi.org.za/weekrep/wk220898.html.

LMC304: Stageworld TV Story

The Stageworld Theatre School in Port Elizabeth will have to vacate its premises at the end of the year when the University of Port Elizabeth School of Music relocates. The Department of Education has let the building to a school for autistic children and will require the use of Stageworld’s two studios. Marléne Pieterse, principal of the school has been looking for a new venue. (1) 05:10-05:18
Zoom onto studio door.
(2) 05:50-06:01
Pan across studio ending with shot of Marléne Pieterse at her desk.
INSERT – DUR: 00:07

“We do need support for dramatic training or training for the performing arts per se.”

(3) 08:17-08:24
Marléne Pieterse interview.
INSERT – DUR: 00:05

“Why do you feel that training in the performing arts is so important, particularly in a town like Port Elizabeth?”

(4) 09:10-09:15
Vox Pop
INSERT – DUR: 00:07

“This very noble art of drama has always been so short-changed.”

(5) 07:54 – 08:01
Marléne Pieterse interview.
The school has found a temporary venue for the beginning of next year but needs to find a permanent home. In the meanwhile, the school takes consolation in the fact that their current intake of students will successfully transfer into the entertainment industry. For now, they continue to seek support in the community as well as from the Department of Arts and Culture. David Fick, E-news, Port Elizabeth (6) 03:40 – 04:02
Pan across studio with closed curtains and student at piano.

SW Speech: The Thin Red Line

The Thin Red Line

We’ve made a great mess of love
Since we made an ideal of it

The moment I swear to love a woman, a certain woman, all my life
That moment I begin to hate her

The moment I even say to a woman: I love you!––
My love dies down considerably.

I will not love one minute more, I swear,
No, not a minute; not a sigh or tear
Thou get’st from me, or one kind look agen,
Though thou shouldst court me to’t and wouldst begin.
I will not think of thee but as men do
Of debts and sins, and then I’ll curse thee too:
For thy sake women shall be now to me
Less welcome than at midnight ghosts should be:
I’ll hate so perfectly, that it shall be
Treason to love that man that loves a she;
Nay I will hate the very good, I swear,
That’s in thy sex, because it doth lie there;
Their very virtue, grace, discourse and wit,
And all for thee – what, wilt thou love me yet?

The moment love is an understood thing between us, we are sure of it,
It’s a cold egg, it isn’t love any more.

The very ‘sameness’ of eggs
bores me

I have eaten hundreds.
Seen thousands.
Yet always
the pointed end and
the rounded end
have remained in their appointed place.
Static.

What a wonderful thing it would be
if we could wake, one morning,
and find that the reverse were true…

that silently, in the night
they had all changed,
each and every one –
end for end.

Love is like a flower, it must flower and fade;
If it doesn’t fade, it’s not a flower,
It’s either an artificial rag blossom, or an immortelle, for the cemetery.

The moment the mind interferes with love, or the will fixes on it,
Or the personality assumes it as an attribute, or the ego takes possession of it,
It is not love anymore, it’s just a mess
And we’ve made a great mess of love, mind-perverted, will-perverted, ego-perverted love.

Poetry Extracts:

The Mess of Love – D. H. Lawrence
Love Turn’d to Hatred – Sir John Suckling
Ellipsoid – Martin Southall

LMC204: A Comparison of Three Feminist African Films, NERIA (1993), FLAME (1996) and SOPHIE’S HOMECOMING (1998)

Feminist criticism is a self-aware form of literary criticism that gained official recognition in the 1960s, even though feminism has a long history in seeking equality for women. One of the facets provided in this specific form of criticism is gynocriticism, which built a specific framework for looking at literature from a feminine perspective. One relevant part of this framework to the three feminist African films, Neria (1993), Flame (1996) and Sophie’s Homecoming (1998) is the provision of new role models for women. The three protagonists of these films are all related in their struggle for independence within their respective situations and all have the challenge of rising above the restraints placed on them by the societies in which they live.

The earliest of the three films, Neria, deals with two aspects of society: women’s moral rights and clashes between the traditional and modern ways of life. These are both evidence of the manner in which African filmmakers use their films as an educational tool in addition to a vehicle for entertainment. This film is obviously targeted at Zimbabwean women who need to learn about their legal position in society, a lesson taught through the experiences of Neria (Jesesi Mungoshi). Neria is a married woman with two children. She has, with her husband Patrick as an equal partner in their marriage, created a good life for herself in Harare, away from the village where she grew up. Neria is a seamstress (and, as it turns out, a good salesperson) at a small cooperative, where she has a group of supportive friends. Neria’s struggle begins with the unexpected death of her husband. There is no will and Neria, who is helpless with grief, allows the situation to be handled in a traditional fashion. Her greedy brother-in-law Phineas takes their money, bankbook, car, furniture and clothing. Eventually, when he also tries to gain custody of their children, Neria she decides to fight back. Her friends at work convince her to see a lawyer and, after two court cases and a harrowing testimony, Neria wins custody of her children and their belongings. The female protagonist in this film has to face enormous loss and emotional trauma: shown, for example, in the contrast between the domestic scenes between Neria her daughter with the later scenes involving her daughter’s appendicitis. We see Neria’s personal anguish – this affective experience from a specifically feminine subjectivity is another key point of gynocriticism. Once her entire life has been deconstructed and it seems that she will remain a victim of the traditional patriarchal society in which Phineas and the rest of her family is based, she is able to overthrow this society with the help of her close female friends. This would seem to be the recurring pattern in this trio of African films.

The theme of strength that arises from loss is clearly depicted in the second of these three feminist films, Flame. Like Neria, the film also deals with rural Zimbabwean society but the main story occurs in a flashback to the time when the country, then known as Rhodesia, was in the midst of a war of independence. In this war, two female characters come to the fore: Nyasha, who becomes known as Comrade Liberty, and Florence, who becomes known as comrade Flame. Although the character of Nyasha/Liberty depicts one facet of the feminist aspects in this film, it is the character of Florence/Flame that is of relevance here. Florence, spurred by the arrest of her father, leaves her village to train as a soldier in the Rhodesian wars. She is raped, bears a child and loses both her lover and son in a brutal attack on the liberation camp where she is stationed. When she also hears of the death of her father, she is motivated to fight back and becomes known as one of the most courageous soldiers in the war. She is fiercely independent and contributes much to the efforts of her nation, but the true place of women in Zimbabwean society is revealed in the final scene when Nyasha makes Florence realise that they are not recognised heroes and that they will not be honoured in the Heroes Day celebrations. Thus, as in Neria, this film also breaks away from the traditional stereotype of women, by giving this marginalized voice prominence in the society from which she comes. However, Flame also reminds the viewer that although this recognition is seen in extraordinary circumstances like a war, when a state of normality returns, the patriarchal society once again resumes its traditional position.

Another displaced woman, Sophie, is the protagonist in the Namibian film Sophie’s Homecoming. Here Sophie leaves her family for a job in Windhoek to support them. She returns to find her husband with a mistress who has claimed Sophie’s children as her own and realises that she can no longer return to the life she led before. This disillusionment matches that of Florence and Neria in their own respective losses, and a further parallel is drawn when Sophie abandons her home to find a life of her own. As in Flame and Neria, the female protagonist turns her back on her traditional role as a woman in a patriarchal society. But that is where the similarities between these films and Sophie’s Homecoming end – for this last film concludes with Sophie’s turning away without any record on film of the consequences for the viewer.

As African films, these veer away from depictions of colonial life, with the exceptions of the minister and the judge in Neria, the soldiers in Flame and the employer in Sophie’s Homecoming. These films focus on providing the African characters with individual characters that are exquisitely developed in their relationships to the society in which they live rather than of some sort of anthropological study. This allows for feminist deconstruction in these films and for the creation of three similar role models for women who are struggling to break free of the enforced patriarchy in which they find themselves.

SW Musical Repertoire: 1970 – 1979: The Post- Modern Musical Decade

In the two and a half decades following the premiere of Oklahoma! in 1943, the structure of the musical play was the dominant form in musical theatre. Towards the end of the 1960’s, there was a move away from this standardized composition with the arrival of the rock musical on Broadway and in the 1970s, the voice of musical theatre would become even more diverse than ever before. For along with the rock musical arrived the sung-through “rock operas” as well as the so-called concept musicals. In addition to this flourish of creativity, the standardized form of the musical still survived in the background, waiting for its popularity to increase once again. Musical theatre in the seventies had developed into a post-modern art form – the norms were inverted and instead of having one standard to which all musicals were measured, the field was open for new and contrasting influences to be realized on stage.

The Rise and Fall of the Rock Musical

The rock musical had premiered on Broadway as early as 1960 with the opening of Charles Strouse and Lee Adams’s Bye Bye Birdie. The style seemed set for a good future in musical theatre with other musicals like Hair (1967) and Your Own Thing (1968). Clive Barnes, who had taken over from Walter Kerr as the Chief Arts Editor of The New York Times, was particularly impressed by this infusion of the popular voice in musical theatre and stated emphatically that “rock music (was) the one hope for the Broadway musical”. The composers responded with a flourish of rock musicals, of which very few succeeded and even less are still popular today. Rock music was not enough to sustain the artistry of musical theatre.

The composer of the smash success Hair, Galt MacDermot, tried his hand at an adaptation of Shakespeare’s The Two Gentlemen of Verona for his next stage project. With lyrics by John Guare and a book by Guare and Mel Shapiro, the show opened in 1971 and ran for the next year and a half. Although the show was initially popular with critics and the public, even winning Tony for Best Musical won the Tony in 1972, further attempts at staging the show around the world (and even as a revival in its country of origin) have been met with failure. With a modest success under his belt, MacDermot began work on two new shows which both premiered in 1972. Dude was a Faustian story of God and Satan battling for the soul of an Everyman character, while Via Galactica took audiences into space with a band of castaways marooned on an asteroid. Together these shows lasted 24 performances and collectively lost well over two million dollars. This was still not enough to deter MacDermot from composing musicals, but none of his six subsequent projects had any glimmer of the success he achieved with Hair.

The most popular rock musical of the 1970’s premiered in 1972: Grease would achieve great success on stage and an even bigger one on film later in the decade. The film was a typical boy-meets-girl, boy-loses-girl, boy-gets-girl-in-the-end story with a score that parodied the style of 1950’s rock and roll while retaining the attitudes of the seventies in its lyrics. The show, written by Jim Jacobs and Warren Casey, has become popular as a school and regional production, often with a sanitised script that has never been officially approved. The show is certainly the most financially successful rock musical of all time and also managed to achieve a milestone in that it became the longest running musical in history for some time – beating the previous record holders Fiddler on the Roof, My Fair Lady and South Pacific.

1973 saw the original production of the world’s greatest cult musical, The Rocky Horror Show. The show was completely conceptualised and written by Richard O’Brien and was one of London’s most significant contribution to the rock musical phenomenon. The absolute decadence and fantastical novelties provided by the musical ensured it a run of 2 358 performances. The film version, The Rocky Horror Picture Show, was an initial failure but has become one of the most successful underground favourites with students and adults who will sadly never extend their appreciation for musical theatre beyond this rather mediocre show.

The other successful (albeit only in its original production) rock musical of the decade was The Wiz (1975), rocking, soulful, all-black adaptation in The Wizard of Oz. The show was written by William F. Brown, with music and lyrics by Charlie Smalls. Although the show received some of the most negative reviews in Broadway history, it managed to run for 1 672 performances and win the Tony for Best Musical of the year. It must be noted, however, that this was largely credited to Geoffrey Holder’s extravagant staging – proving that the supposedly critical eyes of the Broadway elite can be blinded by a flashy set and colourful lights. The show was filmed with a too-old Diana Ross as Dorothy and Michael Jackson as the Scarecrow, and a new film version is slated for production by ABC TV, with rumours of a more suitable Brandy in the leading role.

The rock musical died a quick death after The Wiz with the production of Rockabye Hamlet in 1976. The public had tired of the novelty and many of the rock musicals were less coherent than any random rock concert of the day. Most of the musicals lacked any formal structure and were workshopped around the music – a process that was rarely carried as far as it needed to be done. Perhaps with the popularity of RENT at present on Broadway, it is time for some of these shows to be investigated, restructured and newly created for the new millennium.

More success was achieved with the evolution of the rock musical into the “rock opera”, the brainchild of Andrew Lloyd Webber and Tim Rice. Having toyed with a pop-music production called Joseph and the Amazing Technicolor Dreamcoat, the pair launched their first full scale rock musical with a concept album – the ever popular Jesus Christ Superstar in 1971. The show that was produced after the premiere of the album ran for eight years and paved the way for the pair’s second rock musical, Evita. This production showed a tremendous growth in both the lyricist and composer, who managed to create a piece that found unity within the diverse sounds and styles used to create the show. Theses two shows established Lloyd Webber and his approach to his work – he would continue to write popular shows that made money, not caring whether the shows had any effect on musical theatre. In many ways he is the antithesis of Stephen Sondheim – who worked hard at founding the opposing voice to Webber’s rock operas: the conept musical.

The Concept Musicals

After Stephen Sondheim had produced his first massive public and critical failures with Anyone Can Whistle and Do I Hear a Waltz?, the composer-lyricist took a break from Broadway. Five years passed and in 1970, Sondheim returned to the Great White Way with a vengeance – and an exciting new approach to his work in musical theatre. Sondheim had met the famous producer-director Harold Prince, and worked with a several librettists on his series of concept musicals. This innovative form largely discarded the plot element, and focused on characters and their relationships in a situation, whether this dealt with “single life vs. marriage” (Company), “culture clashes” (Pacific Overtures) or “a bittersweet reunion” (Follies) – and thus paved the way for what is considered one of the greatest American musicals of all time: A Chorus Line.

Sondheim’s debut concept musical was Company (1970), and made use of a single man looking for love in modern day new York. His observations of the problems of five couples are at the core of this musical, as he decides whether he is ready for marriage and all that this sacred contract entails. The songs were witty and full of emotion, and covered a range of styles in what is one of Sondheim’s most accessible scores. The choreographer was a young man called Michael Bennett, whose observations of this style of presentation would find a great manifestation later in the decade. Company ran for 701 performances – it was clear the Sondheim was back on the winning track with his fresh stylistic creation. 1971 saw a follow up to this musical: Follies reunited a group of performers from the burlesque days of Broadway. This score dispensed with the poetic niceties of Company and is cynical, brutally honest and reveals the painful realities of sacrificing your dreams for the sake of life. Sondheim used older styles of music to contrast the lives of the characters in the past and the present. Although not as popular as Company, Follies has grown in status over the years and the upcoming revival is awaited with much anticipation. A Little Night Music was Sondheim’s 1973 contribution to Broadway, and used the lessons learnt in the style of the concept style and applied them to a more plot focused musical, while paying equal attention to the aspects of character development and situational conflict. And this time the concept extended into the musical composition: Sondheim’s score was written entirely in variations of waltz time and one song, Send in the Clowns, would become extremely popular out of its original concept. Everyone, from cast members to Elaine Paige and Frank Sinatra, has recorded this song, with varying degrees of success (and more often, failure).

Sondheim’s next project, Pacific Overtures, was set in 1853, moving until the present day, and was based around the culture clashes between the American and the Japanese after the West forced the East to participate in international trade. Price used kabuki to stage the musical, which had a score that parodied the styles of Gilbert and Sullivan and the operetta style of Offenbach. The show is extremely taxing on the mind and did not enjoy a public success. But the show was critically lauded and remains the most innovative of Sondheim’s concept musicals.

As Sondheim put this new style into motion, other musical artists were eager to try their hand at this new type of work. Bob Fosse was first in line, with Sondheim’s choreographer set to follow in his footsteps. Fosse used dance as the centre of his musicals, and his visually creative style became known as “Fosse Uber Alles” – Fosse above all. Fosse has three major musicals which embraced this style in the seventies. The first was Pippin (1972) which examined familiar jealousy, war, love and, mostly, sex. Fosse used highly erotic choreography, a factor which held the public’s interest for 1 944 performances in spite of its extremely weak book and large amounts of harsh criticism. Chicago, now enjoying a successful revival on Broadway, told the story of 1920’s murderesses looking for fame on the vaudeville stage. John Kander and Fred Ebb composed a spectacularly cynical score, satirising the hypocrisy of entertainers and the press. The recently deceased Gwen Verdon starred in a role that many consider to be Fosse’s apology for his marital unfaithfulness. Fosse dropped the book element entirely for his 1978 musical, Dancin’, a dance revue that set the stage for shows like Fosse and Contact two decades later. Sondheim had used his concept mainly in the music and lyrics for his musicals; Fosse took what Sondheim had done and successfully extended the style into dance.

The concept musical climaxed with the production of A Chorus Line, 1975, which was the idea of Michael Bennett. Based on a series of talks he held with Broadway gypsies, Bennett and his team of writers built a soul-sharing libretto that won every prize it possibly could, including the Pulitzer Prize for drama. This show smashed every long run record because it appealed to every type of musical taste and ran for 6 137 performances – a record which it held for nearly twenty years.

Conclusion

The seventies were a time of massive creativity in musical theatre. After this, in the eighties and nineties, the musical theatre would settle into the production of stylistic imitations of what had gone before. There have been minor innovations since then , but we are still waiting for a new era that, like the seventies, can provide musical theatre with something new, something innovative, something more…..