Composing Apartheid: Music for and against apartheid

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Introduction Grant Olwage
Chapter 1 : Back to the Future? Idioms of 'displaced time' in South African composition Christine Lucia
Chapter 2 : Apartheid's Musical Signs: Reflections on black choralism, modernity and race-ethnicity in the segregation era Grant Olwage
Chapter 3 : Discomposing Apartheid's Story: Who owns Handel? Christopher Cockburn
Chapter 4 : Kwela's White Audiences: The politics of pleasure and identification in the early apartheid period Lara Allen
Chapter 5 : Popular Music and Negotiating Whiteness in Apartheid South Africa Gary Baines
Chapter 6 : Packaging Desires: Album covers and the presentation of apartheid Michael Drewett
Chapter 7 : Musical Echoes: Composing a past in/for South African jazz Carol A. Muller
Chapter 8 : Singing Against Apartheid: ANC cultural groups and the international anti-apartheid struggle Shirli Gilbert
Chapter 9 : 'Nkosi Sikelel' iAfrika': Stories of an African anthem David Coplan and Bennetta Jules-Rosette
Chapter 10 : Whose 'White Man Sleeps' Aesthetics? and politics in the early work of Kevin Volans Martin Scherzinger
Chapter 11 : State of Contention: Recomposing apartheid at Pretoria's State Theatre, 1990- 1994. A personal recollection Brett Pyper
Chapter 12 : Decomposing Apartheid: Things come together Ingrid Byerly
Chapter 13 : Arnold van Wyk's Hands Stephanus Muller

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Composing Apartheid is the first book ever to chart the musical world of a notorious period in world history, apartheid South Africa. It explores how music was produced through, and was productive of, key features of apartheid's social and political topography.The collection of essays is intentionally broad, and the contributors include historians, sociologists and anthropologists, as well as ethnomusicologists, music theorists and historical musicologists.The essays focus on a variety of musics (jazz, music in the Western art tradition, popular music) and on major composers (such as Kevin Volans) and works (Handel's Messiah). Musical institutions and previously little-researched performers (such as the African National Congress' troupe-in-exile Amandla) are explored.The writers (from South Africa, the UK and US) move well beyond their subject matter, intervening in debates on race, historiography and postcolonial epistemologies and pedagogies.

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