esources of living should constitute the material essence ofthe search for personal and social meaning.All of this means that the task of the new generation ofSouth African writers is to help to extend the material rangeof intellectual and imaginative interest as far as the subject oflife under oppression is concerned. It is to look for that areaof cultural autonomy and the laws of its dynamism that nooppressor can ever get at; to define that area, and, withpurposeful insidiousness, to assert its irrepressible hegemonyduring the actual process of struggle. That hegemony willnecessarily be an organic one: involving the entire range ofhuman activity. Only on this condition can a new creative,and universally meaningful democratic civilization be built inSouth Africa.When I started writing, it was with the notion that art wasan act of self-expression. But I realized that it was somethingelse: it was an act of knowledge through self-confrontation.But it is a self-confrontation that takes place within thecommunity of people who emerge out of one's pen, as itwere. I realized that self-expression was not the essence butmerely the end product of art. What I found in the strugglewith the form of fiction was that next to their materialinterests, and surrounding those interests, people maintain astrong and vital ethical interest in the conduct of humanaffairs. This interest is expressed in their public, or in theirprivate lives, and it involves a range of vital human concerns.It involves questions of loyalty and betrayal; of bravery andcowardice; of anxiety and contentment; of rigidity andadaptation; of cruelty and compassion; of honour anddishonour; of pride and humility, and a variety of similarlyconflicting attitudes all of which excite a very strong human,ethical interest. I felt, as a result, that I had to attempt tobring into the active consciousness of the oppressed, througha total evocation of their life, an active philosophical interestin the complex dialectic of human existence. The veryChristina Rungano,ZimbabweMeshack Asare, Ghana111 1This year's award, I believe, is in essence not for the twobooks selected. It is rather, in recognition of perhaps thebeginning of a new era on our continent, both the large areathat is independent, and that small remaining part that is stilllocked in struggle with oppression. Whereas we havedocumented the quality of our lives; whereas we have largelydiagnosed the prevalent social illness, we now have to embarkupon a fundamental re-evaluation of methods not just infiction, but in all areas of human activity. I have learned, inthe craft of fiction for example, that the difference betweenwriters is not so much in the subjects of their writings: therange of subject matter is relatively limited. Rather, it is inthe inventiveness of treatment, in the sharpening of insight,and in the deepening of consciousness. The material life ofAfrica should be given a new formal articulation that willenlarge intellectual interest and expand the possibilities ofthe imagination. It is a re-evaluation which, I believe, shouldresult in a profound philosophical transformation of theAfrican consciousness, a consciousness that should and mustendure. #40 STAFFRIDER, VOL. 6 NO. 2, <strong>1985</strong>
Jazz(based on an instruction to German dance bands, 1940)for Jacqui1Pieces in so-called foxtrot rhythm(so-called swing) are not to exceed20% of the repertoiresof light orchestras and dance bands:Kelwyn Sole5strictly prohibited (don't forget, now, baby)is the use of instrumentsalien to the German spiriti.e. so-called saxophones of all keysas well as muteswhich turn the noble sound of WIND (?)and brass instrumentsinto a Jewish-Freemasonic yowl(you got that, cat)so-called wa wa and hat.2in this so-calledjazz type repertoire,PREFERENCE is to begivento composition in a majorand to lyrics expressingj°yin liferather than Jewishlygloomykeylyrics3as/to tempo?preference is also to be given to briskcompositionsoverslowones (so-called BLUES)however the pace (you break my heart)must not exceed (when you're away)a certain degree (my man has gone)of allegro (won't come back till day)commensuratewith the Aryan sense ofdiscipline/ & moderation.(wa wa)On no account will NEGROID excesses in temposo-calledhotjazzorinsoloperformancesso-calledbreaksbeallowed.4so-called jazz compositions'may'containat most 10% s v ncr o n a r L/ rLu nthe remainder must consist ofanaturallegatomovementadevoid of th e h yster i cal rhy th m icr e versal scharacteristicof the music of barbarian ra cesand cond-u.civeto DARK instincts oooalienaaato the GERMAN PEOPLE6also prohibited areso-called drum/breakslonger than//half / a beat / in fourquarter beate/x/c/e/p/ti/n//s//t/y/l/i/z/e///dmili (beedobee) tary MAR! /che/S///////////!7The Double-Bass must be played solely(yeh)with the so-calledbowin so-called jazz and other syncopations8plucking of the stringsis prohibitedsince it is damagingto the instrumentand detrimental toAryan musicality9musicians arelikewiseforbidden to make vocalimprovisations (so-called scat)10skoo-bee-doo!Kelwyn SoleDark golden boaton a seafar away, rock with merock with me:deep-throated birdgentle me homepast the mud-lined streetwhere thoughts stick fastm&iI lankunkuandchildren pick rubbishhungrilytne ni g ntflakes notesfrom the scalp of my sorrow —hide in m Y P illowand C1 T for me -Kelwyn SoleSTAFFRIDER, VOL. 6 NO. 2, <strong>1985</strong> 41