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Author Topic: An African hero: Biko - the forgotten martyr  (Read 279 times)
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« on: September 11, 2007, 10:38:53 PM »

One of my personal heroes... No telling what he would be up to if he wasn't assassinated.

http://news.independent.co.uk/world/africa/article2953454.ece#2007-09-12T00:00:01-00:00

 Thirty years after he was murdered in police custody, the African trade unionist remains a thorn in the side of the ANC and a stark reminder of a more radical approach to dealing with apartheid and its aftermath. By Raymond Whitaker
Published: 12 September 2007

I met Steve Biko once. His miserable death on the floor of a South African prison cell, 30 years ago today, still lay a few years in the future. So did his friendship with the white newspaper editor, Donald Woods, resulting in the book and film, Cry Freedom!, which made him an icon. But if the name of Biko became a thorn in the side of the white regime, today's commemorations will be equally uncomfortable for South Africa's black majority government.

In the early 1970s, few whites had heard of Steve Biko. I had, because I was covering "alternative" politics – such stirrings against apartheid that white liberals and their allies in other communities could get away with – for a South African newspaper, The Star. However it was anything but a full-time assignment.

Never did the grip of apartheid seem as complete as it did then. Nelson Mandela had been locked up on Robben Island for the best part of a decade; in the all-white parliament, the lone dissenting voice was that of Helen Suzman. Blacks could only practise politics in the "homelands" created for them in the poorest, most arid parts of the country.

A handful of organisations such as the National Union of South African Students (Nusas), of which I had been a member not so long before, sought to keep the non-racial flame alive. But the enforced segregation of the universities, and the sheer gulf between the daily lives of whites and the rest, made it increasingly difficult to find any common ground. To the horror of the well-meaning whites at the head of Nusas, their black counterparts began to accuse them of holding back the cause of black empowerment through paternalism and unconscious racism.

At the forefront of those levelling the charge – which many of those liberals might now admit had considerable truth – was a young activist called Steve Biko. A former leader of strikes and sit-ins at his segregated medical school near Durban, he had quit his studies and formed the South African Students' Organisation, which excluded whites. Now he was coming to Johannesburg for a conference where the split with Nusas would become final, and I hoped to interview him about his espousal of Black Consciousness, which argued that blacks had to overcome the feelings of inferiority instilled into them, the "oppression within", before they could deal with whites as equals. "It seeks to infuse the black community with a new-found pride in themselves, their efforts, their value systems, their culture, their religion and their outlook to life," he explained in 1971.

Had I understood the concept better at the time, I would have realised that there was no chance of getting Biko to talk to a paper like The Star, which in his view shared all the faults of the whites in Nusas. But just to encounter him, or watch him glowering at an exam-room table behind a cardboard sign bearing the name "Saso", was to feel his charisma. Tall, handsome, articulate – "Why do you call yourself black, when your skin is brown?" a judge once asked him. "Why do you call yourself white, when you are actually pink?" he shot back – he bore himself with rare confidence that showed no hint of any "oppression within".

The apartheid government of Prime Minister John Vorster should have realised immediately that Biko was a threat, but all it saw was his call for blacks to work separately from whites. In its glee at the discomfiture of Nusas and similar organisations, it gave Saso room to operate. By 1973 it realised its mistake, and "banned" Biko, confining him to his hometown in the eastern Cape and prohibiting him from writing or speaking in public and anyone else from quoting his words. But it was too late: when first the students of Soweto, then black townships across the country, rose up in 1976, the Black Consciousness movement was their inspiration. It had filled the vacuum left by the African National Congress, most of whose leaders were jailed or in exile.

If the townships revolt undermined the myth of white omnipotence, Biko's death destroyed any claim the regime had to morality. Not only was he beaten unconscious while being detained without trial in Port Elizabeth, he was then carried nearly 1,000 miles in a police van, naked and in a coma, to Pretoria, where he died of a brain haemorrhage on 12 September, 1977. The police minister, Jimmy Kruger (memorably played by John Thaw in Cry Freedom!) claimed Biko had been on hunger strike, telling parliament: "His death leaves me cold."

That added to international revulsion against South Africa. In 1980 the singer-songwriter Peter Gabriel had a world hit with Biko, in which he sang: "You can blow out a candle/ But you can't blow out a fire/ Once the flames begin to catch/ The wind will blow it higher." His words referred equally to the resistance inside the country and the pressure by Western publics on their governments to withdraw support for the apartheid regime.

For the first time countries began imposing sanctions against South Africa, starting with the UN Security Council mandatory ban on arm sales to the country. Cry Freedom! in 1987, with Denzel Washington as Biko and Kevin Kline as Woods, gave Steve Biko the same kind of international name recognition as Nelson Mandela. So why is it that Mandela's autobiography, Long Walk to Freedom, never mentions the name of Steve Biko once?

After he became president, Mr Mandela made some amends, saying on the 20th anniversary of Biko's death: "That he was indeed a great man who stood head and shoulders above his peers is borne out not only by the testimony of those who knew him and worked with him, but by the fruits of his endeavours.

"History called upon Steve Biko at a time when the political pulse of our people had been rendered faint by banning, imprisonment, exile, murder and banishment. Repression had swept the country clear of all visible organisation of the people. But at each turn of history, apartheid was bound to spawn resistance; it was destined to bring to life the forces that would guarantee its death.

"It is the dictate of history to bring to the fore the kind of leaders who seize the moment, who cohere the wishes and aspirations of the oppressed. Such was Steve Biko, a fitting product of his time; a proud representative of the re-awakening of a people."

Although Mandela claimed in the same address that the ANC welcomed Black Consciousness from the early 1970s "as part of the genuine forces of the revolution", an unhappy schism has existed.. More than a decade earlier the Pan Africanist Congress (PAC) had split from the ANC in protest at the desire of Mandela and his peers to work with all races in South Africa. The Black People's Convention, which Biko founded as an umbrella movement of Black Consciousness groups, threw in its lot with the PAC in post-apartheid South Africa, and has ended up on the political margins, with scarcely any representation in parliament.

If Biko were alive today, it is quite possible, given his charisma, that he would be the leader of a far more vigorous opposition to the ANC government than the existing one. Instead, the ANC successfully co-opted most of his following. As a martyr, however, he remains potentially unsettling: the commemorations of his death have included an international conference at the University of Cape Town (UCT) examining his politics and relevance to modern-day South Africa, touching on politically sensitive issues such as land transfers and black economic empowerment. Organised by the Steve Biko Foundation, it is part of a series of events across the country which the SBF has named 30:30 – 30 years since his death, and his age when he died.

His son Nkosinathi, who manages the Foundation, was just six at the time of Biko's death. "In his short life he made a tremendous contribution not only to the political freedom of South Africa, but to the mental liberation of black people worldwide," he said. "In popular culture, he is a very powerful symbol of hope, an icon of change. He helped to articulate our understanding, our own identity that continues to resonate in young South Africans to this day. His ideas have a real influence well beyond the political field, in cultural organisations, in research organisations and in churches."

Not enough, according to Premesh Lalu, an associate professor at the University of Western Cape. While it was important to remember Biko's death, said Mr Lalu, "I personally think there is much more to be said about Biko and done with Biko's thoughts." To an ANC government vulnerable to left-wing accusations that it has pursued rigidly orthodox capitalist economic policies that have not done enough for the masses, it is not an entirely comforting thought.

There is disenchantment among young South Africans, who see the country's leaders embroiled in scandal and a new black elite growing richer while most blacks find it harder and harder to keep up with inflation.

Though most of the wearers are too young to remember him, Steve Biko's face, given a Warhol-style treatment, has become a popular icon on T-shirts recently. Nkosinathi rejects any suggestion that this might be trivialising his memory, arguing: "He is one of the attractive symbols of popular culture. Not just here but on the streets of New York, Brasilia and Liverpool, he is someone who resonates well." Kopano Ratele, a researcher with the University of South Africa's Institute of Social and Health Sciences, agreed, saying: "People who were teenagers or in their twenties in the 1970s still remember Biko with nostalgia, and they credit him for giving them a sense of pride in themselves."

It will be interesting to see how President Thabo Mbeke, whose obsession with maintaining control of the ANC and the government is entirely at odds with the kind of grass-roots activism for which Biko stood, will reconcile these contradictions tonight when he delivers the eighth annual Biko Memorial Lecture, which will bring the conference at UCT to a close. Mr Ratele is in little doubt. If Biko were still alive, he said, he would be disappointed to see his ideas compromised by poverty and inequality. "If you are unemployed and poorly-paid and you see the rich blacks, of what use is your pride?"

Additional reporting by Ian Evans in Cape Town
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« Reply #1 on: September 12, 2007, 04:38:44 AM »

I feel almost ashamed to say that my only knowledge Steve Biko comes from Mr. Washington's portrayel in "Cry Freedom". however i will be sure to find some sources with a little more substance.

yet another travesity which should raise more discussion than "is it possible for fire to melt steel?"
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« Reply #2 on: September 12, 2007, 05:27:23 PM »

I also have Cry Freedom related shame. I used to listen to south African band Johnny Clegg and Savuka when I was a kid and they give him a shout-out in their song Asimbonanga, but yeah I'm completely ignorant. I'll have to consult professor google.
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« Reply #3 on: September 13, 2007, 01:53:12 AM »

yo in many ways we are just fullfilling the movies purpose, not to educate us but more just raise awareness of this event. I have a similar experience with Hotel Rwanda, which is also a both very very good, and very very sad to see.
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« Reply #4 on: September 13, 2007, 04:17:06 AM »

I guess at least 'cry Freedom' and 'Hotel Rwanda' were both really good films. Yeah, how come the movies about Afrika are always really sad?
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« Reply #5 on: September 13, 2007, 07:46:05 AM »

Because there is a lot of tragic shit that happens there because the world doesn't give a shit about black people...it's not just George Bush, Kanye.
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« Reply #6 on: September 13, 2007, 09:30:09 AM »

Yeah... I love how in the last decade or so, the neo-cons have completely written off the aftershocks of colonialism and now the problems of Afrika are all blamed on corrupt leaders. How very convenient for all those who benefited and continue to benefit from the shit. Oh, and the slave trade had no effect either apparently.

And then you've got Mandela, he was probably the most popular nation leader in the world, when less than two decades ago the American government classified him as a terrorist. 
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« Reply #7 on: September 13, 2007, 09:55:45 AM »

Mandela did a lot of stupid economic things btw.  He was a hero and all, but I don't approve of the  "truth and reconciliation" process for one.  If you were white and harmed black people, then you get a free pass as long as you come forward.  That's bullshit.  So is the fact that Mandela set a lot of the groundwork for the inequality that exists now by not pushing for massive reparations.
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« Reply #8 on: September 13, 2007, 10:14:09 AM »

Yeah we watched a doco in my history class where there was a discussion about the reconciliation process there, Bishop Tutu made some pretty good points in favor of the amnesty given. It's one thing to want justice and retribution for past crimes, but the process of nation-building is very complicated. I mean all the power-structures set up were white run, to rip that all down and start again could've created a whole new set of problems. Also there are problems when the law of the land supports injustice. I mean, who do you blame? It's all very well to want to 'punish' the 'bad guys' but I think in certain contexts, it can be complicated and possibly unproductive.

The Guatemala Truth Commission, on the other hand, now there's a fuck up.

And the reparations thing is a point, but with a history like theirs, where would you stop? I don't think Western governments would have been too understanding if a real redistribution of wealth had occurred. I think the dude was pretty much fucked no matter what, and he would have had to be some kind of superman to have fixed the fucked up situation that he was faced with. 
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Mobile-friendly version Immortal Technique Biography

Born Felipe Andres Coronel on the 19th of February 1978, hip-hop artist Immortal Technique is a controversial figure in the U.S. His songs speak of the need for social justice and equality among all races, with special emphasis on the people of color or Latin Americans, but they also cover topics such as the fight against unfair imprisonments or militarism and many others.

His biography is hence quite intriguing, to say the least, and, just like the best anti aging cream is probably going to be lingering over the shelves of all cosmetic stores for many years to come, Immortal Technique’s songs are going to remain hot, fresh and sought after for a really long time. Due to the fact they speak about topics which are to be considered taboos, his lyrics continue to be listened to with the exterior shutters down in most homes.

Immortal technique was born in Peru, in El Hospital Militar de Lima; several years later, his family moved to America in order to escape the harsh living conditions in Peru. Even though they could not afford to buy any terrain a vendre there, they managed to move to Harlem in the ‘80s. Immortal Technique went to Hunter High School, but just like a hip replacement recall is never of good omen, his grades and behavior weren’t any good during high school either. He was the school bully, he harassed other students and he was not afraid to get involved in scandals with drug dealers from around the area. And while his interactions with these drug dealers were not as numerous as used cars in Phoenix are, they still managed to leave an ugly mark on his biography.

Plus, his graffiti did not actually resemble any Dreamweaver templates, but he was famous for his controversial acts of vandalism. His violence against others almost got him expelled in 1996, but he somehow managed to finish high school and even attend college at Pennsylvania State University. This time, his college experience only lasted for two years; he was then charged and convicted and he was eventually imprisoned in Pennsylvania.

In prison, just like a SEO San Antonio company would focus on booting a web site’s ranking, Immortal Technique also focused on boosting his own social ranking. He began studying the policy of religious history, and, finding the inspiration he needed, he began putting his thoughts in lyrics. In 1999 he was paroled and, even though he was first considered some sort of Agen Bola, as no one had heard of him at first, he began to attend freestyle battles he started winning.

From there on, his career started to bloom, as he gave birth to albums such as “Revolutionary Vol 1” in 2002, “Revolutionary Vol 2” in 2004 and “Revolutionary Vol 3” in 2008. He also became a political activist and started to sing about political injustice (check out his opinion on the imprisonment of Mumia Abu-Jamal or the songs on George W. Bush). Despite of the fact that his albums might not have gotten the type of positive reviews African mango reviews are usually comprised of, this has not stopped him from getting involved in future projects, including an important film collaboration. He might not approve the work of the CNA Financial Corporation, but we all need to eat, right?




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The History and Growth of Rap Music

If you are a music enthusiast, then it is very likely that you have come across a genre of music called rap music. Rap music is area that has very clear distinguishing features most notably the rapid and rhythmic chanting of the lyrics perfectly timed to the beat and musical accompaniment that forms the base of the song. Rap music traces its roots to the development of the hiphop subculture which predominantly carries four complementary musical styles namely: rapping, dancing and in particular break dancing, scratching or more popularity known as DJing, and graffiti writing which others dub as vandalism. Another sub-element of this genre is beat-boxing which also features heavily in the repertoire of many rap artists. If you thought this was an easy musical genre to characterize, then you were poorly informed: consider, many research papers and doctoral dissertations have been written on the subject of rap music and its accompanying stylistic elements.

The history of rap music, or hip-hop music, is composed of a series of rapid development phases that have all culminated in the popular rap versions of today. Before rap music took off in the 1990s, it was predominantly referred to as disco rap in the late 1970s. The three rappers who had a hand in coining the term “rap music” were DJ Hollywood, Lovebug Starski, and Keith Cowboy, the last one being officially credited with the term hip-hop. Rap music original began with improvisations and freestyle singing to add an element of unpredictability to the songs in parties and other gatherings. Even in the 1960s to 1970s, the initial elements of rap music where already sown in urban subcultures particularly in New York City where adhoc performances in the streets led to a coalescing of influences in the wake of the Civil Rights era. Like the iPhone 5 release date, it had a slow and steady rise building into an explosion of creativity and style that has made it into what it has become today.

At this very early stage of rap development, it was particularly tied to emcee-ing more than it was associated to any specific song. It predominantly tied songs together as an adlib in between. It was born out of the creative inputs of DJs who had to work with self-imposed musical constraints such as the 4/4 time beat and sampling or sequencing sections of other songs to create a smooth flow of uninterrupted musical stimuli. These were eventually married with electronic equipment such as drums and synthesizers, and ultimate melodies to give it that bite and identity. In a sense, rap music artists were basically like a video game designer who had to figure out each artistic component at every turn until it developed into a more coherent musical genre that became the rap music we know today.

The first recorded version of rap music came alive in the early 1980s when DJs decided to make records out of their freestyle MCing. This necessitated the documentation of song lyrics so they do not change during each and every rendition. The age of the stromanbieter for rap music was gone paving the way for more organized chaos. Still, the freestyle and improvisation element remained a part of many DJ interludes as the song goes through certain sections that did not require too much rap singing.

Likewise, as a consequence of the hip-hop records, the influence of rap began to spread faster than ever before. Artists no longer had to travel far to get their music heard. Now, records from New York City and Philadelphia can be reproduced and transported to cities like Los Angeles, New Orleans, Dallas, Baltimore, Washington, D.C., and Seattle among others for people to appreciate and enjoy. This was primarily the reason for rap music’s rapid growth. Like Christmas mini lights, cities formed the nodes through which rap music would spread to other parts of the country. From small beginnings to grand achievements, the birth certificate translation to true stardom took a matter of years for rap music to be realized. Since then, its take-off and rise has been meteoric.

In this regard, it is almost impossible to talk about rap music but not discuss the golden age of rap. This was the era from the late 1980s to the mid 1990s when rap grew at an astounding rate fueled by the creative contributions of many artists from all over the continental United States and in many parts of the world. The primary trait of the Golden Age or Rap was that it was an almost unbroken wave of transformative music with every single pushing the boundaries of the genre. From this age and in the succeeding Gansta Rap age came names like Run-D.M.C., Dr. Dre, Ice T, MC Hammer, The Wu-tang Clan, Snoop Dogg, and The Notorious B.I.G. among others. The list of names can virtually fill a Sharepoint Hive without any problems.

According to social studies published in 2005, teenagers and children are more familiar with hip-hop and rap music more than any other musical genre. Up to 65% of all children from ages 8 to 18 hear hip-hop music on a daily basis, making it their routinary keratin hair treatment session, almost to the point that it has become an intrinsic part of their lives. With the diversification of the genre to include the more stylish R&B or rhythm and blues, it is not difficult to explain how rap music has continued to pervade radio station, TV and movie song line-ups. The marriage of rap and jazz which paved the way for R&B is itself a phenomenon that warrants all sorts of social analysis.

And with its very strong following, it is safe to say that rap music is here to stay. Years from now, when you open your TV on a bright Saturday morning, there’s a big chance you would be watching the next stage in the evolution of rap music, and there’s an even better chance you would be dancing or singing to that tune.

Immortal Technique Rapper Biography

Immortal technique is the stage name for which rapper Felipe Andres Coronel is popularly known. His lyrics characterized by its unique mixture of socialist commentary of social class hierarchy, religion, wealth, poverty to contemporary issues touching on governmental and institutional racism. Perhaps you may have come across information about this popular icon as you undertake research for that mba online, or for whatever course you are undertaking, be it bachelors in criminal justice, performing arts degree, governance systems, online nurse practitioner programs, history, or any other course for which you have to do online research.

The rapper was born on the 19th day of February 1978 in Lima, Peru. During the internal conflicts that took place in their country at the time, his parents migrated to Harlem, New York. Probably, in the process of migration to the country, they may have used boats at least once in the journey. Like many American teenagers, the rapper was engaged in various acts against the law that led to his arrest several times, which in one his public interviews admitted that they were selfish and at best childish acts. After completing his incarceration terms, he took up a political science course in a bid to mend his seemingly torn life, while living with his father.

After completing his studies, he was not lucky enough to secure a job in his field of study owing to the unemployment situation prevailing in the entire United States. Like many American fresh graduates who take up it jobs, nursing jobs, waiter and nursing jobs among many other common jobs that may not necessarily need a specialist, he took up a working in a restaurant to earn a buck from which he could live on.

Through his deep interest in championing for equality between the elite and the under privileged in society, and being not a Mesothelioma Lawyer, the rapper begun his music career basing his lyrics on such issues as injustice, exploitation and mistreatment of the poor. This is captured clearly in his desire to keep control over his production, since he strongly believes that in the music industry, the producers normally make a large profit while the artist for who credit belongs, normally end ups earning peanut amounts at the end of the day.

His popular sediments are captured in his albums that include the revolutionary, both volume one and two, and the 3rd world and the middle passage album. the rapper is increasingly involved in prison visits and working with migrant rights activists, though which he speaks to youths and the unprivileged in the society trazer amor de volta. His investments are largely in farmland in Latin America, which like soweto properties is an unpopular investment option for many celebrity figures. His advice to the youth is not much on taking up an aacsb online mba or an online criminal justice degree, but rather it is based on exploiting ones talents and living soberly within the law.

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