radio and television broadcasts.brbrThe volume is beautifully typeset in three-column page layout. Essential for collections that support language and linguistic studies.--ChoicebrbrThe DSAE was written at the Dictionary Unit for South African English at Rhodes University, Grahamstown, South Africa. Penny Silva is the executive director of the Unit and the Dictionary's managing editor.br  (less)

even an ethnomusicologist. Female and male perspectives are evenly represented, with emphasis upon keeping the true traditional music alive, and reflecting the importance of improvisation. Many sensitive photographs and sketches reflect the Capp family s eight years of interaction with the people. It s a must-own for your personal and institutional library on Africa. --Loran Olsen, Emeritus Professor of Music, Washington State University The music of the Shona of Zimbabwe is certainly one of the most original in Africa, being built on a theoretical system capable of generating an infinite number of outcomes think of the blues sequence ten times richer which only came to the notice of the outside world from the 1960 s onwards. Since then, it has exploded onto the awareness of hundreds of musicians around the world who are keen to follow the completely new route map that it offers for putting together those seven ancient diatonic notes whose possibilities some of us thought had been exhausted. (And this will not be all; Africa still has many surprises up its sleeve!) -- Andrew Tracey, International Library of African Music, Rhodes University, Grahamstown, South Africa A brilliant and beautifully illustrated book that probes the mind and creative spirit of African musicians. A definite must read. --William Chapman Nyaho, Ghanaian-American pianist and independent scholar  (less)

Africa, on July 10, 1969. Fugard played Boesman in this production. The play was first produced in the United States in an Off-Broadway production at the Circle in the Square Theatre in 1970. This production won an Obie Award from the Village Voice for Most Distinguished Foreign Play of the season. Like many of Fugard's plays, Boesman & Lena focuses on non-white characters and includes an element of social protest. Set in the mudflats outside of the playwright's native Port Elizabeth, South Africa, the title characters are an ill-matched ""colored"" (a South African term that describes people of mixed race) couple who have been beaten down by society. From its first productions, the play has been praised for its frank depiction of the affects of apartheid on people of color. But critics also applaud Fugard because his play transcends time and place. Boesman & Lena can be seen as a metaphor for oppressed people of all nationalities, an exploration of the difficulty in relationships between men and women, and the need for human kindness, compassion, and hope. In a review of the original Off-Broadway production, the New Republic's Stanley Kauffmann wrote: ""This is not a protest play, though the pain of race hatred flames...."  (less)