CityPress - - Trending - One of the In­ter­na­tional Coali­tion Sites of Con­science, the District Six Mu­seum ( in the for­mer District Six is “ded­i­cated to en­sur­ing that the his­tory and mem­ory of forced re­movals in South Africa will en­dure”. Keep­ing alive the story of 60 000 res­i­dents







“There’s go­ing to be a place, brother/ Where the world can sing all sorts of songs/ And we’re go­ing to sing to­gether, brother/ You and I, though you’re white and I’m not/ It’s go­ing to be a sad song, brother/ Be­cause we don’t know the tune/ And it’s a dif­fi­cult tune to learn/ But we can learn, brother, you and I/ There’s no such tune as black tune/ There’s only mu­sic, brother / And it’s mu­sic we’re go­ing to sing/ Where the rain­bow ends.”

So goes Where The Rain­bow Ends, a poem by Richard Rive (1931-1989). Born and raised in District Six, the writer be­came one of its most fa­mous ex­po­nents.


Au­thor Rozena Maart, who was born in District Six in 1962 and whose fam­ily was forcibly re­moved from the area in 1973, tells her own story and that of a his­tor­i­cally unique com­mu­nity in her 2006 col­lec­tion of short sto­ries, Rosa’s District 6.

The story about the Colling­wood fam­ily, who were seen as “more white” than their neigh­bours, re­veals the re­al­ity of apartheid in Maart’s dis­tinc­tive style of awk­ward hu­mour and painfully re­al­is­tic ob­ser­va­tions.

Self-taught pho­tog­ra­pher Ge­orge Hal­lett’s name is syn­ony­mous with portraiture in the his­tory of South African pho­tog­ra­phy, par­tic­u­larly dur­ing the time of his ex­ile, when he cap­tured the lives of other artists and political thinkers liv­ing abroad.

Dur­ing his time in Lon­don, he made con­tact with African writ­ers, in­clud­ing Wole Soyinka and Ah­madou Kourouma, which led to him pub­lish­ing the now fa­mous book Por­traits of African Writ­ers. Hal­lett was born in District Six in 1942.


Jazz pi­anist Ab­dul­lah Ibrahim hit Capeto­ni­ans in the gut when Man­nen­berg was re­leased in 1983.

It spoke of the forced re­movals of black peo­ple out of District Six into “coloured” ar­eas like Ma­nen­berg, and has since be­come a Cape jazz clas­sic.

“Ma­nen­berg was just sym­bolic of the re­moval out of District Six, which is ac­tu­ally the re­moval of ev­ery­body from ev­ery­where in the world, and Ma­nen­berg specif­i­cally, be­cause it sig­ni­fies our mu­sic, and it’s our cul­ture,” he once said.

FIVE DECADES OF MEM­ORY In Fe­bru­ary 1966, District Six was de­clared a white area un­der the Group Ar­eas Act

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