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Speaking at Union Meetings

- Irish Congress of Trade Unions (ICTU)

Authors: Irish Congress of Trade Unions (ICTU)
Subjects: ICTU
Language: English
Type: text
Identifier: http://hdl.handle.net/10962/174145 , vital:42446
Description: The type of meetings we have in mind are general members’ meetings with more than ten people in attendance. These notes are relevant where you have an opportunity to think beforehand about what you are going to say and to spend some time on preparation. Sometimes you may have to speak 'on the spur of the moment' in response to information, a statement or an event. In these circumstances, you should try to get your thoughts together before you speak, rather than simply 'thinking out loud’. The most important point about the 'spur of the moment' type of situation is to say what’s on your mind. Don’t leave it to someone else. These ‘spontaneous’ contributions to meetings can be very effective. People usually can recognise when someone is speaking ‘from the heart’! Sincerity, honesty and conviction are much more important for effective speaking than ‘polish’ and presentation. Hundreds of books have been written and millions of pounds ’earned’ telling people how to get their message across. While good presentation can help, for the trade union movement what people say is more important than how they say it. A speech is effective if the audience remembers most of the points made by the speaker.
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Speaking out : Africa orality and post-colonial preoccupations in selected examples of contemporary performance poetry

- Mnensa, Mabel Thandeka

Authors: Mnensa, Mabel Thandeka
Subjects: Oral interpretation of poetry , Poetry slams , Oral tradition -- Africa , Folk literature -- Africa
Language: English
Type: Thesis , Masters , MA
Identifier: vital:8455 , http://hdl.handle.net/10948/1193 , Oral interpretation of poetry , Poetry slams , Oral tradition -- Africa , Folk literature -- Africa
Description: Contemporary performance poetry is a democratic art form that elicits dialogue and is a catalyst for social change. Yet it is an art form that is still not well understood: it is accused of unconsciously mimicking hip-hop and being a watered-down, lesser version of "real" poetry. However once its power is harnessed it may be a powerful art form that can be used to address social ills and act as a medium for memory work. The themes that are prevalent in contemporary performance poetry illustrate society‘s preoccupations. Different South African and American poets from a wide range of socio-economic, national, generational and racial backgrounds are examined to explore the collective preoccupations that keep emerging in the poetry, issues pertaining to race and class, gender, and to the politics of the past and its effect on the present. There is a long debate around the influences of contemporary performance poetry, which is negotiated in Chapter One. Though Gil Scott-Heron‘s "The Revolution will not be Televised" is identified as being a major influence, Saul Williams‘s "Black Stacey" challenges some of the arguments made by Scott-Heron. Lesego Rampolokeng lays the foundation for South African performance poetry by criticising the new black elite in the country in "Riding the Victim Train". Chapter Two examines how the poets challenge the status quo in their work. Sarah Jones‘s "Blood" illustrates how the new black middle class in America is complicit in keeping poor people on the margins, while Kgafela oa Magogodi levels his criticism against state sanctioned poets in South Africa. Mxolisi Nyezwa‘s "The Man is Gone" illustrates that the new class based hierarchal system in South Africa is potentially harsher than the apartheid one that was based on race. Chapter Three focuses on gender issues that are prevalent in South Africa. Tumi Molekane‘s "Yvonne" illustrates the danger that is embedded in the hetero-normative narrative while oa Magogodi‘s "Samson and deli(e)lah" and Sam‘s "Eve" explore how this narrative is unjustly informed by misinterpretations of the Bible. History and the impact of the past on the present is the focus of Chapter Four. "76" by Molekane illustrates how the apartheid legacy still affects many in South Africa, while Andrea Gibson‘s "Eli" explores the devastating effects of America‘s war efforts in Iraq. Dennis Brutus highlights the cathartic attributes of poetry that is community-driven in "So Neat They Were" and "Mumia". The chapter ends with an exploration of how the form of izibongo is used by Chris Thurman in "Holy City (A Jozi Praise-Poem)". The last poem illustrates how the past informs the present and suggests that despite the bleakness of the past, there is hope for South Africa because of its rich cultural heritage.
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Spectral properties and photophysical behaviour of water soluble cationic Mg(II) and Al(III) phthalocyanines

- Idowu, Mopelola A, Arslanoglu, Yasin, Nyokong, Tebello

Authors: Idowu, Mopelola A , Arslanoglu, Yasin , Nyokong, Tebello
Language: English
Type: Article
Identifier: vital:7277 , http://hdl.handle.net/10962/d1020292
Description: Peripherally and non-peripherally tetrasubstituted-[(N-methyl-2-pyridylthio)]phthalocyaninato magnesium (II) (5 and 6) and chloro aluminium (III) (7 and 8) tetraiodide have been synthesized and characterized. The photophysical properties of the complexes in dimethyl sulfoxide (DMSO) and aqueous medium in the presence and absence of cremophore EL have been studied. These complexes show high solubility in aqueous medium though they were aggregated. The triplet state quantum yields (FT) and the triplet lifetimes (tT) were found to be higher in DMSO with ΦT ranging from 0.32 to 0.51, while tT ranged from 282 to 622 ms in DMSO, compared to aqueous medium (pH 7.4 buffer) where ΦT ranged from 0.15 to 0.19 and tT from 26 to 35 ms. Addition of cremophore EL in aqueous solution resulted in partial disaggregation and increased photoactivity. The fluorescence lifetimes of the complexes showed strong dependence on their immediate environment. The ionic magnesium(II) and aluminium(III) phthalocyanines strongly bind to bovine serum albumin (BSA). , Original publication is available at http://dx.doi.org/10.2478/s11532-013-0388-z
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Speech and Music for Chopi Wedding

- Tracey, Hugh

Authors: Tracey, Hugh
Subjects: Chopi wedding , Speech , Music , Xylophone , Orchestra , Dances , Chief Banguza, Philipi , Chief Zandamela , Bride, Chief Banguza's daughter , Groom, Chief Zandamela's son , Komukomu, leader of xylophone orchestra , Makara , Rattle players , Mzeno movement , Whistling , Ngondo dance , Chibudo movement , Villagers , Mozambique
Language: English
Type: Sound , Radio broadcast , Music
Identifier: vital:15134 , http://hdl.handle.net/10962/d1012208 , Reel number: BC159
Description: Broadcast entitled 'Speech and Music for Chopi Wedding', for a television film programme broadcast by the British Broadcasting Corporation , For further details refer to the ILAM Document Collection: Hugh Tracey Broadcasts
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Spirits - Rejoice

- Moholo, Louis, Williams, Richard

Authors: Moholo, Louis , Williams, Richard
Subjects: McGregor, Chris--1936-1990 , Pukwana, Dudu , Moholo, Louis T.--1940- , Moyake, Nikele , Feza, Mongezi , Miller, Harry , Dyani, Johnny Mbizo , Feni, Dumile , Patience, Princess , Jazz musicians
Language: English
Identifier: vital:13562 , http://hdl.handle.net/10962/d1006446 , McGregor, Chris--1936-1990 , Pukwana, Dudu , Moholo, Louis T.--1940- , Moyake, Nikele , Feza, Mongezi , Miller, Harry , Dyani, Johnny Mbizo , Feni, Dumile , Patience, Princess , Jazz musicians
Description: Photocopied album cover of Spirits/Rejoice. On the first page Louis Moholo is dedicating the "music to the memory of [his] brothers and sister". On the second page, from left to right, a photo of Dudu Pukwana, Mongezi Feza and Harry Miller and on the third page, from left to right Johnny Dyani and Chris McGregor. On the fourth page there is a picture of Louis Moholo and on the last page a photo of the Blue Notes in 1964.
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