Sanctioning Apartheid - KORA

The CdWl Boycott of South Africn (II)
18. The majority of pp1e who signed this letter seePled to be
pgmsive white Sauth Africans, w, it is dIfficuft bo assess how
widely held this position is amongst black artists and culhd
workers.
20. This argmat ends up trying to draw a sharp distinction between
the politid value of secdd popdm culture as opposed to nrass
ad- as ammetdally produced dhue This question is
debated in varim academic fma, Spa- does not dew for a
discussion of this issue, but suffice it to say that a strong argument
can be made that erlah fern of commercially produced culhue
(such as popular music) ean have pro~ive effects In South
Africa.
21. The Indtpendent, op. dt, 22
22. Azaflian People's Organization
23. This is not to mgpt that progwssive white Am&cam might not
also be invited b visit @cuIar groups or organkations in South
Afrlcd, if such a system were in place.
24. Most of the objedoms to the show to have been mt just that
it atme from South Africa, but that the theme of tke musical was
the "happy homeland black," which phyd into Lhe South African
govemnent's propaganda about how contented blacks are in South
AfricaI or else that they are not ready to be equals or to run the
-try-
25. 'The Gods Must Be G.azf has been by far the most successful
South Abia film in the intemational film market Critics of the
film argued that despik the fact that very little of the film actually
takes place in South Abiczu, the very act of Plabjng an apolitical
mdy promotes an "equal opportunity South African workplace,"
is peho- towards Zhe "bushmen" in the film, and makes the
black governmat and guerillas portrayed in the film Iook Wre
incompetent kdfoons.