The black writer holds a key position in liberating South Africa. Richard Rive believes that black writers personalise individual experience and that this plays a role in showing what society was, what it is and what it is heading towards. Rive argues that black writers owe allegiance to their own writing, their society and to their humanity.

What is a progressive song? In this paper entitled "Song and Struggle", Muff Andersson argues that musicians (primarily lyrical musicians) should write songs that "keep the cogs of the struggle moving on". This can be done through writing progressive songs or ensuring that a communities' consciousness is reflected in a song and its ideas.

Original silkscreen printed folder for the Culture and Resistance Symposium/Festival in 1982, Gaborone, Botswana. Artwork by Thami Mnyele.

Nadine Gordimer writes this insightful paper on the key concepts of "relevance" and "commitment" in relation to black and white writers. She argues that black writers write from their communities and have daily lives which are embedded within relevant contexts. So too, their commitment to black liberation is innate. She suggests that white writers ought to break out of white value systems and a false consciousness to create relevant art and to openly admit that their experience as being white is of a different order to being black. These are the imperatives which both black and white writers face. The whole aim of art, in its attainment of truth and essence, requires the white writer to attain a true consciousness so that both black and white writers may work for the same end.

This document, composed by the Medu Art Collective, is a political input calling for a cultural boycott against Apartheid. This boycott aims at foreign artistic or cultural groups touring South Africa, boycotting the Apartheid government's cultural events and for progressive organisations to collectively and diligently organise these boycotts against Apartheid.

Membership Cards for the Culture and Resistance Conference.

Information page given to conference delegates giving details of the rules, meal arrangements, venues and a map of the conference site.

In this paper, it is argued that the theatre of Athol Fugard very rarely engages with the experiences of the proleteriat and the oppressed. The author argues that while Fugard did manage to transcend racial categories in his early work and engaged extensively with the scene and identities of the black working classes, he has failed to consistently produce meaningful plays which engage these audiences.

There are two (duplicate) pamphlets that provide brief information advertising for both the Culture and Resistance Symposium and the Art Toward Social Development Exhibition. Included within the flyer is a schedule for the Culture and Resistance Symposium with the dates and main topics for each day, together with the registration form that had to be filled by all attendees. The exhibition is advertised as being comprehensive, dynamic and historic for people. The exhibition aimed at having open discussion with the artists about the direction of South African culture.