What is the place of artists, cultural activists and writers in the struggle against Apartheid? This edition of the Medu Art Ensemble newsletter, the last of 1981, shares experiences of artists and their range of cultural activities. The issue consists of poetry, articles, short stories and book reviews. The first poem is about the silences imposed by Apartheid, composed by John Donne. Ngugi Wa Thiong'o's article on "Education for a national culture" focuses on the importance of understanding your background and culture, particularly in the context of a liberation struggle. It is certain that artists have a role to play in this process! A short story about "The New Place" by Mongane Serote focuses on an experience of forced removals and resettlement that many black South Africans faced. Front page graphic by Mike Kahn on silkscreen.

The night keeps winking , poem by Mongane Serote and artwork was done by Thami Mnyele and was published by Medu in Gaborone in 1982.

Cover design for SANRU by Judy Seidman on behalf of Medu. Flyer published by Botswana Orientation Centre in Gaborone, Botswana.

Is the concept of "black poetry" valid? James Matthews argues that black poetry has become a powerful force in South Africa. He suggests that poetry by and about the black majority is locally grounded and people no longer look toward America for such inspiration. Matthews draws links between black poetry, black consciousness and black power.

Shades of Change ticket and flyer for Medu play with a portrait of Bochana Mokwena, artwork by Judy Seidman.

"There is an undeniable responsibility of photographers in South Africa to use photography as a medium to establish a democratic country". The author argues that a sensitivity to everyday experiences is key to realising this responsibility. The paper deals with the "role of culture in photographic communication, the formation of our [South Africa's] resistance culture, our country's uniqueness and how this affects the level of awareness of people, the relevance of technique and the outlets for committed photography".

What is the role of the visual artist in the struggle and how is it judged as "art"? Gavin Jantjes discusses how visual art should challenge the interiorisation of Western artistic evaluation (and its pressures on artistic quality) and rather appeal to instill in ones own community a meaningful interest in both their culture and art. He regards black artists as being sidelined on the global stage and urges artists to fight racism and eurocentricism in art.

Art should be a cognitive process, rather than transfer of skills and technique. In the context of an artistic culture which is afflicted by oppression and exploitation, art must be a process which people can relate to, identify with and be a part of. The article argues that art must teach people, "in the most vivid and imaginative ways ... how to take control of their own experience and observations" and how to link these to a just and free society.

Keya Tomaselli proposes strategies for independent and radical cinema to grow in South Africa, especially considering the oppressive context of Apartheid. He argues for "Ter Cinema", a radical tradition of filmmaking which would create films for the oppressed majority. Tomaselli critiques a range of films and proposes new directions for filmmaking, starting with more engaged and radical film departments in universities. He reflects that cinema has often been called the "dream factory" and that "dreams are to be found in all levels of filmmaking, including those productions which set out to challenge the status quo".

Original solidarity file folder for Botswana orientation center, Gaborone, designed by Judy Seidman (Medu).