‘Stockhausenesque’: South African Musical Vanguardism during the ‘Durban Moment’

Abstract

Abstract This article weaves a story around the scant evidence that survives of the first university-based electroacoustic studio in Africa and the musical experimentalism that developed alongside it at the fledgling music department of what was then the University of Natal. The time is the early 1970s, the setting the eastern seaboard city of Durban, the local political context the ‘Durban moment’ of growing political unrest infused by Steve Biko's Black Consciousness movement and the radical politics of Richard (Rick) Turner, the red herring an ARP-2500 modular synthesizer, and the key figures the German-born experimental composer Ulrich Süsse and South Africa's foremost musicologist at the time Christopher Ballantine. By tracing the genealogy of Ballantine's ideas in post-1968 British counterculture and in musical collaborations with the physics department at the University of Natal – and by juxtaposing and contrasting the Durban New Music Group's activities with Turner's contemporaneous and often seething critique of white liberalism – the article offers perspectives on the globalization of the avant-garde, the expression of musical vanguardism in the problematic and contradictory spaces of twentieth-century white liberal South Africa, and the dialectics between the ‘experimental’ and the ‘avant-garde’ that informed alternative institution-building at what was to become the first department in South Africa to include African music, jazz, and popular music in their curricula in the early 1980s.