Dolly Rathebe (centre) in detail of the album cover for Dolly Rathebe & Elite Swingsters.
Gallo Music Publishing
Her celebration of black life, black beauty and black humanity through her films and music was subversive.
Moeletsi Mabe/The Times/Gallo Images/Getty Images
The revered trombonist, composer and cultural activist never wished to be ‘the state composer’ but remained political until the end, in service of the people.
Jürgen Schadeberg in 1955 with trainee photographers at Drum, Peter Magubane, left, and Bob Gosani. Both became well-known photographers.
© Jürgen Schadeberg
The gift of his images lies in their depiction of the social worlds that apartheid sought to destroy, but that live on through the photographs.
South African lawyer and part-time fashion model, Thando Hopa, at an exhibition of Drum magazine front pages in.
Gianluigi Gueracia/AFP via Getty Images
The magazine grew to be the largest circulation publication for black readers in South Africa, and expanded to include East and West African editions.
Paul Weinberg/Cambridge University Press
Even though they were a product of apartheid’s propaganda broadcasting machine, Zulu language radio dramas proved subversively powerful by reflecting communal black life and creating new stars.
Anti-apartheid cleric Trevor Huddleston, centre, with South African liberation struggle icons Oliver Tambo and Nelson Mandela in 1991.
Bishop Huddleston’s criticism of Enoch Powell’s incendiary “Rivers of blood” speech was both a history lesson and a call to action against racism.
Hugh Masekela’s 30 years of exile began shortly after the Sharpeville Massacre.
Hugh Masekela's itinerary-in-exile was loud and clear in his songs.
Hugh Masekela performing during the 16th Cape Town International Jazz Festival.
Esa Alexander/The Times
South African trumpeter Hugh Masekela made an impact across the world during his decades-long musical career.