ABSTRACT
1980s South Africa was a constrained context within which to produce protest music. Apartheid censorship prevented protest music from reaching a mass market. This was an especially dire situation for white protest musicians who (unlike black musicians) were restricted by a small potential audience and also limited by the cultural boycott, precluding the possibility of an international audience. In the post-apartheid era some of these earlier protest recordings have been re-released by independent labels hoping to profit from the recordings but also in search of broader audiences for this important aspect of South Africa’s musical heritage. Yet it has been difficult to do more than market to “retro brand communities” of former fans. This paper considers marketing strategies used to promote re-releases of anti-apartheid protest songs, given the peculiarities of the convergence of retro time and space with present spatial dynamics, in a society willing to forget its musical heritage.
