Don¡¯t miss the 2008 IASA-ASRA Conference in Sydney

Registration for the 2008 IASA-ASRA Conference has opened and is now available online at https://www.icms.com.au/iasa2008/register/default.asp

The IASA-ASRA 2008 Conference with it theme, No Archive is an Island, will take place in Sydney at the Australian National Maritime Museum. All indications are that this conference will be a highlight on the IASA events calendar. A preliminary programme has been posted to all members and will also be available on our internet site.

In the words of Kevin Bradley, Conference Convenor, the 2008 conference will explore the ¡®survival of sound and audiovisual archives (which) is dependent on the exchange of ideas, shared standards, similar technological approaches and mutual support. The ASRA- IASA 2008 conference will explore the activities, achievements, interconnections and relationships between individuals and institutions active in the field of sound and audiovisual collections. The presenters we have assembled to create this program will bring together a panel of international experts that will generate energetic and vibrant discussion around this important area.¡¯

We hope to see you in Sydney. Please visit the conference website for more information: http://www.iasa2008.com/

You can assist....

The IASA Executive Board decided during its mid-year Board meeting earlier this year to launch a new initiative that will hopefully enable members from the developing world to attend our conferences. As such, the IASA Executive Board encourages IASA members to sponsor members from the developing world to attend our annual conferences. It is becoming increasingly difficult for members to attend the conference due to financial hardship.

This sponsorship will not replace the IASA travel grants which are awarded on an annual basis to assist members with travelling costs.

Media Libraries
South African Broadcasting Corporation
PO Box 931, 2006 Auckland Park, South Africa
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Phone: +27 11 714 4041
Fax: +27 11 714 4419
e-mail: assmanni@sabc.co.za

A warm welcome to our new members

The Institute for Research on Music & Acoustics, contact person, Kostas Moschos, Adrianou 105, Athens 10558, Greece joins IASA because the Institute for Research on Music and Acoustics - Greek Music Documentation Centre is a non-profit, non-government organization aiming to develop and support research in the field of music and acoustics, support contemporary music creation and provide systematic information and documentation in these domains. IEMA was founded in 1989 and today is the central point for music research and music information and music documentation in Greece. IEMA is member and representative for Greece in IAMIC, also member of IAML and IMS. Since 2003 IEMA is hosting the Greek Music Documentation Center with a very big music and audiovisual digital archive covering all kinds of Greek music.

Lars Gunnar Eggen from the Rockheim - Det nasjonale opplevelsessenteret for pop og rock (The national pop and rock museum in Norway), Olav Tryggvasons gate 5, 7011 Trondheim, Norway who intends to build an archive which focuses on Norwegian pop and rock music (audio), videos, magazines, posters, and other material.

David Rajotte, 70 Fraser, Levis Quebec, Canada G6V 3S2, has an interest in sound archives and is a student at Universit¨¦ de Montr¨¦al.

Christopher Allen Miller, 8550 S. Priest Dr., Tempe, AZ, United States, 85284 is the Curator of the Audiovisual Resources at the Musical Instrument Museum (http://themim.org), responsible for development and management of a sound and video archive to support the mission of the museum. He is also a member in good standing of ARSC.

The Association for Cultural Equity, Contact Person: Bertram Lyons, 450 West 41st Street, Room 606, New York, United States, 10036. The Association for Cultural Equity (ACE), at the Fine Arts Campus of New York City's Hunter College, was chartered as a charitable organization in the State of New York in 1983. It was founded by Alan Lomax as a center for the exploration and preservation of the world's expressive traditions. Alan Lomax hoped that cultural equity, the right of every culture to express and develop its distinctive heritage, would become one of the fundamental principles of human rights. ACE's mission is to facilitate cultural equity through cultural feedback, the lifelong goal that inspired Alan Lomax's career and for which the Library of Congress called him a Living Legend. Cultural feedback is an approach to research and public use that provides equity for the people whose music and oral traditions were until recently unrecorded and unrecognized. Cultural equity is the end result of collecting, archiving, repatriating and revitalizing the full range and diversity of the expressive traditions of the world's people - stories, music, dance, cooking, costume. ACE's mission is realized through a configuration of innovative projects that creatively use and expand upon Alan Lomax's collected works and research on music and other forms of expressive culture: The digitization of and free access to a vast majority of Alan Lomax's musical and scholarly files in an evolving website which is open to the public (www.culturalequity.org); the commercial distribution of sound and video recordings from the Lomax collection linked to the payment of royalties to the original performers or their descendants; the repatriation of media collections to libraries established in the areas where they were collected; a pilot project for cultural feedback based on Lomax's work in the Caribbean; a revisited performance style research paradigm testing old and new hypotheses and including new statistical techniques and breakthroughs in evolutionary anthropology.

Kara Van Malssen, 70 Washington Square South, Room LL1-11, New York, United States is a Senior Research Fellow at New York University for the Preserving Digital Public Television Project, part of the National Digital Information Infrastructure and Preservation Program of the Library of Congress. Her work involves collaborating with public television stations to design a preservation repository for born-digital television programming. She is also involved in international training in audiovisual archiving with both New York University and the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM). Overall my work involves meeting colleagues from around the world to learn about issues related to audiovisual archiving. She feels membership with IASA would benefit her by providing contacts and up to date research on topics in this field. She plans to attend this year¡¯s annual conference in Sydney, and will be giving a short talk there.

Tom Lorenz, Cube-Tec International, Contact Person: J?rg Houpert, Anne-Conway-Str. 1, Bremen, Germany, 28359. Cube-Tec is a manufacturer of software for quality controlled digitisation of sound archives with about 20 employees.

Melinda Barrie, P.O.Box 42, East Brunswick VIC 3057, Australia is currently an Archivist at the University of Melbourne and responsible for a large audio visual collection. She is interested in best practices both on a national level and international level and wants to focus on the preservation of AV material / digital heritage. She plans to do some professional development studies at the Charles Sturt Uni Course (Australia). She also wishes to meet other practitioners with similar issues and interests.

Habib ur Rehman Hafiz, Department of Library and Information Science, University of the Punjab, Lahore, Pakistan hopes to exchange professional experience in the international channels and learning more about modern global trends in the librarianship.

Yakubu Braimah from Yakbraims Enterprise (Studios), Box CT 2292 Cantonments, Accra, Ghana, joins IASA as he would like to be a professional Sound Engineer.

ECPA brings its work to a close >

The European Commission on Preservation and Access was established in 1994 to promote the preservation of the documentary heritage in Europe. This year, with the finalization of the TAPE project, the ECPA will bring its work to a close.

Reorganizations within the Royal Netherlands Academy of Arts and Sciences, the home of the ECPA ever since its foundation, forced the ECPA Board to consider whether to continue on another footing, or bring the work to an end. Given the profound changes in the field over the past decade, it was concluded that the new environment requires its own new networks, and restructuring the ECPA to meet these needs was not the best option. The ECPA was never meant to live forever, and so now is the time to wrap up its activities.

Over the years the ECPA has been involved in such diverse subjects as microfilming, deacidification, photographic collections, digital preservation and audiovisual collections. It has taken part in many conferences and seminars, produced a list of publications, maintained several websites and organized a variety of training courses.

All of this would not have been possible without the support the ECPA received over the years from many institutions and colleagues. The ECPA Board and staff wish to express their sincere gratitude to all those who supported their work and cooperated with them in many different ways.

The websites of the ECPA will remain on air for some time, and all the information resources have been transferred to several other organizations, who will use them for their own activities. The mailing lists of the ECPA, EPIC-LST, Inkcorrosion-L, SEPIA-LST, and TAPE will close at the end of July.

European Commission on Preservation and Access (ECPA)
c/o Royal Netherlands Academy of Arts and Sciences
P.O. Box 19121, NL-1000 GC Amsterdam, The Netherlands
Visiting address: Trippenhuis, Kloveniersburgwal 29, NL-1011 JV Amsterdam
T ++31 - 20 - 551 08 39
F ++31 - 20 - 620 49 41
http://www.knaw.nl/ecpa/

EUROPEANA makes progress

At the first international EUROPEANA conference ¡°One more step towards the European Digital Library¡°, held at the German National Library in Frankfurt early this year, a so-called Marquette for an European network of digital cultural heritage (¡®let¡¯s dream together how an European digital network of libraries, museums, archives and AV collections could look like¡¯) was successfully demonstrated. Those dreams are now becoming more realistic: at the second international EUROPEANA conference ¡±Users expect the interoperable¡±, held at the National Library of the Netherlands in The Hague from 23 ¨C 24 June 2008, a first prototype was demonstrated. About 160 participants from nearly all European countries attended this meeting, proving the desirability and importance of this development project.

Achievements after 6 months: 900 people have been involved in usability assessments ¨C in expert groups, end-user focus groups and an online survey, and 77% rated the europeana.eu demo site as ¡®excellent¡¯ or ¡®good¡¯.

Europeana began in July 2007 and the final EUROPEANA prototype will launch in November 2008 with more than 2 million digitized items to explore. EUROPEANA will continue: there will be at least 6 million digitized items available by 2010, with multilingualism and interoperability as the biggest challenges.

EUROPEANA is governed by the EDL Foundation which IASA recently has become a member of. Albrecht Haefner will represent IASA at future meetings of this steering body.

For more information about the EUROPEANA project, visit
http://www.europeana.eu/portal/en. To contribute content please go to http://www.europeana.eu/content_providers

ethnoArc Research Projects

ethnoArc is a European Research Project within the 6th Framework Programme: Information Society Technologies - Access to and Preservation of Cultural and Scientific Resources over a two-year project (September 2006 ¨C August 2008), and is financed by the European Union.

Aims

ethnoArc aims at improving access to the wealth of Europe's ethno-musical cultural heritage. In particular, it seeks to contribute to preservation, connectedness and exploitation of some of the most prestigious traditional sound archives in Europe taking into account their specific shape given by the particularities of the founding context and history (reflected in the approach of the holdings, structure of recordings, state of preservation, information management tools, etc.) and without being hindered by their differences concerning technical formats, software architectures and metadata structure.

It encourages scholars, artists and others to use and valorize traditional folk music. It spurs modern, comprehensive and comparative research in ethnomusicology, anthropology and disciplines, and deepens and spreads awareness of and familiarity with the common European memory and identity.

Means

ethnoArc jointly developed a "linked archive": a common internet portal for distributed field collections from different sources, enabling access to resources for various application and research purposes. The system is designed to conduct multi-archive searches and to compare retrieved data. Creating the linked archive poses a substantial challenge not only to software development, but also to ethnomusicology and archive science: various systems of ordering in various languages had to be coordinated for correspondences and common categories, to enable automated "translation" - mapping - of rich metadata from one database to the other.

Partners

ethnoArc is run by an international network of seven partners. Among them there are four sound archives: "Constantin Brailoiu" Institute for Ethnography and Folklore - Romania (IEF), Institute of Musicology of the Hungarian Academy of Sciences - Hungary (ZTI), Ethnological Museum Berlin - Department for Ethnomusicology - Germany (EMEM), Archives Internationales de Musique Populaire - Switzerland (AIMP), a technology developer: Fraunhofer Institute for Open Communication Systems - Germany (FOKUS) and two multidisciplinary research institutions: New Europe College ¨C Fundatia Noua Europa - Romania (NEC), Wissenschaftskolleg zu Berlin ¨C Institute for Advanced Study, Germany (WiKo).

Opening Doors

The resent workshop presented the conclusions of the two-year project. It offered in-depth information about the project and shared the results and technological achievements with researchers, representatives from archives and other interested parties. The ethnoArc system and the 'ethnoMARS' search tools, created by the ethnoArc team, served as tools for other archives and researchers: ethnoArc strives to create a group of 'ethnoArc system users' by providing the interested specialists with the new software and the related consulting. The ethnoArc software and its tutorials will be made available as OpenSource in June 2008.

ethnoArc was funded under IST-STReP-033808 in the Information Society Technologies program of the European Commission.

The software, manuals and tutorials developed by ethnoArc for the support of archives and users are available on: http://developer.berlios.de/projects/ethnoarc

For more information about ethnoArc and also about the Workshop go to: http://www.ethnoarc.org

Contact

Nicolae TEODOREANU or Anca STERE (nec@ethnoArc.org)

Project details on

www.ethnoarc.org?

Audio and Moving Image Survey Tool

Columbia University Libraries has developed and tested a tool to inventory and assess the physical condition of audio and moving image materials. The Preservation Survey Tool for Audio and Moving Image Collections and the accompanying instruction manual are now available for download to anyone interested in surveying a collection at http://www.columbia.edu/cu/lweb/services/preservation/index.html.

This survey tool is designed for use by librarians and archivists who are not media experts. It provides a mechanism to develop preservation priorities by recording quantities and types of audio and moving image materials, documenting the physical condition of the media and their housings, collecting information about existing levels of intellectual control and intellectual property rights, and evaluating their potential research value.

Applicable either to an item-by-item inventory or a random-sample survey, the survey tool allows for but does not require collection of a great deal of detail about each item. Most fields provide drop-down menus to minimize keying and to assure consistent use of vocabulary. Technical terminology is based on that used by the Audio Engineering Society, Association of Moving Image Archivists, and other relevant organizations.

Survey-wide and collection-specific reports can be generated, as well as lists of collections ranked by research importance and degree of physical damage, and lists of the different media.

Funding to design the survey was provided by the Andrew W. Mellon Foundation.

Media in Motion: The Challenge of Preservation in the Digital Age

October 29, 2008
McGill University, Montreal, Quebec, Canada

The DOCAM (Documentation and Conservation of the Media Arts Heritage) Research Alliance and Media@McGill intends to hold a Media in Motion Symposium. The interdisciplinary event aims to bring together scholars, professionals, and graduate students across the sciences, humanities, and social sciences in order to explore the many facets of media art preservation.

The symposium will be held in conjunction with the Annual International DOCAM Summit (on October 30-31, 2008, at McGill University). For more information on DOCAM and its mandate, please visit http://www.docam.ca/en.

DOCAM is an international research alliance on the documentation and the conservation of the media arts heritage, initiated by the Daniel Langlois Foundation for Art, Science, and Technology. Its main objective is to develop new methodologies and tools to address the issues of preserving and documenting digital, technological, and electronic works of art.

Media@McGill is a hub of research, scholarship, and public outreach on issues and controversies in media, technology, and culture. Based in the Department of Art History and Communication Studies at McGill University, Media@McGill is supported by a range of sources, most notably a generous gift from the Beaverbrook Canadian Foundation. For more information, please visit http://media.mcgill.ca.

200 000 78-rpm addition to Belfer Archive¡¯s collection

Syracuse University Library¡¯s Belfer Audio Laboratory and Archive has received a major gift from the family of the late Morton J. ¡°Morty¡± Savada¡ªthe complete inventory of his Manhattan record store, Records Revisited, including more than 200,000 78-rpm records, along with a related print collection of catalogs, discographies and other materials. With the addition of the Savada Collection, Belfer¡¯s holdings now total more than 400,000 78-rpm recordings¡ªsecond in size only to the collections of the Library of Congress.

The Savada Collection, valued at just over $1 million, is a treasure trove of popular music, including unique and hard-to-find genres. It is strongest in big band and jazz, but also represents a wide variety of other musical genres, including country, blues, gospel, polka, folk, Broadway, Hawaiian and Latin. It also contains spoken-word, comedy and broadcast recordings, as well as V-disks, which were distributed as entertainment for the U.S. Armed Forces during World War II.

In addition to the popular labels of the day¡ªsuch as Columbia, Decca and Victor¡ªSavada collected rare and specialized recordings. Dates of recordings in the collection range from 1895 to the 1950s.

¡°The library is grateful to the Savada family members for their generosity,¡± says University Librarian and Dean of Libraries Suzanne Thorin. ¡°The rich and varied resources in this collection will greatly enhance research and scholarship done at Belfer for years to come.¡±

Savada, who died on 11 February, was well known by audiophiles and the entertainment industry in New York as an exceptional source for both sound recordings and recording history. Will Friedwald remarked in his obituary in The New York Sun (13 February): ¡°For any collector looking for a rarity, historian working on a research project, or reissue producer in search of something so rare it wasn¡¯t even in the vault, Records Revisited was generally the first call to make.

¡°Savada specialized in filling gaps and finding vintage single tracks that had never been reissued in any of the long-playing formats,¡± Friedwald wrote. ¡°Savada regularly collected 78 collectors together for lunches and bull-sessions. His shop off of Herald Square was a hub of such activity, where younger aficionados of old music picked up folklore in addition to the discs themselves.¡±

Savada opened Records Revisited in 1977 but had been collecting 78s since 1937. Records Revisited was the last store exclusively selling 78-rpm recordings and was a frequent haunt for those in the film and music industries, including actor/directors Woody Allen and Matt Dillon. Savada often lent his 78s to movie and music producers rather than selling them, and never sold the last copy of a recording because he regarded his collection as an archive, not an inventory.

Savada had wanted to donate his collection to a major institution that would maintain the collection and make it available to enhance research and teaching. He was very familiar with SU¡¯s Belfer Audio Laboratory and Archive and its staff, whom he knew from regular meetings of the Association for Recorded Sound Collections (ARSC). He also had another connection to the University: his granddaughter graduated from SU in 2005.

¡°I am unaware of another donation of recordings as large as the Savada gift to Syracuse University Library,¡± says Sam Brylawski, immediate past-president of the board of ARSC. ¡°It is an outstanding gesture by the family. It is gratifying, too, to know of Syracuse University¡¯s commitment to preserving the work of Morty Savada and making it available to the public and the research community.¡±

Sound recordings are a rich resource for researchers, faculty and students in a variety of disciplines. In addition to documenting the musical styles and performance practices of the day, these sound recordings provide a glimpse into social, political and cultural history. At SU, sound recordings are regularly used by faculty teaching music, musicology, history, filmmaking, journalism, political science and many other fields.

?¡°The Savada Collection is precisely the kind of collection music industry and Bandier Program students need to work with,¡± says David Rezak, director of SU¡¯s Bandier Program for Music and the Entertainment Industries. ¡°Students in the ¡®Music Company¡¯ course operate a functional record label and publishing company. For them, the process of exploring the recordings in the Belfer Archive for potentially releasable material is an education in itself.¡±

¡°The Savada collection is truly an archival wonder¡ªan exhaustive survey of popular music recordings from the first half of the 20th century,¡± says Theo Cateforis, assistant professor in SU¡¯s Department of Fine Arts, who also makes extensive use of sound recordings in teaching. ¡°For students whose relationship with music and technology rarely extends beyond the confines of the iPod, it is always eye-opening to see and hear the original 78s that were the mainstay of the recording industry for many decades. As such, these recordings offer an invaluable social and historical context.¡±

The Savada gift constitutes an important contribution to the University¡¯s $1 billion capital campaign, The Campaign for Syracuse University, the most ambitious fundraising effort in SU¡¯s history. By supporting faculty excellence, student access, interdisciplinary programs, capital projects and other institutional priorities, the campaign is continuing to drive Scholarship in Action, the University¡¯s mission to provide students, faculty and communities with the insights needed to incite positive and lasting change in the world. More information is available online at http://campaign.syr.edu.

¡°The Savadas¡¯ contribution is remarkable not only for its impact on our academic and research communities but as a significant contribution to The Campaign for Syracuse University,¡± says Brian Sischo, associate vice president of development and campaign director. ¡°It is one more example of a gift that has the potential to affect students, faculty and researchers across many different disciplines. It truly represents the University¡¯s belief in Scholarship in Action.¡±

The Savada Collection will be relocated to Syracuse this month, when work will begin to process the collection. For additional information on the collection, contact Melinda Dermody, head of arts and humanities services at SU Library mderm01@syr.edu.

ICA-congress in Kuala Lumpur

The International Council on Archives (ICA) holds its international congress every 4 years. The 16th ICA Congress was a formidable event with 1200 delegates, held in the hot and humid capital of Malaysia.

IASA and SEAPAVAA worked together to propose three sessions dedicated to audiovisual issues, a programme compiled by Jacqueline von Arb (IASA) and Ray Edmondson (SEAPAVAA): The first, ¡°Digital Principles and Issues¡± covered the contextual and philosophical issues that digitization brings in dealing with the preservation and accessibility of audiovisual works from a philosophical point of view (Ray Edmondson) and from a technical point of view (Albrecht H?fner). The second session presented AV-archiving essentials, covering issues with the analogue material (Albrecht H?fner), best practices from the Sound Directions project (Bruce Gordon) and the risks associated with the use of CD¡¯s and DVD¡¯s (Kevin Bradley). We reserved the third session for a state of the arts presentation describing some of the new developments and in the audio and audiovisual environment, looking at the storage environment, making suggestions about low cost sustainable options, considering the workflows and formats associated with larger scale preservation projects and managing the metadata, issues that were discussed from an open source development consideration (Kevin Bradley), digital deposit & digitization for preservation standards and workflows (Martin Jacobson) and software tools to help manage audio and audio-visual collections (Bruce Gordon). The TC-04 was duly promoted every time it was referred to.

This is the first time a dedicated effort was made to offer sessions focussed on audiovisual matters, presented by 6 experts from recognized AV-associations. These sessions were very well attended, respectively averaging 50 people in the audience at each session. We were literally run down with questions and inquiries both after the sessions and in the corridors of the Kuala Lumpur Convention Centre, and all of the literature we brought were greedily snapped up and links dutifully written down.

This shows there is definitely a thirst among the ICA constituency for knowledge and expertise on AV-issues, something that IASA is more than happy to cater to. ICA has previously recognized IASA as the expert voice on audiovisual issues for its constituency, and we will now be working closely together to increase the visibility of IASA as a resource partner both on the ICA- website and in the ICA-publications.

During the congress, our incoming president, Kevin Bradley, also established contact with the new General Secretary (David Leitch), the new president (Ian Wilson) and several members of the ICA-secretariat and the ICA Board ¨C this augurs well for the development of our cooperation.

The next ICA congress will take place in Brisbane in 2012, and the local organizers have already secured IASA and ASRA¡¯s support for the event, which I am sure will be found in a continued presence of AV-expertise at the congress.

Jacqueline von Arb
IASA Vice President

AudioInspector Cutting-edge digitization tools

What is AudioInspector? AudioInspector is a complete set of software tools for professional and efficient digitization of audio information.

What is special with AudioInspector commercially? Many dedicated to preserving the recorded heritage face budgetary issues. Financing a project¡¯s tools that will show its benefits only in the years to come is often cumbersome and difficult.

Besides the possibility to purchase a software license just as with other software tools AudioInspector is therefore also offered in a ¡°Pay per Use¡± model. By this AudioInspector will allow starting preservation work with professional tools but low budget requirements immediately. So no delays are caused by missing investment budgets!

With AudioInspector only a fragment of the start up investments necessary for other systems is required. When using AudioInspector you will be charged what you have used ¨C at a rate of 1 Euro per program hour transferred.

Credit hours can be purchased over the Internet. Your individual needs determine the amount of credits you buy ¨C from a few hours up to an unlimited license for which a fixed fee is paid upfront. This level of flexibility makes AudioInspector also affordable for small archives and private users, helping preserve their precious collections. But it also guarantees limited and transparent costs to regular users like big archives or service providers.

Free trial:
A free and fully functional AudioInspector with some hours of free credits for first-time users can be downloaded from the Web at https://www.audioinspector.com/? We greatly appreciate your feedback and any suggestions you may have for AudioInspector¡¯s further development.

What is special with AudioInspector technically?
AudioInspector has been designed by experienced senior audio engineers and leading research institutions as a cutting-edge tool for professional audio archives and service providers working for audio archives. Besides all the currently available state-of-the-art features like parallel digitization of several audio streams including capturing of associated quality metadata, AudioInspector is delivered with a complete set of historic EQ filters. It also allows assessing the results of the artefact analyses and makes a recommendation about the overall quality of the transfer that can be adapted to your house standards.

AudioInspector builds up on high-end, but moderate cost hardware such as the RME Fireface 400? Firewire interface. This and the low setup investment for the complete package of software tools helps to keep the required setup investment at a very low level.

What can AudioInspector do for me?

• AudioInspector can help you to increase the efficiency of your digitization and ingestion process.

• AudioInspector delivers you a complete set of tools for manual, automatic or batch process quality monitoring to increase the efficiency of your quality control process.

• AudioInspector delivers you location information about positions in the recording that should be verified to increase the hit rate in a manual sampling inspection process.

• AudioInspector allows you to gather metadata about the quality and general technical parameters of recordings that otherwise not be collected at all e.g. because of budgetary reasons

• AudioInspector stores gathered metadata in XML files that can be imported into your content management system. What AudioInspector can not do for me?

• AudioInspector can not replace archivists and their contextual know how. It is a supportive tool to increase efficiency.

www.ccaaa.org/

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The Editor - Ilse Assmann,
SABC, PO Box 931, 2006, Auckland Park, Johannesburg, South Africa,
Tel: 27 (0)11 714 4041, Fax: 27 (0)11 714 4419, Email: assmanni@sabc.co.za.

Language editor: Dorothy van Tonder, SABC
PLEASE SEND COPY FOR INFORMATION BULLETIN NO 58 BY 15 MAY 2007
Printed and produced in South Africa by Heypenni Gold