We wish to thank Zureena Desai and her family for their support of the project, and for granting permission to use John Blacking's research material;

HEFCE, for the financial support of the ERA project as a whole, which made this Website/CD-Rom possible;

The Society for Ethnomusicology, for permitting the use of footage from their video re-make of Blacking's film, 'Domba';

Witwatersrand University Press, Johannesburg, South Africa, for permitting the reproduction of "Songs, Dances, Mimes and Symbolism of Venda Girls' Initiation Schools," African Studies, vol. 28(1-4), 1969; and for permitting the reproduction of selected sections from Venda Chidlren's Songs: A Study in Ethnomusicological Analysis, 1967;

The University of Illinois Press, for permitting the reproduction of "Tonal Organization in the Music of Two Venda Initiation Schools," Ethnomusicology 14(1):1-54, 1970;

Cambridge Universtity Press for permitting the reproduction of pages 80 to 87 of "Movement, Dance, Music, and Venda girls' Initiation Cycle," in P. Spencer, ed., Society and the Dance, pp. 64-91, 1985;

Michael Alcorn, for his assistance in computer-generated music illustrations;

Michael Fisher and David Zeitlyn for their technical assistance, support and guidance throughout the project;

Many other people also contributed to this production. In particular, we wish to thank: John Baily, Alan Bicker, Hazel Bland, Hastings Donnan, Peter Parkes, Elizabeth Tonkin and Phyllis Whiteside.

Numerous attempts were made to contact South African institutions that may have encompassed the Department of Arts, Culture, Science and Technology of South Africa after its closure to gain permission to reproduce "Initiation and the Balance of Power: the Tshikanda Girls' Initiation School of the Venda of the Northern Transvaal," in Ethnological and Linguistic Studies in Honour of N J van Warmelo (Ethnological Publications 52), pp. 31-38. Pretoria: Department of Bantu Administration and Development, 1969; since no responses were received to any of our letters, we have assumed that their publications are now in the public domain.

Suzel Ana Reily
Lev Weinstock

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