to generate support for their activities, as well as to raise funds for the ANC. In addition, they filled the role of "presenting an alternative vision of culture in a future democratic South Africa." Music scholar Anne Schumann writes that music protesting apartheid became a part of Western popular culture, and the "moral outrage" about apartheid in the west was influenced by this music. The cultural boycott, and the criticism that Paul Simon received for breaking it, was an example of how closely connected music had become to politics with respect to apartheid. There has been occasional tension between those musicians who went into exile, and were therefore able to perform for, and raise awareness among, much larger audiences, and anti-apartheid musicians who remained in South Africa. The latter group has received significantly less popular attention, though Vershbow states that it played an equally important role in the movement, and Schumann argues that it was responsible for putting significant pressure on the apartheid government. The role of music in social change in South African is examined in the documentary film Amandla!: A Revolution in Four-Part Harmony, released in 2002. The film focuses specifically on the 'liberation music' of the struggle against white domination. Scholars have suggested that oral traditions in general and poetry in particular was well placed to play a part in cultural resistance to apartheid. Music and poetry were more accessible to a large number of South Africans than written material (partly due to the restrictions placed by apartheid). Music, poetry, and storytelling also formed part of the everyday life of a number of South Africans, and protest songs emerged from these traditions. In addition, poetry was traditionally seen by some South Africans as a legitimate means of criticising authority, with poetic licence allowing artists to say things that would otherwise not be acceptable. Prominent examples The following is a partial list of songs, ordered chronologically, that have been described by scholars and commentators as significant examples of music in the movement against apartheid. "Nkosi Sikelel' iAfrika", 1897, Enoch Sontonga. "iLand Act, year unknown, R. T. Caluza. "Ndodemnyama we Verwoerd", year unknown, Vuyisile Mini. "Senzeni Na?", year unknown, composer unknown. "Thina Sizwe", year unknown, composer unknown. "Meadowlands", 1955, Strike Vilakazi. "uDr. Malan Unomthetho Onzima", year unknown, Dorothy Masuka. "Sophiatown is Gone", year unknown, Miriam Makeba. "Bye Bye Sophiatown, year unknown, Sun Valley Sisters. "Mannenberg", 1974, Abdullah Ibrahim. "Johannesburg",