held in Botswana in 1982, and the ANC established a "Department of Arts and Culture" in 1985. 1980s: Direct confrontation The 1980s saw increasing protests against apartheid by black organisations such as the United Democratic Front. Protest music once again became directly critical of the state; examples included "Longile Tabalaza" by Roger Lucey, which attacked the secret police through lyrics about a young man who is arrested by the police and dies in custody. Protesters in the 1980s took to the streets with the intention of making the country "ungovernable", and the music reflected this new militancy. Major protests took place after the inauguration of a "Tri-cameral" parliament (which had separate representation for Indians, Colored people, and white South Africans, but not for black South Africans) in 1984, and in 1985 the government declared a state of emergency. The music became more radical and more urgent as the protests grew in size and number, now frequently invoking and praising the guerrilla movements that had gained steam after the Soweto uprising. The song "Shona Malanga" (Sheila's Day), originally about domestic workers, was adapted to refer to the guerrilla movement. The Toyi-toyi was once again used in confrontations with government forces. The Afrikaner-dominated government sought to counter these with increasingly frequent states of emergency. During this period, only a few Afrikaners expressed sentiments against apartheid. The Voëlvry movement among Afrikaners began in the 1980s in response with the opening of Shifty Mobile Recording Studio. Voëlvry sought to express opposition to apartheid in Afrikaans. The goal of Voëlvry musicians was to persuade Afrikaner youth of the changes their culture had to undergo to achieve racial equality. Prominent members in this phenomenon were Ralph Rabie, under the stage name Johannes Kerkorrel, Andre du Toit, and Bernoldus Niemand. Racially integrated bands playing various kinds of fusion became more common as the 1980s progressed; their audiences came from across racial lines, itself a subversive act, as racial segregation was still embedded in the law. The racially mixed Juluka, led by Johnny Clegg, remained popular through the 1970s and early 1980s. The government tried to harness this popularity by sponsoring a multi-lingual song titled "Together We Will Build a Brighter Future," but the release, during a period of great political unrest, caused further anger at the government, and protests forced the song to be withdrawn before commercial sales were made. Among the most popular anti-apartheid songs in