(De)constructing the archive : an annotated catalog of the Deon van der Walt Collection in the NMMU Library
- Authors: Buys, Frederick Jacobus
- Date: 2014
- Subjects: Music -- Bibliography -- Catalogs , Archives -- Catalogs , Tenors (Singers) -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8526 , http://hdl.handle.net/10948/d1020585
- Description: Deon van der Walt was, at the height of his career, considered the leading lyric tenor of his generation. In a career that spanned more than 25 years he performed in the great opera houses of the world and sang for the leading conductors of the time, sharing the stage with the best singers in the world. He was the first male South African to accomplish the so-called “grand slam” of opera, having sung in the Royal Opera House, Covent Garden (London), Wiener Staatsoper (Vienna), La Scala (Milan) and the Metropolitan Opera House (New York). He was also a prolific oratorio and lieder singer, collaborating with the best artists the musical world had to offer. In addition he left a large recorded legacy, both published and unpublished. His untimely death on 29 November 2005 was extensively reported on both locally and abroad - a fact which again highlighted the importance of his personal and professional contribution to the international opera world.The Deon van der Walt Collection is the single most important key to unlocking the life and career of one of the most successful South African opera singers of all time. It was bequeathed to the Nelson Mandela Metropolitan University (NMMU) Library the Deon van der Walt Trust in 2007. The collection is made up of an arbitrary assortment of books, documents, sound and video recordings that were left in van der Walt’s Zürich accommodations at the time of his death in 2005. It is housed in separate section on the lower level of the South Campus Library of the NMMU. The collection has been partially catalogued by the NMMU Library but left largely unattended for the last 6 years. The compiling of an annotated catalogue of this collection is the vital first step in connecting the dots of an extraordinary musical career that was hailed as one of the greatest of his time.
- Full Text:
- Date Issued: 2014
- Authors: Buys, Frederick Jacobus
- Date: 2014
- Subjects: Music -- Bibliography -- Catalogs , Archives -- Catalogs , Tenors (Singers) -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8526 , http://hdl.handle.net/10948/d1020585
- Description: Deon van der Walt was, at the height of his career, considered the leading lyric tenor of his generation. In a career that spanned more than 25 years he performed in the great opera houses of the world and sang for the leading conductors of the time, sharing the stage with the best singers in the world. He was the first male South African to accomplish the so-called “grand slam” of opera, having sung in the Royal Opera House, Covent Garden (London), Wiener Staatsoper (Vienna), La Scala (Milan) and the Metropolitan Opera House (New York). He was also a prolific oratorio and lieder singer, collaborating with the best artists the musical world had to offer. In addition he left a large recorded legacy, both published and unpublished. His untimely death on 29 November 2005 was extensively reported on both locally and abroad - a fact which again highlighted the importance of his personal and professional contribution to the international opera world.The Deon van der Walt Collection is the single most important key to unlocking the life and career of one of the most successful South African opera singers of all time. It was bequeathed to the Nelson Mandela Metropolitan University (NMMU) Library the Deon van der Walt Trust in 2007. The collection is made up of an arbitrary assortment of books, documents, sound and video recordings that were left in van der Walt’s Zürich accommodations at the time of his death in 2005. It is housed in separate section on the lower level of the South Campus Library of the NMMU. The collection has been partially catalogued by the NMMU Library but left largely unattended for the last 6 years. The compiling of an annotated catalogue of this collection is the vital first step in connecting the dots of an extraordinary musical career that was hailed as one of the greatest of his time.
- Full Text:
- Date Issued: 2014
Towards the performer-creator in contemporary mime, with specific reference to the physical theatre of Andrew Buckland, 1988-2000
- Authors: Murray, Robert Ian
- Date: 2002
- Subjects: Buckland, Andrew , Mime , Mimes -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2158 , http://hdl.handle.net/10962/d1007720
- Description: Part one of this thesis investigates the conceptualisation of the performer-creator and its relevance in late twentieth century physical performance by examining some of the theoretical, but mainly artistic, traditions that suggest a movement towards this. Chapter one tackles the question of definition, linking mime within a wider physical theatre phenomenon. Chapter two looks at the importance of mime training for contemporary performance. This requires a focus on selected theatre practitioners who have significantly advanced the development of mime training and performance during the twentieth century. Chapter three examines the issue of silence in mime and questions a potential liberation of the word and language in contemporary performance and consequently how this affects the role of the performer, particularly in South Africa. Chapter four investigates the figure of the theatrical clown and how this late twentieth century development is playing an increasingly important role in contemporary performance. Chapter five then wraps up part one by pulling the preceding chapters together and thereby providing a working conceptualisation of the performer-creator, locating it within an overall appreciation of contemporary mime. Part two then tests the notion of the performer-creator by focussing on a case study through the investigation of Andrew Buckland to develop this idea. Andrew Buckland, and his work under the ethos of Mouthpeace from 1988-2000, provides a clear and unique example of this movement in contemporary South African performance. Trained as an actor and in classical illusion-based mime technique, as well as many dance forms such as ballet, contemporary and jazz, he has virtually single-handedly created and shaped a particular performance trend that is in line with contemporary international trends but retains a distinctive South African flavour. There is no space to attempt a definitive or exhaustive examination of his works, and nor is the intent to do so; rather, the aim is to draw from his work their essences that reveal his development as an artist: as both a creator and a performer.
- Full Text:
- Date Issued: 2002
- Authors: Murray, Robert Ian
- Date: 2002
- Subjects: Buckland, Andrew , Mime , Mimes -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2158 , http://hdl.handle.net/10962/d1007720
- Description: Part one of this thesis investigates the conceptualisation of the performer-creator and its relevance in late twentieth century physical performance by examining some of the theoretical, but mainly artistic, traditions that suggest a movement towards this. Chapter one tackles the question of definition, linking mime within a wider physical theatre phenomenon. Chapter two looks at the importance of mime training for contemporary performance. This requires a focus on selected theatre practitioners who have significantly advanced the development of mime training and performance during the twentieth century. Chapter three examines the issue of silence in mime and questions a potential liberation of the word and language in contemporary performance and consequently how this affects the role of the performer, particularly in South Africa. Chapter four investigates the figure of the theatrical clown and how this late twentieth century development is playing an increasingly important role in contemporary performance. Chapter five then wraps up part one by pulling the preceding chapters together and thereby providing a working conceptualisation of the performer-creator, locating it within an overall appreciation of contemporary mime. Part two then tests the notion of the performer-creator by focussing on a case study through the investigation of Andrew Buckland to develop this idea. Andrew Buckland, and his work under the ethos of Mouthpeace from 1988-2000, provides a clear and unique example of this movement in contemporary South African performance. Trained as an actor and in classical illusion-based mime technique, as well as many dance forms such as ballet, contemporary and jazz, he has virtually single-handedly created and shaped a particular performance trend that is in line with contemporary international trends but retains a distinctive South African flavour. There is no space to attempt a definitive or exhaustive examination of his works, and nor is the intent to do so; rather, the aim is to draw from his work their essences that reveal his development as an artist: as both a creator and a performer.
- Full Text:
- Date Issued: 2002
A critique of baroque performance practice with specific reference to the organ preludes and fugues by Johann Sebastian Bach
- Authors: Murphy, Liesel
- Date: 2009
- Subjects: Bach, Johann Sebastian, 1685-1750 -- Organ music , Bach, Johann Sebastian, 1685-1750 -- Keyboard music , Performance practice (Music) -- History -- 17th century , Organ music -- History and criticism , Music -- 17th century -- Performance
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8509 , http://hdl.handle.net/10948/1023 , Bach, Johann Sebastian, 1685-1750 -- Organ music , Bach, Johann Sebastian, 1685-1750 -- Keyboard music , Performance practice (Music) -- History -- 17th century , Organ music -- History and criticism , Music -- 17th century -- Performance
- Description: This study aims to provide a critique of Baroque performance practice, with specific reference to the organ Preludes and Fugues of Johann Sebastian Bach. Drawing from the extensive body of literature pertaining to Bach’s keyboard music, a number of relevant issues are explored in so far as these may provide understanding of the manner in which the organ Preludes and Fugues should be performed today. These include: • The notion of Bach’s ‘generic’ keyboard works. Were the generic keyboard works as a whole intended to be performed on more than one keyboard instrument? The instrumental designations given by Bach in these works are a valuable source of information in answering this question. • The type of organ that was known to J.S. Bach and typical registration used in the Baroque, called the plenum. • Identification of the grey area that persists in the interpretation of Bach’s organ works with regard to registration, tempo, rhythm, articulation, phrasing, fingering and ornamentation. This study also engages with the current authenticity debate in musical performance as seen from the modernist and postmodernist points of view. The modernist ideal of authenticity is to “re-create” or “reconstruct” performances of Bach’s music with as much accuracy as the evidence of historical musicologists can provide. For the postmodernist, however, authenticity lies in embracing the human element of contingency in musical performance, along with a thorough grounding of such performance in historical evidence. In aligning itself with the postmodernist point of view, this study ultimately argues that we cannot learn everything there is to know about Baroque performance practice from books. Instead, in addition to historical evidence, we draw much of our understanding in this regard from our innate or tacit levels of knowing. In this regard the scholar of Bach’s organ works can draw valuable lessons from the levels of tacit knowledge of leading organ pedagogues and performers on the subject of Baroque performance practice.
- Full Text:
- Date Issued: 2009
- Authors: Murphy, Liesel
- Date: 2009
- Subjects: Bach, Johann Sebastian, 1685-1750 -- Organ music , Bach, Johann Sebastian, 1685-1750 -- Keyboard music , Performance practice (Music) -- History -- 17th century , Organ music -- History and criticism , Music -- 17th century -- Performance
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8509 , http://hdl.handle.net/10948/1023 , Bach, Johann Sebastian, 1685-1750 -- Organ music , Bach, Johann Sebastian, 1685-1750 -- Keyboard music , Performance practice (Music) -- History -- 17th century , Organ music -- History and criticism , Music -- 17th century -- Performance
- Description: This study aims to provide a critique of Baroque performance practice, with specific reference to the organ Preludes and Fugues of Johann Sebastian Bach. Drawing from the extensive body of literature pertaining to Bach’s keyboard music, a number of relevant issues are explored in so far as these may provide understanding of the manner in which the organ Preludes and Fugues should be performed today. These include: • The notion of Bach’s ‘generic’ keyboard works. Were the generic keyboard works as a whole intended to be performed on more than one keyboard instrument? The instrumental designations given by Bach in these works are a valuable source of information in answering this question. • The type of organ that was known to J.S. Bach and typical registration used in the Baroque, called the plenum. • Identification of the grey area that persists in the interpretation of Bach’s organ works with regard to registration, tempo, rhythm, articulation, phrasing, fingering and ornamentation. This study also engages with the current authenticity debate in musical performance as seen from the modernist and postmodernist points of view. The modernist ideal of authenticity is to “re-create” or “reconstruct” performances of Bach’s music with as much accuracy as the evidence of historical musicologists can provide. For the postmodernist, however, authenticity lies in embracing the human element of contingency in musical performance, along with a thorough grounding of such performance in historical evidence. In aligning itself with the postmodernist point of view, this study ultimately argues that we cannot learn everything there is to know about Baroque performance practice from books. Instead, in addition to historical evidence, we draw much of our understanding in this regard from our innate or tacit levels of knowing. In this regard the scholar of Bach’s organ works can draw valuable lessons from the levels of tacit knowledge of leading organ pedagogues and performers on the subject of Baroque performance practice.
- Full Text:
- Date Issued: 2009
Analysing from experience : Gustav Mahler’s Quartetsatz for piano and strings
- Authors: Du Plessis, Jacques
- Date: 2015
- Subjects: Mahler, Gustav, 1860-1911. -- Quartet, piano, violin, viola, cello, A minor , Musical analysis , Music appreciation , Phenomenology and music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2696 , http://hdl.handle.net/10962/d1017818
- Description: Musical analysis has traditionally been located within the context of musicology. It is therefore an activity usually considered the purview of music scholars rather than practical musicians. The musical analyses produced by music scholars therefore provide us with intellectual understandings of musical works, rather than insights into the experience of listening to or playing music. In this thesis, I will propose that those agents involved in practical music-making can produce insights into musical works that are as valid as the work of traditional music scholarship. I will attempt to re-conceptualize the position of the ‘knower’ or ‘experiencer’ - the performer - of music as one with primary access to knowledge of a musical work, and therefore ideally suited to offer analyses of these works. The establishment of the performer as a bearer of central analytical knowledge functions in direct opposition to the traditional distinction between ‘theory’ and ‘practice’. My thesis will trace the Platonic origins of the philosophical separation of practice and research, and as an alternative to the traditional separation of practice and research, I shall explore the concept of Practice-Based Research (PBR). My exploration of PBR will be informed by phenomenological approaches to music scholarship. As a field of enquiry which concerns itself with experience, the phenomenology of music suggests that the mind and body of the practitioner are important sources of musical insight. To address this issue, Bourdieu’s notion of habitus will be explored. The habitus will be shown to contain a vast network of socio-cultural codes informing the practitioner’s relationship with the musical work. A central aim of this thesis is to explore the possibilities of using practice-based research as the foundation for the study and analysis of a composition, in order to allow for a deeper understanding of the work by means of the generation and harnessing of practical knowledge. Thus, the theoretical outline of PBR provided in this thesis will be applied to a piece of practical performance-based analysis. As such, an analysis of Mahler’s Quartetsatz will be used as the basis on which to draw knowledge in this project.
- Full Text:
- Date Issued: 2015
- Authors: Du Plessis, Jacques
- Date: 2015
- Subjects: Mahler, Gustav, 1860-1911. -- Quartet, piano, violin, viola, cello, A minor , Musical analysis , Music appreciation , Phenomenology and music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2696 , http://hdl.handle.net/10962/d1017818
- Description: Musical analysis has traditionally been located within the context of musicology. It is therefore an activity usually considered the purview of music scholars rather than practical musicians. The musical analyses produced by music scholars therefore provide us with intellectual understandings of musical works, rather than insights into the experience of listening to or playing music. In this thesis, I will propose that those agents involved in practical music-making can produce insights into musical works that are as valid as the work of traditional music scholarship. I will attempt to re-conceptualize the position of the ‘knower’ or ‘experiencer’ - the performer - of music as one with primary access to knowledge of a musical work, and therefore ideally suited to offer analyses of these works. The establishment of the performer as a bearer of central analytical knowledge functions in direct opposition to the traditional distinction between ‘theory’ and ‘practice’. My thesis will trace the Platonic origins of the philosophical separation of practice and research, and as an alternative to the traditional separation of practice and research, I shall explore the concept of Practice-Based Research (PBR). My exploration of PBR will be informed by phenomenological approaches to music scholarship. As a field of enquiry which concerns itself with experience, the phenomenology of music suggests that the mind and body of the practitioner are important sources of musical insight. To address this issue, Bourdieu’s notion of habitus will be explored. The habitus will be shown to contain a vast network of socio-cultural codes informing the practitioner’s relationship with the musical work. A central aim of this thesis is to explore the possibilities of using practice-based research as the foundation for the study and analysis of a composition, in order to allow for a deeper understanding of the work by means of the generation and harnessing of practical knowledge. Thus, the theoretical outline of PBR provided in this thesis will be applied to a piece of practical performance-based analysis. As such, an analysis of Mahler’s Quartetsatz will be used as the basis on which to draw knowledge in this project.
- Full Text:
- Date Issued: 2015
Wapita lero kalindabwinja
- Homwale, Hodede (Performer), Tracey, Huges (Recordist)
- Authors: Homwale, Hodede (Performer) , Tracey, Huges (Recordist)
- Date: 1950
- Subjects: Folk music--Africa , Songs, Tumbuka , Tumbuka (African people) , Songs, Chewa , Chewa (African people) , Field recordings , Africa, Sub-Saharan , Africa Malawi Lilongwe f-mw
- Language: Tumbuka , Chewa, Chichewa, Nyanja
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/187070 , vital:44562 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR191-22
- Description: The player was interrupted by the poor performance of his instrument as the palm leaf friction pad on the string was not behaving as he liked and he murmured so during the song. In the old days the Karigo lute was a favourite instrument of the wandering ministrel who would entertain the people with singing and dancing. Karigo dance song for men and women with one string Karigo lute
- Full Text: false
- Date Issued: 1950
- Authors: Homwale, Hodede (Performer) , Tracey, Huges (Recordist)
- Date: 1950
- Subjects: Folk music--Africa , Songs, Tumbuka , Tumbuka (African people) , Songs, Chewa , Chewa (African people) , Field recordings , Africa, Sub-Saharan , Africa Malawi Lilongwe f-mw
- Language: Tumbuka , Chewa, Chichewa, Nyanja
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/187070 , vital:44562 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR191-22
- Description: The player was interrupted by the poor performance of his instrument as the palm leaf friction pad on the string was not behaving as he liked and he murmured so during the song. In the old days the Karigo lute was a favourite instrument of the wandering ministrel who would entertain the people with singing and dancing. Karigo dance song for men and women with one string Karigo lute
- Full Text: false
- Date Issued: 1950
A comparative analysis of the development of performers' rights in the United Kingdom and South Africa
- Authors: Wagenaar, Tanya
- Date: 2011
- Subjects: Copyright -- Performing rights -- Great Britain , Copyright -- Performing rights -- South Africa
- Language: English
- Type: Thesis , Masters , LLM
- Identifier: vital:10215 , http://hdl.handle.net/10948/1442 , Copyright -- Performing rights -- Great Britain , Copyright -- Performing rights -- South Africa
- Description: Although performers have been rife for centuries, no legal regime was required for their protection owing to the fact that the nature of their performances was transitory. It was not until the invention of the phonogram in 1877, that the need to provide performers with the means to protect the unauthorised uses of their performances became an issue. The subsequent development of performers' rights has been fuelled by the rapid technological developments of the modern age which has prompted the international community to respond through various international instruments. Performers initially sought protection in terms of the Berne Convention in 1886, but it was not until the Rome Convention in 1961 that performers were first accorded international recognition. This was followed by the TRIPs Agreement in 1994 and the WPPT in 1996. This work involves an investigation into the historical development of performers' rights in the United Kingdom and South Africa. This is followed by a comparative analysis of the current state of performers' rights as between the United Kingdom and South Africa with a view to proposing recommendations for improving the level of protection accorded performers in South Africa. Arguments in favour of a regime of performers' rights as well as possible counter-arguments have been advanced. The general development of performers' rights as a related or neighbouring right to copyright is focussed on. The development of performers' rights in the United Kingdom is discussed with reference to the first English legislative form of protection, namely the Dramatic and Musical Performers' Protection Act, 1925. This Act only provided performers with criminal remedies, a view that prevailed through several subsequent enactments designed to protect performers as a result of ratification of the Rome Convention. It was not until 1988 when the decision in Rickless v United Artists Corp prompted the legislature to grant performers with enforceable civil remedies through the enactment of the Copyright, Designs and Patents Act, 1988. Several European Union Council Directives aimed at harmonising the law relating to performers' rights throughout the Union were issued, mainly in response to the TRIPS Agreement. In order to comply with these Directives, the United Kingdom passed Regulations to bring about the necessary amendments to the Copyright, Designs and Patents Act. Performers in the United Kingdom were granted moral rights in 2006 as a result of the United Kingdom's ratification of the WPPT. The development of performers' rights in South Africa has been slow when compared to that of the United Kingdom. It was not until 1967 that performers were first legally recognised in South Africa. Although South Africa has yet to ratify the Rome Convention, it was stated in South African Broadcasting Corporation v Pollecutt that the Act was clearly passed with a view to complying with the Convention. South Africa's ratification of the TRIPs Agreement brought about amendments to the Act, particularly regarding the duration of protection which was increased from 20 to 50 years. Although South Africa played an active role in the conclusion of the WPPT, it has yet to ratify it. However, amendments were made to the Act in line with this Treaty, such as the incorporation of “expressions of folklore” within the ambit of protection, and the granting of a right to receive royalties whenever a performer's performances are broadcast. This is commonly known as needletime. South Africa's reluctance to grant performers with moral rights as provided for by the Treaty is noteworthy. The introduction of needletime into South African law has resulted in a fierce debate between collecting societies (who represent authors and performers) and the NAB (who represent users of performances). Mainly as a result of this dispute, performers in South Africa have, to date, not received any royalties due to them. The protection of traditional knowledge has also received attention of late with the Intellectual Property Laws Amendment Bill, 2010 which aims to bring traditional knowledge inter alia within the ambit of the Performers' Protection Act. The current state of performers' rights in the United Kingdom and South Africa are compared in order to identify ways in which the level of protection accorded performers in South Africa could be improved. The Copyright, Designs and Patents Act is compared with the Performers' Protection Act through emphasis being placed on the definition of a “performer”; the definition of a “performance”; the nature of performers' rights; exceptions to infringement; the term of protection; the retrospectivity of the legislation; and the enforcement measures in place. Upon analysis, it was found that the Performers' Protection Act can be amended in several ways in order to increase the level of protection accorded performers in South Africa.
- Full Text:
- Date Issued: 2011
- Authors: Wagenaar, Tanya
- Date: 2011
- Subjects: Copyright -- Performing rights -- Great Britain , Copyright -- Performing rights -- South Africa
- Language: English
- Type: Thesis , Masters , LLM
- Identifier: vital:10215 , http://hdl.handle.net/10948/1442 , Copyright -- Performing rights -- Great Britain , Copyright -- Performing rights -- South Africa
- Description: Although performers have been rife for centuries, no legal regime was required for their protection owing to the fact that the nature of their performances was transitory. It was not until the invention of the phonogram in 1877, that the need to provide performers with the means to protect the unauthorised uses of their performances became an issue. The subsequent development of performers' rights has been fuelled by the rapid technological developments of the modern age which has prompted the international community to respond through various international instruments. Performers initially sought protection in terms of the Berne Convention in 1886, but it was not until the Rome Convention in 1961 that performers were first accorded international recognition. This was followed by the TRIPs Agreement in 1994 and the WPPT in 1996. This work involves an investigation into the historical development of performers' rights in the United Kingdom and South Africa. This is followed by a comparative analysis of the current state of performers' rights as between the United Kingdom and South Africa with a view to proposing recommendations for improving the level of protection accorded performers in South Africa. Arguments in favour of a regime of performers' rights as well as possible counter-arguments have been advanced. The general development of performers' rights as a related or neighbouring right to copyright is focussed on. The development of performers' rights in the United Kingdom is discussed with reference to the first English legislative form of protection, namely the Dramatic and Musical Performers' Protection Act, 1925. This Act only provided performers with criminal remedies, a view that prevailed through several subsequent enactments designed to protect performers as a result of ratification of the Rome Convention. It was not until 1988 when the decision in Rickless v United Artists Corp prompted the legislature to grant performers with enforceable civil remedies through the enactment of the Copyright, Designs and Patents Act, 1988. Several European Union Council Directives aimed at harmonising the law relating to performers' rights throughout the Union were issued, mainly in response to the TRIPS Agreement. In order to comply with these Directives, the United Kingdom passed Regulations to bring about the necessary amendments to the Copyright, Designs and Patents Act. Performers in the United Kingdom were granted moral rights in 2006 as a result of the United Kingdom's ratification of the WPPT. The development of performers' rights in South Africa has been slow when compared to that of the United Kingdom. It was not until 1967 that performers were first legally recognised in South Africa. Although South Africa has yet to ratify the Rome Convention, it was stated in South African Broadcasting Corporation v Pollecutt that the Act was clearly passed with a view to complying with the Convention. South Africa's ratification of the TRIPs Agreement brought about amendments to the Act, particularly regarding the duration of protection which was increased from 20 to 50 years. Although South Africa played an active role in the conclusion of the WPPT, it has yet to ratify it. However, amendments were made to the Act in line with this Treaty, such as the incorporation of “expressions of folklore” within the ambit of protection, and the granting of a right to receive royalties whenever a performer's performances are broadcast. This is commonly known as needletime. South Africa's reluctance to grant performers with moral rights as provided for by the Treaty is noteworthy. The introduction of needletime into South African law has resulted in a fierce debate between collecting societies (who represent authors and performers) and the NAB (who represent users of performances). Mainly as a result of this dispute, performers in South Africa have, to date, not received any royalties due to them. The protection of traditional knowledge has also received attention of late with the Intellectual Property Laws Amendment Bill, 2010 which aims to bring traditional knowledge inter alia within the ambit of the Performers' Protection Act. The current state of performers' rights in the United Kingdom and South Africa are compared in order to identify ways in which the level of protection accorded performers in South Africa could be improved. The Copyright, Designs and Patents Act is compared with the Performers' Protection Act through emphasis being placed on the definition of a “performer”; the definition of a “performance”; the nature of performers' rights; exceptions to infringement; the term of protection; the retrospectivity of the legislation; and the enforcement measures in place. Upon analysis, it was found that the Performers' Protection Act can be amended in several ways in order to increase the level of protection accorded performers in South Africa.
- Full Text:
- Date Issued: 2011
Takala ri yo vhona dambi Takalani
- Kruger, Jaco (Recorded by), Venda people (Performer), Composer unknown
- Authors: Kruger, Jaco (Recorded by) , Venda people (Performer) , Composer unknown
- Subjects: Takalani's homestead , Mukula , Thohoyandou -- Transvaal (Limpopo) -- South Africa , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional music , Ngoma , Mirumba , Rattles , Clapping , Whistles , Drums , Dance song , Tshigombela dance
- Type: Music , Sound
- Identifier: vital:15785 , JKC02a-03 , http://hdl.handle.net/10962/d1008974 , Tape number: JKC02 , Original tape number: 2 , Track number: 03
- Description: English translation of title: 'Takalani we are going to see miracles' , Traditional Venda dance song accompanied by the mirumba, ngoma, whistling, phala-phala horn, ankle rattles and handclapping , For further details refer to Jaco Kruger recording card: 25
- Full Text: false
- Authors: Kruger, Jaco (Recorded by) , Venda people (Performer) , Composer unknown
- Subjects: Takalani's homestead , Mukula , Thohoyandou -- Transvaal (Limpopo) -- South Africa , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional music , Ngoma , Mirumba , Rattles , Clapping , Whistles , Drums , Dance song , Tshigombela dance
- Type: Music , Sound
- Identifier: vital:15785 , JKC02a-03 , http://hdl.handle.net/10962/d1008974 , Tape number: JKC02 , Original tape number: 2 , Track number: 03
- Description: English translation of title: 'Takalani we are going to see miracles' , Traditional Venda dance song accompanied by the mirumba, ngoma, whistling, phala-phala horn, ankle rattles and handclapping , For further details refer to Jaco Kruger recording card: 25
- Full Text: false
Title not specified
- Venda people led by a man, performer not specified, composer not specified, Tracey, Hugh
- Authors: Venda people led by a man , performer not specified , composer not specified , Tracey, Hugh
- Date: 1956
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa South Africa Limpopo Province f-sa
- Language: Venda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/403679 , vital:69985 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , JBFT12-JV33-2
- Description: Indigenous music
- Full Text: false
- Date Issued: 1956
- Authors: Venda people led by a man , performer not specified , composer not specified , Tracey, Hugh
- Date: 1956
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa South Africa Limpopo Province f-sa
- Language: Venda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/403679 , vital:69985 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , JBFT12-JV33-2
- Description: Indigenous music
- Full Text: false
- Date Issued: 1956
Title not specified
- Performer not specified, Tracey, Andrew T N
- Authors: Performer not specified , Tracey, Andrew T N
- Date: 1988
- Subjects: Diriku (African people) -- Namibia , Folk music , Mbira , Sub-Saharan African music , Africa Namibia Sambiu f-sx
- Language: Diu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/104087 , vital:30728 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC019-10
- Description: Traditional song accompanied by Zambian mbira.
- Full Text: false
- Date Issued: 1988
- Authors: Performer not specified , Tracey, Andrew T N
- Date: 1988
- Subjects: Diriku (African people) -- Namibia , Folk music , Mbira , Sub-Saharan African music , Africa Namibia Sambiu f-sx
- Language: Diu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/104087 , vital:30728 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC019-10
- Description: Traditional song accompanied by Zambian mbira.
- Full Text: false
- Date Issued: 1988
Holovhela ri a holovhela
- Kruger, Jaco (Recorded by), Venda people (Performer), Composer unknown
- Authors: Kruger, Jaco (Recorded by) , Venda people (Performer) , Composer unknown
- Subjects: Takalani's homestead , Mukula , Thohoyandou -- Transvaal (Limpopo) -- South Africa , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional music , Ngoma drums , Mirumba , Rattles , Clapping , Whistles , Drums , Tshigombela dance , Dance song
- Type: Music , Sound
- Identifier: vital:15990 , JKC02a-07 , http://hdl.handle.net/10962/d1009179 , Tape number: JKC02 , Original tape number: 2 , Track number: 07
- Description: Traditional Venda dance song accompanied by the mirumba, ngoma, whistling, phala-phala horn, ankle rattles and handclapping about dying of hunger and that Holovhela bring them home , For further details refer to Jaco Kruger recording card: 29
- Full Text: false
- Authors: Kruger, Jaco (Recorded by) , Venda people (Performer) , Composer unknown
- Subjects: Takalani's homestead , Mukula , Thohoyandou -- Transvaal (Limpopo) -- South Africa , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional music , Ngoma drums , Mirumba , Rattles , Clapping , Whistles , Drums , Tshigombela dance , Dance song
- Type: Music , Sound
- Identifier: vital:15990 , JKC02a-07 , http://hdl.handle.net/10962/d1009179 , Tape number: JKC02 , Original tape number: 2 , Track number: 07
- Description: Traditional Venda dance song accompanied by the mirumba, ngoma, whistling, phala-phala horn, ankle rattles and handclapping about dying of hunger and that Holovhela bring them home , For further details refer to Jaco Kruger recording card: 29
- Full Text: false
O ahee hu wele
- Kruger, Jaco (Recorded by), Venda people (Performer), Composer unknown
- Authors: Kruger, Jaco (Recorded by) , Venda people (Performer) , Composer unknown
- Subjects: Mathugana , Rembander , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional Music , Ngoma , Mirumba , Rattles , Clapping , Phala-phala horn , Whistles , Drums , Dance song , Tshigombela dance
- Type: Music , Sound
- Identifier: vital:15697 , JKC01b-16 , http://hdl.handle.net/10962/d1008886 , Tape number: JKC01 , Original tape number: 1 , Track number: 16
- Description: Traditional Venda dance song accompanied by the mirumba, ngoma, whistling, phala-phala horn, ankle rattles and handclapping , For further details refer to Jaco Kruger recording card: 19
- Full Text: false
- Authors: Kruger, Jaco (Recorded by) , Venda people (Performer) , Composer unknown
- Subjects: Mathugana , Rembander , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional Music , Ngoma , Mirumba , Rattles , Clapping , Phala-phala horn , Whistles , Drums , Dance song , Tshigombela dance
- Type: Music , Sound
- Identifier: vital:15697 , JKC01b-16 , http://hdl.handle.net/10962/d1008886 , Tape number: JKC01 , Original tape number: 1 , Track number: 16
- Description: Traditional Venda dance song accompanied by the mirumba, ngoma, whistling, phala-phala horn, ankle rattles and handclapping , For further details refer to Jaco Kruger recording card: 19
- Full Text: false
Vhuthihi vho Mphephu haae vhamusanda rine ri na vhuthihi
- Kruger, Jaco (Recorded by), Venda people (Performer), Composer unknown
- Authors: Kruger, Jaco (Recorded by) , Venda people (Performer) , Composer unknown
- Subjects: Takalani's homestead , Mukula -- Thohoyandou -- Transvaal (Limpopo) -- South Africa , Indigenous music , Traditional music , Ngoma , Mirumba , Rattles , Clapping , Whistles , Drums , Tshigombela dance , Dance song
- Type: Music , Sound
- Identifier: vital:16071 , JKC02a-06 , http://hdl.handle.net/10962/d1009260 , Tape number: JKC02 , Original tape number: 2 , Track number: 06
- Description: English translation of title: 'Unity Mr Mphephu, haae, chief, we have unity' , Traditional Venda dance song accompanied by the mirumba, ngoma, whistling, phala-phala horn, ankle rattles and handclapping , For further details refer to Jaco Kruger recording card: 28
- Full Text: false
- Authors: Kruger, Jaco (Recorded by) , Venda people (Performer) , Composer unknown
- Subjects: Takalani's homestead , Mukula -- Thohoyandou -- Transvaal (Limpopo) -- South Africa , Indigenous music , Traditional music , Ngoma , Mirumba , Rattles , Clapping , Whistles , Drums , Tshigombela dance , Dance song
- Type: Music , Sound
- Identifier: vital:16071 , JKC02a-06 , http://hdl.handle.net/10962/d1009260 , Tape number: JKC02 , Original tape number: 2 , Track number: 06
- Description: English translation of title: 'Unity Mr Mphephu, haae, chief, we have unity' , Traditional Venda dance song accompanied by the mirumba, ngoma, whistling, phala-phala horn, ankle rattles and handclapping , For further details refer to Jaco Kruger recording card: 28
- Full Text: false
Chirove ngoma
- People of chief Mazungunye, performer not specified, composer not specified, Tracey, Hugh
- Authors: People of chief Mazungunye , performer not specified , composer not specified , Tracey, Hugh
- Date: 1948
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe city not specified f-rh
- Language: karanga
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/373248 , vital:66669 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , AC0424-AG11
- Description: Indigenous music
- Full Text: false
- Date Issued: 1948
- Authors: People of chief Mazungunye , performer not specified , composer not specified , Tracey, Hugh
- Date: 1948
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe city not specified f-rh
- Language: karanga
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/373248 , vital:66669 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , AC0424-AG11
- Description: Indigenous music
- Full Text: false
- Date Issued: 1948
Rine ri a dzhena rine ri vha Mashamba
- Kruger, Jaco (Recorded by), Venda people (Performer), Composer unknown
- Authors: Kruger, Jaco (Recorded by) , Venda people (Performer) , Composer unknown
- Subjects: Mathugana , Rembander , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional Music , Ngoma , Mirumba , Rattles , Clapping , Phala-phala horn , Whistles , Drums , Dance song , Tshigombela dance
- Type: Music , Sound
- Identifier: vital:15742 , JKC01b-19 , http://hdl.handle.net/10962/d1008931 , Tape number: JKC01 , Original tape number: 1 , Track number: 19
- Description: English translation of title: 'We go in we of Mashamba' , Traditional Venda dance song accompanied by the mirumba, ngoma, whistling, phala-phala horn, ankle rattles and handclapping , For further details refer to Jaco Kruger recording card: 22
- Full Text: false
- Authors: Kruger, Jaco (Recorded by) , Venda people (Performer) , Composer unknown
- Subjects: Mathugana , Rembander , Transvaal (Limpopo) , South Africa , Indigenous music , Traditional Music , Ngoma , Mirumba , Rattles , Clapping , Phala-phala horn , Whistles , Drums , Dance song , Tshigombela dance
- Type: Music , Sound
- Identifier: vital:15742 , JKC01b-19 , http://hdl.handle.net/10962/d1008931 , Tape number: JKC01 , Original tape number: 1 , Track number: 19
- Description: English translation of title: 'We go in we of Mashamba' , Traditional Venda dance song accompanied by the mirumba, ngoma, whistling, phala-phala horn, ankle rattles and handclapping , For further details refer to Jaco Kruger recording card: 22
- Full Text: false
Seductive Manoeuvres: an analysis of the use of feminist performance strategies as a means of staging alternative sexualities in two dance theatre works
- Authors: Barnard, Joni
- Date: 2011
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/76823 , vital:30627
- Description: Located within the discipline of Performance Studies, this thesis seeks to validate performance and theatre, specifically dance theatre, as legitimate fields of research and enquiry that can enrich the polemics surrounding discourse, representation, the body and identity. Within this thesis I explore and analyse the creative processes and performance strategies used in two dance theatres works: Acty Tang’s Chaste (2007) and my own work entitled Displayed and Framed (2008) and how these strategies support the staging of alternative sexualities. I argue that the staging of alternative sexualities calls for an alternative approach to the performance strategies utilised in the production of space, the representations of the body and the use of text in both works. Each work offers a particular exploration of gender and sexuality in the attempt to represent alternative identities, alternative bodies and alternative sexualities. In this thesis I identify the endeavour to stage ‘otherness’ as a feminist endeavour and thus identify the performance strategies utilised in each work as feminist performance strategies. Through my analysis I wish to highlight the ways in which a feminist approach can contribute to and enrich both the staging of and understanding of alternative sexualities. In both Chaste (2007) and Displayed and Framed (2008), the choreographers of each work are also performers in their own work in an endeavour to explore and represent their own identity. The analysis of my own work requires that I play the multiple roles of choreographer, performer and researcher. In this analysis I provide accounts of my own experiences, processes and struggles of creating Displayed and Framed (2008) which are analysed in conjunction with my readings of Chaste (2007) and Tang’s personal experiences in creating the work. Thus this thesis explores the value of reflection and self reflectivity in the processes of creating performance.
- Full Text:
- Date Issued: 2011
- Authors: Barnard, Joni
- Date: 2011
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/76823 , vital:30627
- Description: Located within the discipline of Performance Studies, this thesis seeks to validate performance and theatre, specifically dance theatre, as legitimate fields of research and enquiry that can enrich the polemics surrounding discourse, representation, the body and identity. Within this thesis I explore and analyse the creative processes and performance strategies used in two dance theatres works: Acty Tang’s Chaste (2007) and my own work entitled Displayed and Framed (2008) and how these strategies support the staging of alternative sexualities. I argue that the staging of alternative sexualities calls for an alternative approach to the performance strategies utilised in the production of space, the representations of the body and the use of text in both works. Each work offers a particular exploration of gender and sexuality in the attempt to represent alternative identities, alternative bodies and alternative sexualities. In this thesis I identify the endeavour to stage ‘otherness’ as a feminist endeavour and thus identify the performance strategies utilised in each work as feminist performance strategies. Through my analysis I wish to highlight the ways in which a feminist approach can contribute to and enrich both the staging of and understanding of alternative sexualities. In both Chaste (2007) and Displayed and Framed (2008), the choreographers of each work are also performers in their own work in an endeavour to explore and represent their own identity. The analysis of my own work requires that I play the multiple roles of choreographer, performer and researcher. In this analysis I provide accounts of my own experiences, processes and struggles of creating Displayed and Framed (2008) which are analysed in conjunction with my readings of Chaste (2007) and Tang’s personal experiences in creating the work. Thus this thesis explores the value of reflection and self reflectivity in the processes of creating performance.
- Full Text:
- Date Issued: 2011
Determinants of managers' attitudes toward employing people with disabilities in small and medium enterprises in Nkonkobe Municipality
- Ntunzi, Bulelwa https://orcid.org/0000-0002-1068-3672
- Authors: Ntunzi, Bulelwa https://orcid.org/0000-0002-1068-3672
- Date: 2014
- Subjects: Discrimination against people with disabilities--South Africa , Discrimination in employment--South Africa
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10353/24857 , vital:63662
- Description: In regard to employment, people with disabilities are discriminated. Unfavourable employer attitudes result in discrimination toward people with disabilities. Entering and progressing in employment create a sense of independency, responsibility and build the self-esteem of people with disabilities. This study sought to determine the influence of individualism-collectivism and demographic factors (age, gender, and level of education) of managers’ attitudes toward employing people with disabilities in small and medium enterprises in Nkonkobe Municipality in the Eastern Cape Province. The social and medical model of disability provided a framework for understanding the literature on attitudes toward people with disabilities. Data was collected from 110 respondents in small and medium enterprises using two scales (Individualism-collectivism Scale and Employer Attitudes toward People with Disabilities Scale). Independent t-tests were used to test each of the hypotheses in the study and ANOVA was used for comparisons among variables. No significant differences found in attitudes on individualistic and collectivistic oriented managers toward employing people with disabilities. In addition, no significant differences in attitudes of managers over age, gender and level of education toward employing people with disabilities in small and medium enterprises. People with disabilities can be a benefit to the organisations since their skills and talents can help the organisations to remain stable in the competitive global environment. , Thesis (MCom (IPS)) -- Faculty of Management and Commerce, 2014
- Full Text:
- Date Issued: 2014
- Authors: Ntunzi, Bulelwa https://orcid.org/0000-0002-1068-3672
- Date: 2014
- Subjects: Discrimination against people with disabilities--South Africa , Discrimination in employment--South Africa
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10353/24857 , vital:63662
- Description: In regard to employment, people with disabilities are discriminated. Unfavourable employer attitudes result in discrimination toward people with disabilities. Entering and progressing in employment create a sense of independency, responsibility and build the self-esteem of people with disabilities. This study sought to determine the influence of individualism-collectivism and demographic factors (age, gender, and level of education) of managers’ attitudes toward employing people with disabilities in small and medium enterprises in Nkonkobe Municipality in the Eastern Cape Province. The social and medical model of disability provided a framework for understanding the literature on attitudes toward people with disabilities. Data was collected from 110 respondents in small and medium enterprises using two scales (Individualism-collectivism Scale and Employer Attitudes toward People with Disabilities Scale). Independent t-tests were used to test each of the hypotheses in the study and ANOVA was used for comparisons among variables. No significant differences found in attitudes on individualistic and collectivistic oriented managers toward employing people with disabilities. In addition, no significant differences in attitudes of managers over age, gender and level of education toward employing people with disabilities in small and medium enterprises. People with disabilities can be a benefit to the organisations since their skills and talents can help the organisations to remain stable in the competitive global environment. , Thesis (MCom (IPS)) -- Faculty of Management and Commerce, 2014
- Full Text:
- Date Issued: 2014
Drum message, calling people to come
- Kasadi Celestin (Performer), Composer unknown
- Authors: Kasadi Celestin (Performer) , Composer unknown
- Subjects: Indigenous music , Talking drum message , Chondo slit drum , Jadotville (Likasi) , Kabinda , Belgian Congo (Democratic Republic of Congo)
- Type: Sound , Music
- Identifier: vital:15404 , MOA29-08 , http://hdl.handle.net/10962/d1017710 , MOA29
- Description: Talking drum messages with Chondo slit drum accompaniment , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
- Authors: Kasadi Celestin (Performer) , Composer unknown
- Subjects: Indigenous music , Talking drum message , Chondo slit drum , Jadotville (Likasi) , Kabinda , Belgian Congo (Democratic Republic of Congo)
- Type: Sound , Music
- Identifier: vital:15404 , MOA29-08 , http://hdl.handle.net/10962/d1017710 , MOA29
- Description: Talking drum messages with Chondo slit drum accompaniment , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
The perceived meaning and benefits of people analytics in selected organisations in South Africa
- Authors: Marazanye, Joram
- Date: 2017
- Subjects: Personnel management Business -- Data processing Employees -- Recruiting
- Language: English
- Type: Thesis , Masters , MCom
- Identifier: http://hdl.handle.net/10353/4480 , vital:28341
- Description: Regardless of the widespread application of analytics to a variety of business measurements, it is noteworthy that the use of people analytics is still no place close where it could be. The main aim of this study is to examine the perceived meaning and benefits of people analytics in selected South African organisations. People analytics is a burning-fresh topic in HR field aiming at using data to make organisational decisions and little has been done in this area especially in the South African context. The study employed qualitative-exploratory design which comprised of 10 senior HR officers from selected organisations in South Africa. From the findings, it shows that the employment of people analytics in South African context is in its early stage and its conception and repercussions are little understood. In addition, there is an accord on its usefulness, however the workforce analytic skills have found to be the major difficulty to foster its successful implementation and adoption by organisations. Because of its qualitative nature, this study had a limitation that it lack representativeness hence the findings cannot be generalised. Research opportunities for future can be quantitative and longitudinal research to objectively ascertain the extent future employability of people analytics.
- Full Text:
- Date Issued: 2017
- Authors: Marazanye, Joram
- Date: 2017
- Subjects: Personnel management Business -- Data processing Employees -- Recruiting
- Language: English
- Type: Thesis , Masters , MCom
- Identifier: http://hdl.handle.net/10353/4480 , vital:28341
- Description: Regardless of the widespread application of analytics to a variety of business measurements, it is noteworthy that the use of people analytics is still no place close where it could be. The main aim of this study is to examine the perceived meaning and benefits of people analytics in selected South African organisations. People analytics is a burning-fresh topic in HR field aiming at using data to make organisational decisions and little has been done in this area especially in the South African context. The study employed qualitative-exploratory design which comprised of 10 senior HR officers from selected organisations in South Africa. From the findings, it shows that the employment of people analytics in South African context is in its early stage and its conception and repercussions are little understood. In addition, there is an accord on its usefulness, however the workforce analytic skills have found to be the major difficulty to foster its successful implementation and adoption by organisations. Because of its qualitative nature, this study had a limitation that it lack representativeness hence the findings cannot be generalised. Research opportunities for future can be quantitative and longitudinal research to objectively ascertain the extent future employability of people analytics.
- Full Text:
- Date Issued: 2017
Imagine/nation : mediating 'xenophobia' through visual and performance art
- Machona, Gerald Ralph Tawanda
- Authors: Machona, Gerald Ralph Tawanda
- Date: 2014
- Subjects: Xenophobia -- South Africa , Xenophobia in mass media , Performance art , Immigrants in art , Violence in art , Race in art
- Language: English
- Type: Thesis , Masters , MSc
- Identifier: vital:2480 , http://hdl.handle.net/10962/d1011106 , Xenophobia -- South Africa , Xenophobia in mass media , Performance art , Immigrants in art , Violence in art , Race in art
- Description: This half-thesis has developed as a supporting document to an exhibition titled Vabvakure, people from far away, which responds to the growing trends of violence perpetrated against African foreign nationals living in South Africa. This violence which has generally been termed as 'xenophobia' has been framed within this discourse as 'afrophobia', as it is fraught with complexities of race, ethnicity and class. Evidently, not all foreign nationals are at risk but selective targeting of working class black African foreign nationals seems to be the modus operandi. Fanning these flames of prejudice are stereotypes and negative perceptions of Africa and African immigrants that have permeated into the national consciousness of South Africa, which the mainstream media has been complicit in cultivating. My practice is concerned with challenging this politic of representation in relation to the image of the African foreign national within South African society, who have been presented negatively and labelled as the 'Makwerekwere', the 'bogeymen' that have been blamed for the country’s current woes. In response to this, my research adopts the premise that forms of cultural mediation such as visual and performance art can offer further insights and possibly yield solutions that can be used to address these sentiments. As globalisation and neoliberal ideologies reshape the world, there is a growing need in the post-colonial state to revisit and re-construct notions of individual and collective identity, especially that of the nation. Nations, nationalisms and citizenry can no longer be defined solely through indigeneity, for as a result of radical shifts in the flow of migration and immigration policies that allow for naturalisation of aliens and foreign nationals, we are now faced with burgeoning levels of social diversity to the extent that constructions of nationhood that are based on the concept of autochthony have resulted in the persecution of the ‘other’.
- Full Text:
- Date Issued: 2014
- Authors: Machona, Gerald Ralph Tawanda
- Date: 2014
- Subjects: Xenophobia -- South Africa , Xenophobia in mass media , Performance art , Immigrants in art , Violence in art , Race in art
- Language: English
- Type: Thesis , Masters , MSc
- Identifier: vital:2480 , http://hdl.handle.net/10962/d1011106 , Xenophobia -- South Africa , Xenophobia in mass media , Performance art , Immigrants in art , Violence in art , Race in art
- Description: This half-thesis has developed as a supporting document to an exhibition titled Vabvakure, people from far away, which responds to the growing trends of violence perpetrated against African foreign nationals living in South Africa. This violence which has generally been termed as 'xenophobia' has been framed within this discourse as 'afrophobia', as it is fraught with complexities of race, ethnicity and class. Evidently, not all foreign nationals are at risk but selective targeting of working class black African foreign nationals seems to be the modus operandi. Fanning these flames of prejudice are stereotypes and negative perceptions of Africa and African immigrants that have permeated into the national consciousness of South Africa, which the mainstream media has been complicit in cultivating. My practice is concerned with challenging this politic of representation in relation to the image of the African foreign national within South African society, who have been presented negatively and labelled as the 'Makwerekwere', the 'bogeymen' that have been blamed for the country’s current woes. In response to this, my research adopts the premise that forms of cultural mediation such as visual and performance art can offer further insights and possibly yield solutions that can be used to address these sentiments. As globalisation and neoliberal ideologies reshape the world, there is a growing need in the post-colonial state to revisit and re-construct notions of individual and collective identity, especially that of the nation. Nations, nationalisms and citizenry can no longer be defined solely through indigeneity, for as a result of radical shifts in the flow of migration and immigration policies that allow for naturalisation of aliens and foreign nationals, we are now faced with burgeoning levels of social diversity to the extent that constructions of nationhood that are based on the concept of autochthony have resulted in the persecution of the ‘other’.
- Full Text:
- Date Issued: 2014
Evaluation of employment opportunities for people with disabilities in Joe Gqabi District of the Eastern Cape
- Authors: Giwu, Pumeza
- Date: 2013
- Subjects: People with disabilities -- Employment -- South Africa -- Eastern Cape , People with disabilities -- Government policy -- South Africa -- Eastern Cape , Discrimination against people with disabilities
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:9122 , http://hdl.handle.net/10948/d1016224
- Description: Even though the post-apartheid democratic government introduced a “social model” approach to address disability, there is still low employment rate of People with Disabilities. Government has enacted different legislation aimed at the inclusion of people with disabilities into the mainstream of society; however, the majority of people with disabilities are unemployed and often denied employment opportunities. The study seeks to evaluate employment of people with disabilities, identify challenges facing the government departments and local municipalities in employing people with disabilities, and to determine what measures can be taken to improve the employment of this group. A purposive sampling was used to select the government departments and the municipalities. A total of seven organisations, participated in the study consisting of four government departments and three local municipalities of the Joe Gabi District. During the interviews, a semi-structured interview guide was used to generate in-depth interpretation from the participants. The data was then analysed using quantitative methods such as graphs and tables and qualitative methods such as data coding through Tech's (1990) framework as described in (Creswell, 2003). The findings of the research revealed that government departments and municipalities still experience challenges in recruiting and providing employment opportunities to people with disabilities. There are a number of factors perceived by participants as challenges to low recruitment and employment of people with disabilities. These include: A lack of clear internal policies and guidelines at district levels of the government departments; Tendency by the government departments and municipalities to use the Employment Equity Plans only as a tool for compliance with legislation; A lack of effective recruitment strategies especially for people with disabilities. The participants also suggested a number of ways to improve employment and recruitment of people with disabilities, which include partnering with relevant organisations that could help in providing work-seekers who are persons with disability, developing effective internal recruitment strategies, HR managers to be trained in disability management and all relevant legislation and finally departments to fund posts specifically for people with disabilities.
- Full Text:
- Date Issued: 2013
- Authors: Giwu, Pumeza
- Date: 2013
- Subjects: People with disabilities -- Employment -- South Africa -- Eastern Cape , People with disabilities -- Government policy -- South Africa -- Eastern Cape , Discrimination against people with disabilities
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:9122 , http://hdl.handle.net/10948/d1016224
- Description: Even though the post-apartheid democratic government introduced a “social model” approach to address disability, there is still low employment rate of People with Disabilities. Government has enacted different legislation aimed at the inclusion of people with disabilities into the mainstream of society; however, the majority of people with disabilities are unemployed and often denied employment opportunities. The study seeks to evaluate employment of people with disabilities, identify challenges facing the government departments and local municipalities in employing people with disabilities, and to determine what measures can be taken to improve the employment of this group. A purposive sampling was used to select the government departments and the municipalities. A total of seven organisations, participated in the study consisting of four government departments and three local municipalities of the Joe Gabi District. During the interviews, a semi-structured interview guide was used to generate in-depth interpretation from the participants. The data was then analysed using quantitative methods such as graphs and tables and qualitative methods such as data coding through Tech's (1990) framework as described in (Creswell, 2003). The findings of the research revealed that government departments and municipalities still experience challenges in recruiting and providing employment opportunities to people with disabilities. There are a number of factors perceived by participants as challenges to low recruitment and employment of people with disabilities. These include: A lack of clear internal policies and guidelines at district levels of the government departments; Tendency by the government departments and municipalities to use the Employment Equity Plans only as a tool for compliance with legislation; A lack of effective recruitment strategies especially for people with disabilities. The participants also suggested a number of ways to improve employment and recruitment of people with disabilities, which include partnering with relevant organisations that could help in providing work-seekers who are persons with disability, developing effective internal recruitment strategies, HR managers to be trained in disability management and all relevant legislation and finally departments to fund posts specifically for people with disabilities.
- Full Text:
- Date Issued: 2013