Thesis (PhD (Music)) -- Stellenbosch University, 2010. / ENGLISH ABSTRACT: During the past few decades fascinating opera productions have been staged by South African opera companies, using strong local casts and strikingly indigenous interpretations of standard works from the canon. It appears that opera in South Africa has survived the tumultuous recent history of this country and is invigorated by the creative possibilities unleashed by its contexts. This dissertation explores whether and how opera production in the Western Cape has reacted to societal influences specific to South Africa. It launches an exploration of if and how the genre has ‘indigenized’ to become what it is today. The following themes present themselves during the course of this dissertation: the process through which opera has rooted itself in the country historically, the forms in and through which opera manifested itself in the Western Cape, how the art form has developed, to what extent local culture has influenced the art form and if, how and why opera production in the Western Cape has diverged from original Western operatic ideals. This dissertation is comprised of two sections representing, broadly, the past and the present. Chapters 1 and 2 are historical studies, whilst Chapters 3 and 4 discuss contemporary perspectives. Chapter 1 is an attempt to construct a history of opera in South Africa and serves as a background or frame for the ensuing chapters. This chapter will show that indigenization in its most subtle form can be traced in local opera productions long before the issue of the reflection of indigenous cultures in opera became relevant. Chapter 2 is a first attempt to account for the history of the Eoan Group, a so-called Coloured opera company who performed during South Africa’s Apartheid years. It investigates the far-reaching implications of the drive to ‘Europeanize’ indigenous culture, as exemplified in the opera productions of this group. Chapter 3 discusses a new opera composition, Hans Huyssen’s Masque (composed in 2005), focusing on the use of voice as it engages with the indigenization of the aesthetic model of voice production. Chapter 4 is an investigation into the functioning of Cape Town Opera. It investigates how a local opera company – an institution promoting opera as a Western form of art – negotiates its way through the tumultuous changes of post-Apartheid South Africa. / AFRIKAANSE OPSOMMING: Operageselskappe in Suid-Afrika het gedurende die afgelope dekades verskeie fassinerende produksies op die planke gebring, produksies wat aansienlik deur inheemse interpretasies beïnvloed is en dikwels van inheemse sangers gebruik maak. Dit wil voorkom of opera in Suid-Afrika nie slegs die politieke omwentelinge van die onlangse verlede te bowe gekom het nie, maar ook produktief put uit impulse wat uit plaaslike omstandighede voortvloei. Die gedagte wat in hierdie proefskrif ondersoek word, is of en hoe opera produksie in die Weskaap op spesifiek Suid-Afrikaanse omstandighede gereageer het. Die bestudering van opera in die Weskaap deur die lens van verinheemsing fokus op die manier waarop opera in die land wortel geskiet het, die wyses waarop dit in die verlede en in die hede tot uiting gekom het, hoe produksie van die genre ontwikkel het, tot watter mate inheemse kulture operaproduksie en komposisie beïnvloed het en hoe en waarom operaproduksie in die Weskaap afgewyk het van oorspronklike Westerse ideale. Hierdie proefskrif bestaan uit twee dele wat die verlede en die hede verteenwoordig. Hoofstukke 1 en 2 behandel historiese gevallestudies en Hoofstukke 3 en 4 kontemporêre operapraktyke. Hoofstuk 1 onderneem om ’n geskiedenis van opera in Suid-Afrika te skets en dien as ’n vertrekpunt of konteks vir die daaropvolgende hoofstukke. Die hoofstuk dui aan dat verinheemsing reeds in subtiele vorm plaasgevind het in operaproduksie lank voor die vraagstuk oor die weerspieëling van inheemse kulture in opera relevant geword het. Hoofstuk 2 is ’n eerste poging om die geskiedenis van die Eoan Groep, ’n sogenaamde Kleurling operageselskap wat gedurende die Apartheidsjare in Suid-Afrika opera geproduseer het, neer te pen. Die hoofstuk ondersoek die verreikende implikasies van die veldtog om inheemse kulture in Suid-Afrika te verwesters. Hoofstuk 3 bespreek ’n nuwe operakomposisie, Hans Huyssen se Masque (gekomponeer in 2005) en fokus op die gebruik van stem en die kwessie van die verinheemsing van die estetiese model van stemproduksie. Hoofstuk 4 het as onderwerp die plaaslike operageselskap, Kaapstad Opera, en ondersoek hoe hierdie organisasie wat opera as ’n Westerste kunsvorm beoefen en bevorder, sy weg vind deur die ingrypende veranderinge wat post-Apartheid Suid- Afrika kenmerk.

Thesis (Ph.D.)-University of Natal, Pietermaritzburg, 1992.

The purpose of the research is to examine the effects that Apartheid had/has on the shaping of leadership styles of South African political leaders from all political affiliations and different backgrounds. The research phenemenon and tentative hypothesis is that these leaders were influenced in vastly different ways according to their positions as either advantaged, disadvantaged or unaffected by the system of Apartheid. The study will examine how these different experiences under the system of Apartheid shaped current leadership styles. / The system of apartheid, caused different life experiences for South Africans, and can be seen as a defining moment in the development of South Africa, its leaders and citizens. This study investigated how these different life experiences under apartheid influenced leadership styles of South African political leaders. After completion of a literature review, semi structured life history interviews were conducted with a representative sample of members of the South African Parliament, to generate qualitative data for analysis. Content analysis was applied to this data to generate a basis from which valid and reliable conclusions and recommendations were made. The research found support in both the literature review and qualitative life stories data collected for the following propositions: • Leadership is a complex construct, which is composed of many different characteristics and influences. • The life histories of individuals comprise of a combination of unique life experiences and subjective interpretations of those experiences. • Individual life histories influence leadership development. • Apartheid was a time line event that encompassed many different life experiences of individuals within the broad phenomenon, which phenomenon does not necessarily in itself have a significantly 7 homogeneous effect on the shaping of leadership styles. What is a more significant shaper of leadership style is the leader’s experiences in and attitude towards the event or phenomenon. • Life experiences under the phenomenon of apartheid influenced the leadership styles of South African political leaders differently in accordance with their unique life experiences itself, and their subjective interpretations thereof. The recordal of the life stories of South African political leaders presents an opportunity to learn at a broader interface from the experiences of the past, to shape a collective future for a free and democratic South Africa.

This dissertation focuses on the role of the church as a social conscience in its quest for human dignity. It specifically explores the role played by the Anglican Church of Southern Africa in the restoration of human dignity through the contributions made by the various bishops and archbishops in addressing the challenges of socio-economic and political injustice faced by society. Furthermore, this dissertation explores the practical mission and ministry of the parish of St Thomas in Kagiso 1, Krugersdorp in its quest for human dignity aimed at addressing the contextual socio-economic and political injustices and to alleviate suffering. Special emphasis in this dissertation is put on the biblical and theological substantiation which necessitated the various prophetic mission and ministries. / Systematic Theology and Theological Ethics

Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: In this research I investigated, with specific references to the three dramas, the ways in which the Coloured and his community were represented in the post-apartheid theatre. I examined identity formation through the theories of Erik Erikson and James Marcia’s identity theories, as well as theories with regards to race and ethnic identity. From these theories I came to the conclusion that the individual identity is a constant process of forming and reforming, especially during the adolescent years. Secondly, I examined group identity. A group is characterised by the nature of the relationships between its members, and also plays an important role in the structuring of the members’ identities. Group identification is a strategy for successfully handling the negative effects that are associated with ethnic minority groups. Other racial groups are usually biased towards the ethnic minority groups because of the stigma by which they are characterised. The Cape Coloureds and the Cape Malays are the two groups that were chosen for examination and discussion, seeing that they are the two largest groups in Cape Town. There is a vast array of factors and subsections that can be chosen for the forming of a Coloured identity. These factors consist of gender, religion, language, style, class, education and appearance. Following on the research and chosen dramas, I formulate three categories, each consisting of its own type of Coloured character. Category one consists of the extreme stereotype: the typical Cape Coloured and Cape Malay. Category two makes space for the middle course: the more comprehensive Cape Coloured and the Indian-Muslim. The last category consists of the other extreme stereotype: the White-Coloured and the Public Malay. Category one and two are used most frequently when representing Coloureds. Category three Coloureds are chosen very seldom. Playwrights, directors and actors often create characters based on preconceived ideas of the Coloured identity. These characteristics seem to be a reduction of an identity that promotes these preconceived ideas. The Apartheid laws that were used to marginalise the Coloureds are still found in these characteristics. As long as these aspects are present in society, they will be displayed on stage. Unfortunately, within post-apartheid theatre, the Coloured and his community are still mostly represented by these stereotypes. / AFRIKAANSE OPSOMMING: Die navorsingsvraag lui soos volg: Met spesifieke verwysing na die gekose dramas, op watter wyse word die Kleurling en sy gemeenskap in die post-apartheid-teater uitgebeeld? Ten einde hierdie vraag te kan beantwoord, moes daar na spesifieke punte gekyk word. Eerstens is daar, met behulp van die identiteitsteorieë van Erik Erikson en James Marcia asook die teorieë rakende rasse- en etniese identiteit, gekyk na wat persoonlike identiteitsvorming behels. Vanuit hierdie teorieë kom ek tot die slotsom dat die individuele identiteit ’n konstante proses is wat gedurig aan die vorm en hervorm is, veral tydens die adolessentejare. Tweedens is daar gekyk na wat groepsidentiteit behels. ’n Groep word gekenmerk deur die aard van die verhoudings tussen sy lede en speel ’n sterk rol in die strukturering van identiteite. Groepsidentifisering is ’n strategie vir die suksesvolle hantering van negatiewe effekte wat verband hou met etniese minderheidsgroepe. Etniese groepe word heel dikwels bevooroordeel as gevolg van die stigma wat saam met die groep gekenmerk word. Die Kaapse Kleurling en die Kaapse Maleier is die twee groepe wat gekies is vir bestudering en bespreking, aangesien dit die twee grootste groepe binne Kaapstad is. Daar is ook aandag gevestig op identiteit soos te sien binne die literatuur en teater. Teater dien as ’n eksterne doel in die bevordering van ’n kulturele identiteit binne ’n onbekende konteks. Dit is ’n transformasieritueel wat die mens in staat stel om betekenis te produseer en te help om ’n wyse van identifikasie te skep. Teater is dié platform waar die mensdom in elke vorm ten toon gestel kan word – ’n ruimte wat verskaf word om die onbekende te konfronteer en dit gevolglik te aanvaar of nie. Daar is verskeie faktore en onderafdelings wat gekies kan word vir die vorming van ’n Kleurling-identiteit. Hierdie faktore bestaan uit die volgende: geslag, godsdiens, taal, styl, klas, opvoeding en voorkoms. Na aanleiding van die navorsing en gekose dramas, word daar drie kategorieë gevorm wat elkeen sy eie tipe Kleurlingkarakter huisves. Kategorie een bestaan uit die uiterste stereotipe: die tipiese Kaapse Kleurling en Kaapse Maleier. Kategorie twee maak plek vir die middeweg: die “lewende” Kaapse Kleurling en Maleise Indiër. Die laaste kategorie is die tuiste vir die ander uiterste, die Wit-Kleurling en die Publieke Maleier. Kategorie een en twee is waaruit die meeste Kleurlinge gekies en verteenwoordig word. Kategorie drie Kleurlinge word uiters selde verteenwoordig. Daar is ook geen melding van ’n Kleurling wat buite die Kaapse Vlakte gebore is en hoe sy lewe ontvou nie. Dramaturge, regisseurs en akteurs skep dikwels Kleurlingkarakters van wie daar vooropgestelde idees bestaan. Hierdie karaktereienskappe blyk ’n reduksie van identiteit te wees wat die vooropgestelde idees bevorder. Die Apartheidswette wat gebruik is om die Kleurling te marginaliseer, se skadu’s word steeds in hierdie karaktereienskappe aangetref. Solank as wat hierdie aspekte nog in die samelewing en gemeenskappe teenwoordig is, sal dit op een of ander manier op die verhoog uitgespeel word. Ongelukkig word die Kleurling en sy gemeenskap nog hoofsaaklik volgens hierdie stereotipes in die post-apartheid-teater verteenwoordig.

This thesis looks at the relationshp between water and social power. It attempts to answer two questions: who controls the distribution of water in the South African city of Durban? And how might this distribution be transformed in positive democratic ways? In attempting to answer these questions, the thesis provides insights into post-apartheid South African society and the possibilities for democratic social change. The framework of analysis builds upon work conducted in urban political ecology. In particular, I argue that urban environments, indeed all environments, should be understood as created ecosystems. Recognising this, I suggest that Durban's waterscape should be seen as produced through capitalist social relations. The waterscape thereby becomes a particular accumulation strategy through which profits may be generated. for Durban's communities, one of the most direct effects of this capitalist accumulation strategy is that access to water is dependent upon the exchange of money. Whilst this situation has been amerliorated somewhat through the development of a free basic water policy, the policy itself has necessitated a much tighter regulation of domestic supplies and, in effect, a more severe commodification of each household's water supply. In turn, this has resulted in water infrastructure acquiring power over the lives of most residents. This, I argue, is a result of the social relations that come to be invested within that infrastructure. The possibilities for change that are suggested lie within the struggle for feminist standpoint and the connection of these situated knowledges of the waterscpe with a broader historical and geographical understanding of the terrain of civil society. from such an understanding of civil society, a dialectical critique of hegemony is opened up. Overall, the thesis moves from an analysis of the power relations camprising the waterscape to the development of a critique from which, it is hoped, the possibilities for political change might emerge.

This study explores the perceptions of the causes of poverty of South Africa’s post apartheid generation at the North-West University’s Vaal Triangle Campus. The study uses a sample of 203 respondents aged 20 years or younger, from the campus two faculties (Economic Sciences and Information Technology, and Humanities). The main objective of the study is determining whether the post-apartheid generation perceives poverty as the result of fatalistic, individualistic or structural factors, as indicated by the Feagin scale. The secondary objective of the study was to determine whether demographic variables such as age, gender, home area and the faculty of study, along with socio-economic variables such as the employment status of the respondents’ parents, monthly expenses and the respondents’ lived poverty index influence perceptions of the causes of poverty. / MCom (Economics), North-West University, Vaal Triangle Campus, 2014

Masters in Public Administration - MPA / A problem of the South African economy is the pervasive unemployment in particular amongst the black population. Double-digit unemployment figures had become the norm within post - apartheid South Africa. The newly elected government in 1994 identified the informal sector as a strategic growth area. The SMME sector was seen as unexplored and a potential conduit and possible answer to create employment opportunities and address the unemployment crisis. The question that guided the research was What are the challenges faced by the SMME sector, in particular black SMMEs, in becoming a sustainable and financially viable business? The study was qualitative in nature and the case methodology was used for this research. The key findings were that, there is an over - reliance on the business owner that in many instances, has very little business experience. Furthermore ,that government support programmes are not well known amongst the SMMEs. The major recommendations are that Government must provide the support to the SMME sector to become sustainable and contribute to employment creation. Government must explore the possibility of financially supporting the SMMEs. Lastly, that Government must review the regulatory and policy framework to reduce and create an enabling environment for SMMEs to grow and become lucrative.

Magister Artium (Development Studies) - MA(DVS) / It has been 25 years since the demise of apartheid and yet white dominance still persists. With many significant changes visible as a result of the fall of apartheid, the country sadly remains racially divided. The black majority still lives in poverty while the white minority continue to hold their position of privilege and power. And while black people are trying to change the status quo, most white people are ignoring their role in the past while continuing to perpetuate their White Privilege as the gap between black and white widens. Not addressing the issues of the past, maintains the unearned privileges white people have, while the black community grows even more frustrated as the year’s pass. With this in mind, this study explored a sample of “ordinary people” in the Western Cape Province, South Africa, and their experience and knowledge of the phenomenon known as “White Privilege”. The goal was to develop a conceptual framework for understanding the specifics on how White Privilege functions and operates within the Western Cape and its impact on those who are excluded from perks related to White Privilege. This study confirmed the existence of White Privilege in the Western Cape. The impact of White Privilege on people of colour, and society at large, is where a small group of the research participants had different views. Some linked White Privilege directly to the continued oppression of people of colour, and the unfair position of privilege that white people occupy in society. Others viewed this Privilege as an unintended occurrence, which they should not be held accountable for. The critical point that all participants agreed on was that White Privilege in the Western Cape is a problem, and something that needs attention A.S.A.P.

Master of Arts - Human Geography / The purpose of the research report is to investigate the role that tourism plays in developing black-owned small enterprises and how it has contributed towards Black Economic Empowerment in the ten-year period between 1994 and 2004. The research drew from the aims of the Tourism White Paper and sought to review the problems and progress in transforming the tourism industry in South Africa and establish whether black entrepreneurs are making headways into an industry that can potentially change racial imbalance in economic control. The research was conducted among 40 black tour operators based mainly in Gauteng using a questionnaire. The report established that black tour operators, because of their previously disadvantaged background, are struggling to make an impact into the seemingly white-dominated industry.